Screen Africa - October 2011

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BROADCAST, FILM, COMMERCIAL, NEW MEDIA & TECHNOLOGY NEWS

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VOL 23 – October 2011 R35.00

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BROADCAST, FILM, COMMERCIAL, NEW MEDIA & TECHNOLOGY NEWS

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International comedy in Cape Town Internationally renowned industry experts shared their knowledge on the subject of comedy and sitcom during the third module of the

DTT latest South Africa’s free-to-air broadcasters, e.tv and SABC, have registered Multiview as the brand name for the digital terrestrial television (DTT) platform in preparation for the commercial launch of DTT in April 2012.

According to the Department of Communications (DoC), which presented a progress report on its Broadcasting Digital Migration Master Plan to parliament’s portfolio committee on communications on 19 September, the DTT platform marketing plan, business plan and joint venture association have been developed. So too has the Digital Migration Public Awareness and Social Marketing strategy, which is expected to – to page 39

Entertainment Master Class (EMC) 2011, which took place at the Monkey Valley Resort in Cape Town in September.

The Cape Town Module was the third EMC module of the year and the second module to be hosted in South Africa, following one in November 2010.

Guest speakers included Christian Munder, director of comedy for Sony Pictures FFP GMbH, Germany; South African creative producer / director Roberta Durrant; former UK producer of hit sitcoms Humphrey Barclay; director of investment at BBC Worldwide Caroline Torrance; and Hollywood literary agent Norman A Kurland.

Different sessions focused on subjects such as trends in comedy, international distribution of comedy, format protection and sitcoms for children.

EMC head of programme, John Gough, says the various practical workshop sessions and the successful first-time introduction of children’s and animated comedy into the module were among the highlights of the event.

South African participants formed about half of the 22 participants, and the other half came from countries including Germany, Norway, Malaysia, Spain, Belgium and Romania.

“The South African – to page 39

M-Net turns 25 South Africa’s first ever pay-TV channel M-Net celebrates its 25th birthday this October.

Originally a single channel, M-Net now has 19 channels available in South Africa and packages 30 channels for the continent. It broadcasts to over three million subscribers in over 50 countries in Africa. Not bad for a business that began its operations in caravans back in 1986.

M-Net, which forms part of the MultiChoice and MIH group of companies, can boast several industry firsts over the

past quarter century.

The channel was the first to broadcast movies uninterrupted by ad breaks. It was also the first to produce local versions of hit international reality formats such as Idols, Big Brother, Survivor and Who Wants to Be a Millionaire. Thanks to M-Net South Africa became the first country to launch a 24-hour Big Brother channel.

Project Fame was the first reality talent show to feature contestants from across Africa.

– to page 24

CATCHING THE GOLDEN BIRD: The HelloComputer team celebrates a Loerie Grand Prix for their digital interactive Flo Browser for Musica stores, with MC David Hasselhoff in the background. See page 12

AFDA hosts global event In a first for Africa, the Cape Town campus of AFDA, the South African School of Motion Picture Medium & Live Performance, has won the bid to host the biennial conference of the International Association of Film and Television Schools (CILECT) from 1 to 5 May 2012.

CILECT’s membership is drawn from schools across four continents. Delegates from 148 schools are expected to attend the conference including top institutions like USC, Columbia (Chicago), Beijing Film School, The National Film School (UK) and La femis (Paris) to mention

a few.

Garth Holmes, co-founder / chairman of AFDA and head of the CILECT African Regional Association (CARA), says that hosting the congress positions AFDA and other South African film schools favourably in the international sector. It similarly offers the local industry an opportunity to interface with the future of global film, TV production and distribution.

“CILECT membership meets every two years in a different location to discuss new methodologies in film and television training. With globalisation and the impact of exponential shifts in knowledge production and practice, it’s important to be part of the international community that plays a critical role in shaping the future of our industry.

“For the 2012 conference AFDA has conceived the theme of knowledge sharing and collaborative learning practice.

First off we will discuss how to collaborate and share knowledge – to page 39

From the editor

Promoting the promo For Screen Africa the month of October is synonymous with PromaxBDA Africa, an annual conference and awards event focused solely on the art of on-air promotion and design. As a long-time proud media partner of this singular event, which takes place on 28 October at the Sandton Convention Centre, we invite you to read, on page 10, some of the secrets of how top creatives involved in the art of promo-making and channel branding, command their audience’s attention. This is a far more tricky challenge than our cartoon on this page suggests, considering the plethora of channels out there and the viewer’s constant urge to surf channels just to make absolutely sure they’re not missing out on anything better.

South African pay-TV broadcaster M-Net, which broadcasts across Africa, celebrates its 25th birthday this month. M-Net has truly been a continental success story. However, it has not all been plain sailing over the years, as no business ever is. M-Net first went on air in 1986 in the midst of much industry skepticism about the viability of a pay-TV channel in South Africa. By October 1987 it had reached 50 000 subscribers. Despite this milestone, the network was almost bankrupt and it was only a year later that the company hit 90 000 subscribers and sold out of decoders. The rest is history.

Another milestone for M-Net was the recent broadcast of the 100th episode of its entirely-shot-on-location soapie, The Wild. This is quite an achievement for any daily soap, especially one that has had to negotiate several hiccups – issues over actors’ contracts, a union march against M-Net, alleged rumours of disagreements among producers, and a fire on set that resulted in a loss of shooting time.

South Africa’s biggest advertising event, the Loerie Awards, has come and gone. As a former creative director of Saatchi & Saatchi, Adcetera’s Anton Crone gives a unique insider’s view of the awards events and of the winning trends on pages 12 and 13.

Systems integration has become a necessary dynamic in today’s broadcast and post-production environments with many suppliers offering turnkey solutions to clients. Andy Stead reports on the latest trends on pages 20 and 22.

September saw the first ever Good Pitch² to be held outside the UK and US take place in Johannesburg. This important event, in which selected South African documentary projects had the opportunity to pitch to an international panel, ran alongside the biennial People to People International Documentary Conference.

On pages 34 and 35, Linda Krige provides an in-depth report.

Joanna Sterkowicz

SCREENAFRICA Editor: Joanna Sterkowicz: editor@screenafrica.com In-house Journalist: Linda Krige: news@screenafrica.com Contributors: Andy Stead, Karen van Schalkwyk, Martin Chemhere, Ian Dormer, Anton Crone, Jasyn Howes Sub-Editor: Tina Heron Ratings: Enid Venter enid@ihjohannesburg.co.za Head of Design: Trevor Ou Tim: design@screenafrica.com Website & Production Updates: Simba Nyamukachi: online@screenafrica.com Subscriptions: Anusha Dayal: info@screenafrica.com

Publisher & Managing Editor: Simon Robinson: publisher@screenafrica.com Advertisement Sales: Marianne Schafer: marianne@screenafrica.com Hermione Ballinger: hermi@screenafrica.com Accounts: Marietjie Esterhuizen: accounts@screenafrica.com Front Office: Delight Ngwenya: adminsa@screenafrica.com

Contents

6

20

33 FILM

BROADCAST

Never too old to learn................. 6

Who will win the OTT race?...31

Systems Integration –

When the camera dances......... 10

The perennial question.............. 32

a specialised approach; Mega

A virgin birth................................ 25

SABC newsroom contract........ 20

Projecting the future.................. 26

Supplying the OB industry;

A guide to producing................. 27

Providing solutions; Spot on

Making lots of movies................ 38

DOCUMENTARIES

TELEVISION

Documentaries to change the

specialisation................................ 22

3D CAMERAS The return of the third dimension; Covering the Olympics in 3D; Seriously 3D.. 28 New rig for wilder 3D.............. 30

NEWS International comedy in Cape Town; AFDA hosts global event; DTT Latest; M-Net turns 25....... 1 Mobile entertainment under spotlight; Classic caper coming to our screens; Bringing law and order to Cape Town...................... 3

2 | SCREENAFRICA | October 2011

12

SPECIAL FEATURES SYSTEMS INTEGRATION

3D all the way.............................. 29 Sun Circle Publishers (Pty) Ltd Tel: 011 025-3180 Physical address: Block A, Process House Epsom Downs Office Park 13 Sloane Street, Bryanston, Johannesburg PO Box 559 Fourways North 2086

10

Funny business at the EMC......... 8

ON-AIR MARKETING Every promo has its day............ 14

MUSIC VIDEO A maze of music and images.... 33

world.............................................. 34 Pooling resources at Good Pitch².................................. 35

AFRICA

TRACKING TECHNOLOGY

West African country

Going the Thunderbolt route;

on growth path............................ 36

Media workflow application

Tsotsi actor stars in

framework; Video capture and

Zimbabwean film; Gambia’s

playback; Mixing music at MTV

leading filmmaker........................ 37

Awards........................................... 16 New agencies on board............ 24

REGULARS Adcetera............................. 12 / 13

IBC

Audience Ratings ....................... 43

Walking the extra mile.............. 18

Vital Sta’tis’tiks............................. 43

Slabber takes the Cake; Female

CAMERAS

filmmakers convene; Cavegirl in

SA first to test new RED HDRx

action................................................ 4

process.......................................... 19

Production Updates........40 – 42 Close Up....................................... 44

| NEWS

Mobile entertainment under spotlight Mobile video will be a major catalyst towards the growth and development of faster broadband and wireless networks on the African continent, according to DStv Mobile CEO Mark Rayner, who spoke at the recent inaugural Mobile Entertainment Africa Conference (MEAC) held at the One & Only Hotel in Cape Town.

Rayner was one of 140 senior industry practitioners to attend the conference, which was put together by interactive specialist UK event organiser All Amber.

His presentation touched on the reality of mobile TV as it stands in Africa today and noted the uniqueness of the African mobile consumer. Rayner also made the point that broadcast and streaming can work well together in the mobile TV domain.

“The biggest mobile TV users are Korea and Japan but there is still no definitive business model that works,” continued Rayner. “DStv has been working hard on dedicated devices for mobile TV that offer greater usability, for example our Drifta mobile decoder, which is available in South Africa and other African countries.”

However, he stressed that there won’t be enough bandwidth for a long time due to the improvement of quality and quantity across the Internet and mobile platforms. “Therefore the only way forward is to change the attitude in pricing to suit the pre-paid

ADDRESSING MOBILE – Emma Kaye

mobile market.”

Pricing is one issue but content generation is of far more concern, said Emma Kaye of Bozza.

Kaye started out in the mobile TV industry in 2002 and worked with Nokia to create rich media content across its series 60 phones (3520). This content proved hugely successful, underscoring Kaye’s conviction that relevant content on a handset can drive the uptake of technology.

Her presentation maintained that operators don’t understand content. “I believe there is an influx of mediocre content that isn’t made for mobile phones.

There is no strategy to address mobile entertainment, which leaves consumers unaddressed and ignores the idea that

Bringing law and order to Cape Town A Cape Town version of the international franchise Law & Order is on its way, and is promising to create jobs for local cast and crew and inject about R3m per episode into the local economy.

While the announcement has created some excitement, not many details are available yet because of the sensitive nature of ongoing negotiations.

Africa HD producers James Makawa (CEO) and Kenny Christmas (COO) secured the format rights to create a South African franchise of the long-running police procedural and legal drama television series. They will produce the local version in partnership with South African DO Productions.

“We are still in early stages of development, but it’s very exciting to be involved in such a big branded production, and it’s a great opportunity for South Africa,” says DO Productions’ Marlow de Mardt.

Cape Film Commission CEO Denis Lillie has confirmed that they plan to start production in May 2012 and says that the episodes could be increased from 12 to 22.

The series will be set within the South African legal system and police environment, but will follow the same format and themes as its counterparts in the US and UK. Two sets, a police station and a court room, will be constructed at locations that are still under negotiation.

Lillie says that many street scenes will also be shot in and around Cape Town, showcasing the city to a worldwide audience. The series will be broadcast internationally through satellite channel Africa HD. “The impact on the industry will be mainly local in the form of jobs created for cast and crew members. Cape Town residents will be impacted by road closures, but we are predicting a soft impact,” says Lillie.

The Western Cape Government and City of Cape Town have announced that they fully support the venture. – Linda Krige

handsets are communication tools,” she said.

Kaye’s recent efforts have included working with independent filmmakers to restructure the production process to suit mobile content. She trained local filmmakers over five days to produce short form content, which spawned her mobisite Bozza. Upon its launch in October 2010 the platform reached 40 000 users — a clear indication that mobile content is in high demand.

Bozza aims to offer local content that is relevant to communities, allows people to express themselves and further develop the idea of hyper-local newsrooms. There

has been evidence of this growth in projects such as Khayelitsha Mobile TV. To conclude Kaye spoke of the importance of user generated content (UGC) that can find a home on accessible platforms such as Bozza, a company that aims at ‘getting huge amounts of content from across the continent’.

Other notable executives to attend the Mobile Entertainment Africa Conference were Gavin Marshall of MXit, Brett Loubser of Samsung Mobile SA and Media 24’s Renato Balona.

Samsung Mobile SA was the key sponsor of the Mobile Entertainment Africa Conference. – Jasyn Howes

MONEY MONEY MONEY – A scene from Skeem

Classic caper coming to our screens Skeem is a South African film in the same vein as Guy Ritchie’s Lock, Stock and Two Smoking Barrels and will be released in local cinemas via UIP in October.

Written and directed by Tim Greene (Class Act, Boy Called Twist, Hard Copy), Skeem is produced by Zaheer GoodmanBhyat (Confessions of a Gambler, Master Harold and the Boys) of Light & Dark Films.

Greene says that the biggest selling point of the film is that it is entertaining.

“Skeem is a lot of fun – an intelligent comedy mixed with fast paced action. It is a classic caper movie: a mile-a-minute chase after a cardboard box full of money, featuring a cast of colourful characters all hell-bent on getting their hands on the cash.

“The movie also boasts household names like Kenneth Nkosi, Rapulana Seiphemo, Casey B Dolan, Terence Bridgett and top comedians David Isaacs and Kurt Schoonraad.”

Recent test screenings generated good results. “This has given us reason to believe that audiences are going to embrace Skeem, mainly because it is very different from the brow-beating, angst-ridden fare that has become typical of South African movies,” continues Greene. “We’ve had a very warm response from the test audiences from late teens through to people in their 70s. However

the film is mainly aimed at the 16 to 35 market; it is hip and has a lot of bad language.”

Skeem’s budget was ‘around R7m’.

Goodman-Byhat explains that they were lucky to get great support from the National Film and Video Foundation (NFVF).

“They became a cornerstone financier that helped us raise the rest of the money.

We also had a UK pre-sale. Above that we worked with a pool of very savvy private investors who really do expect to make a great profit out of this film,” he says.

In terms of distribution GoodmanByhat is exploring all options. “What I have learnt is that all over the world studio films are handled completely differently to independent films.

“South African distributors have a lot of experience in putting out studio films and have a solid model that works for them. Local films, by contrast, resemble American indie films much more closely than studio films and so require a different way of thinking about marketing. We’ll be building a word of mouth following rather than buying adverts in media that our target audience does not consume.”

Goodman-Bhyat notes that budget was a major issue during production. “Making independent films on a shoestring means you are always under resourced and everyone has to push themselves to the limit. We had a brilliant cast and crew who gave it their all.”

Skeem has a UK theatrical release scheduled for next year and is represented by a top sales agency.

– Karen van Schalkwyk October 2011 | SCREENAFRICA | 3

NEWS |

Slabber takes the Cake

KODAK MOMENT – Nina Slabber

Female filmmakers convene Issues affecting women in the South African film and television industry came under the spotlight at the National Film and Video Foundation’s (NFVF) recent inaugural Women in Film Indaba in Johannesburg.

An important recommendation that came out of the indaba was to find ways to level the playing field.

Eve Rantseli of Women of the Sun (WoS) highlighted research that shows that the local industry employs more than 20 000 people of which women don’t play a critical role. In the past six years only six out of 20 South African films were made by women Said NFVF chair Mmbatho

A student from AFDA, the South African School of Motion Picture Medium and Live Performance, is the recipient of the Bronze Award in the 2011 Kodak Student Scholarship Competition for Excellence in the Craft of Filmmaking. Nina Slabber was awarded for her film, Cake.

Kodak’s annual international competition is designed to recognise superior filmmaking skills and creativity of the next generation. The winning work, as judged by renowned cinematographer Robbie Greenberg, will be screened at this year’s UFVA conference in Boston, Massachusetts.

“I was at home working on my computer (or playing Plants vs. Zombies) when an email came through from Kodak informing me of the award,” says Slabber. “I was a bit confused at first as I really didn’t expect to hear from Kodak. Then I got excited and phoned my boyfriend and then my mom.”

Slabber’s short film details a day in the life of Sarah, a young woman caring for her mother who suffers from Alzheimer’s Disease. On this particular day, Sarah is preparing for a birthday celebration but when the power is cut she needs to find a way to finish baking a cake.

“As a small, passionate crew, our aim was to tell a very simple story that an audience would engage with both emotionally and visually,” explains Slabber. “I feel all the departments excelled in this task so I can’t take sole credit for the film.”

Slabber graduates at the end of November. “I hope to get involved in lots of creative projects in the future. As much as I love hard work I also love travelling and being out in nature, so my aim is to find a balance between hard work and ‘quiet’ time. I am very passionate about wildlife so hope at some stage to make wildlife documentaries.” – Andy Stead

Ramagoshi: “The statistics of the status quo, although nothing new to the NFVF, are still shocking and make us more determined to develop programmes and tools of empowerment for women.

“However, we were pleasantly surprised to hear testimonials from women filmmakers who have been successful, like Xoliswa Sithole and Sara Blecher among others. They consciously use women in their crews and the team dynamic is second to none,” continued Ramagoshi.

Other challenges for women include access to information and recognition as key creatives and other male-dominated links in the value chain such as directors of photography (DOPs) and editors.

Thandi Brewer of the South African Screen Federation (SASFED) touched on issues of mentorship, the need to revisit apprenticeships and create bursaries for women. She thanked the NFVF for the short film competition and slate funding programme which are targeted to empower women.

Ramagoshi pointed out these NFVF programmes are biased toward marginalised groups who meet the criteria and at least one slate deal is dedicated to

FEMME POWER – Mmbatho Ramagoshi (NFVF chair), Thandi Brewer (SASFED), Eve Rantseli (WoS) and Karen Son (NFVF) 4 | SCREENAFRICA | October 2011

Cavegirl comes to SA The UK-South Africa co-production Cavegirl will be shot in South Africa later this year. UK producers are Andy Bell and Tim Woolford with Michael Auret of Spier Films as the South African producer.

Award-winning music video and commercials director Andy Morahan, who has worked with the likes of George Michael, Sir Paul McCartney and Bon Jovi, will direct.

Cavegirl creator, Daniel Peacock, penned the screenplay.

The film stars Disney’s up-and-coming Mean Girls 2 and Emmy Award-winning star Jennifer Stone in the title role. Also cast are Jacob Zachar (Marcy, Greek) and South African actress Tanit Phoenix (Spud the Movie) as Cavegirl’s sibling rival.

Bell says they are thrilled to have Morahan direct the film. “I have admired Andy’s work for 20 years and he is the perfect director for the project, not least because he remains completely plugged into the music scene. Andy will create the great look and feel that our teen audiences expect from a screen version of Cavegirl.”

Morahan adds: “Cavegirl is a hugely exciting project. I love the nature of the modern dialogue set in a timeless Stone Age world and look forward to directing the film.”

According Auret the film will go into pre-production in October. “The biggest challenge has been raising the money. Part of this was finding the right director and cast for the film but with the likes of Andy Morahan and the cast this will be a great production.

“Spier Films is investing in the film along with a UK hedge fund. We are also in the process of negotiating with other funders. Co-productions are always complex because you have to apply to the authorities in either country so there is a lot of admin.”

Auret elaborates that part of the reason that the international producers were attracted to shooting in South Africa was the rebate offered by the Department of Trade and Industry. “The rebate has proven to be fast and efficient and the Industrial Development Corporation is also a great investor. Other reasons for shooting in South Africa are our beautiful locations and our talented crews who are willing to shoot a six-day week and 12 hours a day. This is not common in Europe.”

He believes that the South African industry is in a good place at the moment.

“We have a 3D horror film called The Blockhouse lined up which is a French / German / South Africa co-production, as well as a thriller co-production with Fireworx Media called One Last Look, written and directed by Philip Roberts.

Another film is Darrell Roodt’s horror, Meat. We also have other films lined up for next year.” – Karen van Schalkwyk women. This is not to say that the other deals are for men only.

“The NFVF council will also relook its bursary programme and make bias provisions to attract young female applicants. Our new TV concept fund will have an element of bias towards

women and support film festival initiatives. We will also ensure that the NFVF’s national awareness campaign, that gets underway over the next 18 months, includes a drive to engage female youth,” she concluded.

– Karen van Schalkwyk

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On his recent visit to Johannesburg, British director Justin Chadwick sat down with Linda Krige to talk about his new film, The First Grader, which released in South African cinemas in late September.

FILM |

Never too old to learn A

n article on the front page of a prominent US newspaper captured the attention of Ann Peacock, a South African screenwriter living in Hollywood. The article was about an 84-year-old Kenyan Mau Mau veteran called Maruge who enrolled at a rural primary school to learn to read, after the Kenyan government offered free education for all in 2003.

Maruge and Jane Obinchu, the teacher who fought for his education, were traced in Kenya and Peacock wrote a draft screenplay about their story which was sent to director Justin Chadwick (The Other Boleyn Girl).

“I read it and thought it was a different kind of film to come out of Africa. It’s not a particularly issue driven story,” explains Chadwick. “While it’s uplifting and celebrates the human spirit, it also deals with a troubled past, which I thought was a good recipe for a movie.”

The film is a BBC Film and UK Film Council production in association with South African Videovision Entertainment.

Research Chadwick travelled to Kenya to do his own research and spent time with Maruge, then aged 89 and living in a hospice in Nairobi. Maruge told him how he fought for the liberation of Kenya from British colonial rule in the 1950s.

“I spent time researching the landscape and talking to people who had been part of the events. I also tried to uncover this past that the British had tried to destroy, from first-hand accounts of people who were there. It’s amazing to think that the British press portrayed the story of the Mau Mau uprising in the 1950s in a completely one-sided way – 1.2 million 6 | SCREENAFRICA | October 2011

THE HUMAN SPIRIT – Justin Chadwick directing a scene from The First Grader

Kikuyu were incarcerated by British forces in about eight concentration camps up and down the country, with very brutal regimes. Maruge himself was tortured every day. So although the central story of the film is uplifting, I felt I couldn’t shy away from telling this part of his story.”

Chadwick says after the initial research the film came together incredibly quickly, and was shot in about six weeks at the end of 2009 with well-known actress Naomie Harris (Pirates of the Caribbean: At World’s End) as teacher Jane Obinchu; Oliver Litondo (Ivory Hunters) as Maruge; and starring South Africans Tony Kgoroge (Hotel Rwanda, Invictus); Shoki Mokgapa (Retribution); and Israel Makoe (Tsotsi).

The film was due to be shot in South Africa. However, after visiting Kenya, Chadwick decided to film there instead, in a little village without water and electricity in the mountains of the Rift Valley.

“Maruge talked a lot about the land and how important it was to him as a Kikuyu male, so I wanted to make sure the landscape was going to be part of every frame, even the close-ups, but not in that awful, touristy way. I wanted it to feel unexpected and different, so this school and community felt right, because they were living in this beautiful, hostile environment that was surprising in that it was not an African landscape that I’ve seen in movies before,” notes Chadwick.

Different approach They also decided to approach filming in Kenya in a different way. “When they make movies in Kenya they usually ship everything in – the food, the cast, the crew, the equipment. I used Kenyan crew and only shipped in a handful of people from outside Kenya, a few British and

South Africans, the rest of the people were local.”

The film was shot by DOP Rob Hardy on a French camera, the Aaton Penelope. “We shot on 35mm, luscious widescreen so the film would look very, very beautiful. Because we were in such a remote place, the camera had to be incredibly robust. The Penelope can be quite intimate, because it is relatively small for a 35mm camera, but we also wanted the cinematography to feel epic and have beautiful depth of field.

It handled the fluctuations in light very well, and we had very few problems with it,” notes Chadwick.

Most of the soundscape of the film, including the singing, was also recorded on location by sound mixer Nico Louw, who Chadwick describes as one of the best in the world.

Because the village had no electricity they had to use a generator for power.

However, according to Chadwick, this was not a problem.

“Everyone asks me what the challenges were like, but it really wasn’t a challenge.

It’s amazing what you can do without as a filmmaker – it made us very resourceful and efficient,” he explains.

‘Teachers’ An advantage to shooting in a remote village was that the entire community got involved in the production.

“A whole primary school was cast to play the children, and because they had never watched a movie or seen a TV, they saw us as the teachers. We have this medium where we are trying to catch very natural performances in this unnatural environment where you have camera and

lights. I wanted it to look very cinematic, but to also catch the raw performances of these amazing children. Having a whole school and community involved really helped that, I think this gave a vivid truth to the characters, because we weren’t trying to force the characters, they naturally emerged from the people we were working with.”

Chadwick went to the school on his own at first, talked to the children and got to know them, and then adapted the characters in the film to match the children.

“I realised during that process that I would have to create lessons for every single scene, so that the kids would be able to concentrate on something. So when Naomie came in to teach, she would actually be teaching a real lesson, and then doing the scene as part of that.

By the time I shouted ‘cut’, they would be pulling me down, saying: ‘Teacher Justin, Teacher Justin, can you mark this?’ I would look over at Rob, the cameraman, and he would be marking, and Naomie would also be marking their work. To redo a scene, we would have to wipe everything from the blackboard and do another lesson, because they were so quick and so intelligent. They weren’t acting, they were reacting,” he explains.

The film has played at film festivals around the world and has won audience awards at the 32nd Durban International Film Festival and the 2nd Doha Tribeca Film Festival, as well as the Best Feature Film Award at the Palm Beach International Film Festival in the US.

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TELEVISION |

Funny business at the EMC The producer of hit UK comedy Desmond’s and the producer of iconic South African comedy shows such as ‘Sgudi ‘Snaysi and Stokvel, shared some of their secrets to creating good, relevant sitcoms at the Entertainment Master Class (EMC) module on television comedy and sitcom in Cape Town in September.

FINDING THE ESSENCE OF COMEDY – Humphrey Barclay in action

D

uring a comedy script workshop and a storylining session at the EMC, former independent producer and controller of comedy at London Weekend Television, Humphrey Barclay, shared some secrets from years of producing hit comedies such as Desmond’s, which was broadcast on the UK’s Channel 4 from 1989 to 1994.

“Someone once said that the essence of drama is storyline, and the characters serve the storyline. In comedy, the storyline serves the characters. The storyline is just a chance to meet and enjoy the characters every week – almost like a washing line where you hang your characters every week to see them flapping in the wind,” explained Barclay.

He also noted that sitcom was somewhat like a game of chess. “You don’t change the chessboard, and the players do the same recognisable moves in the same environment every week, yet the amount of possible games is endless.”

While characters in a drama need to evolve, characters in sitcom don’t.

Therefore Barclay warned writers: “Don’t create characters you’re not going to like, 8 | SCREENAFRICA | October 2011

because if you don’t like them you can’t write for them.”

Barclay emphasised that sitcom does not need to be empty entertainment, referring to an episode in Desmond’s where a character struggles after discovering that he received a promotion because he is black. “Yes, it is comedy, but you can actually get some truth in there.

If you can get the right blend of heart and humour, then so much the better.”

Creative potential Roberta Durrant is one of the most successful and prolific creative directors / producers in South Africa, with sitcoms under her belt such as ‘Sgudi ‘Snaysi, Going Up, Madam & Eve, Mazinyo dot Q, Fishy Fêshuns and Stokvel.

Madam & Eve won a Rose at the prestigious Golden Rose awards in Switzerland in 2002, while Stokvel was runner-up in the sitcom category at the International Emmy Awards in New York in 2004.

Durrant discussed her career in comedy and shared some of the secrets to her success during an EMC session titled

Roberta Durrant

Comedy on Limited Resources and for Reconciliation in South Africa.

“Timing is a very important aspect,” she explained. “You have to be relevant, and as creatives you have to be aware of societal shifts. Change offers up opportunities and creative potential.”

Communal imagination She explained that ‘Sgudi ‘Snaysi, which broadcast 86 episodes between 1986 and 1993, was successful because it tapped into the communal imagination.

“You have to tap into the community experience, then you can tap into the communal imagination. I think it was the way women were portrayed in ‘Sgudi

By Linda Krige

‘Snaysi that struck a chord. Black women up to that point had been portrayed only as nurturers. In this show we had a working woman and an aspiring actress as central characters. A sitcom has got to relate, but it also has to be unique.”

Going Up, which was on air for 10 years between 1989 and 2004, was the first series to show South Africa’s diverse nation in one comedy series.

“The series reflected the changes in society during that time, but you have to work with what is already in the collective experience, what is believable,” she noted.

She believes the first episode of a series takes the most time to create, because it is crucial to the success of the series.

“The roots of your creation are so important, especially in character driven comedy, you have to get your characters right first. Try to cast your key characters early in the process, and get them involved. That’s how you get the best results. If you don’t get your cast right, your series will not work,” advised Durrant.

“Think who you are writing for, and then you have to allow for flexibility – when you get into the rehearsal space you have to leave room to create.”

While she believes that ‘casting is everything’, she has had to change cast members while a series was already on air.

“If the character is rooted enough, you can change the actor as long as you’re careful.”

Real issues She believes irony and satire can be used to address real issues. “I think comedy can be used to examine and expose some really tricky territory. You can address real issues without getting too close to the bone.”

However, according to Durrant South Africans still work in a very conservative broadcasting space. “We’ve still got a long way to go to calling a spade a spade, especially in the political sphere.”

She does believe that South Africa is fortunate to have a rich, diverse audience with many languages to work in. “What we produce is rich and textured, our diversity is one of our main assets,” asserted Durrant.

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Report by Joanna Sterkowicz

When the camera dances The principles of single shot cinema, a unique technique developed by award-winning Dutch filmmaker Leonard Retel Helmrich, were revealed at the recent Talent Campus Durban.

freedom of camera movement. I analysed the essence of camera movement – in the French New Wave cameras moved around a lot, as they did in the camera verité-inspired films of the 1960s and 1970s.”

In the mid-1990s Helmrich received a subsidy for a one-day shoot to film the theatre performance, Somebody on the Stairs. This consisted of three people making music with noises.

“I wanted to test how to move the camera from one musician to another and how to use camera movement as a form of expression. So I suspended a camera from a crane, like a hanging mobile. The footage feels weightless, like being underwater.”

Orbits TAKING THE LONG SHOT – Leonard Retel Helmrich

A

nyone who has seen Leonard Retel Helmrich’s acclaimed documentary Position Among the Stars, which screened at this year’s Durban International Film Festival, will have marvelled at the amazing long takes, often executed at mind-boggling camera angles, and how the camera seems to float smoothly in space and time.

Helmrich showed the enthralled participants of Talent Campus Durban how he created devices that allow him to manipulate the camera with such extraordinary fluidity. In one instance, while on location in Indonesia, Helmrich constructed an improvised crane from bamboo sticks which he attached to an old steering wheel found on the road that allowed him to guide the 10 | SCREENAFRICA | October 2011

camera’s direction.

He has invented his own rig, called Steadywings, which consists of lightweight, fold-up arms (made out of PVC pipes) that attach to small digital cameras and allow the operator to move the camera all around his body.

Historical perspective “My approach to cinematography began with looking at how important inventions are to cinema, like the spring mechanism of the early 1900 cameras that replaced the hand crank mechanism. This meant you could lift the camera off the tripod and move it around.

“Throughout history camera moves were always made in anticipation of the edit. My films show you can have

Helmrich wanted to make use of orbital camera movements in his cinematography, building on the camera’s own momentum. “Obviously that’s difficult to do with big cameras but fortunately technology developed and digital video cameras emerged. I got a Sony DV camera and connected it to a bar to see how it could be moved. It occurred to me that it would be better to have two bars with which to hold the camera, hence the invention of the Steadywings.”

If the way that Helmrich moves with the camera reminds you of the dance-like Chinese martial art Tai Chi, it’s no coincidence. He shot his film, Eye of the Day, using Tai Chi-like camera movements. The astonishing cobra in the grass scene in the film was shot with this method.

“I want to be part of the movement and not a fly on the wall because flies fly around,” continued Helmrich. “For me

the movement of the camera is an essence of cinema and must be used as part of the narrative. It’s important to use every second of the film to tell the story. I usually shoot every scene of my film in single shots. If you’re doing a long crane shot you can always hand the crane to another person at some stage of the shot.”

Feeling the subject matter He emphasised that camera motion doesn’t always have to be smooth. “If you are touched by what you are shooting and you feel emotion then the camera movement should express that. Forget about the technique – just shoot. For me it’s all about personal freedom.

“I always shoot on automatic settings and I shoot on a wide angle. With depth of field you can’t move the camera. When someone looks into your camera it means you’re not close enough. I try to shoot from an emotional point of view – what I’m feeling at the time – and not my physical point of view.”

When shooting Helmrich doesn’t look through the camera so that his subjects look at him and not the camera. This helps him capture real life as it unfolds.

“Shooting this way is like a jazz session.

You start with a group and then suddenly someone goes off on a tangent. In documentary you need the freedom to shoot as things happen. I switched from feature films to documentary because I wanted to have messages in my films.”

Helmrich advises documentary filmmakers to stay focused on what they want to get out of a scene and to decide – with each shot – what the most important thing in the frame is.

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AD cetera

Report on the South African commercials industry by Anton Crone

The Loeries fly into W

ith all the talk of the power of social media in marketing, the two MCs of this year’s Loerie Awards couldn’t be more important.

At the Saturday evening award ceremony held on 17 September in Cape Town, legendary news presenter Riaan Cruywagen took flight like a toupee’d phoenix, his resurrection prophesised by the Loeries’ viral film showing Cruywagen in a suit and tie, sizzling in a jacuzzi with a bevy of bikini clad babes.

Then on Sunday night, the red eyes of the audience were caught in the sweeping red glare of Knight Rider’s KIT, signalling the ascent of that crime fighting, lifesaving, Bavarian pop legend, David Hasselhoff.

Both evenings were short, punchy affairs that everyone appreciated after the marathon sessions of recent years. The focus was on showcasing the winners and presenting the metal, interspersed periodically by the antics of the two icons.

Their legends are in our minds, on our tongues and on the Internet. Both have embraced this and as ‘The Hoff’ declared on the Loerie stage: “I am the ultimate example of an integrated campaign.”

They’re the butt of our jokes, the colour of our conversation and the stars of the videos we transfer in the digital playground. Their social media cred is exemplary.

The irony is that there was not much attention given to social media in terms of awards. As Mandy De Waal in her opinion piece, The Ad Dysfunction, for online news source, Daily Maverick, said: “Many of this year’s Loeries don’t matter all that much anymore,” implying that the industry should focus more on the Internet, mobile and social networks to drive marketing.

Adrian Miller, one of the Loerie jury heads, added: “South Africa still has a way to go in the integrated and digital space. We seem to concentrate more on traditional mediums like TV, radio and print.”

But, as most of the South African advertising, media and marketing people agree, traditional media is still the best way to reach the market at home and in the rest of Africa. This doesn’t mean our advertising folk lack the talent to spread their message. As the word ‘social’ implies, the effect of advertising in South Africa goes beyond traditional media. It enters the conversation, be it over the bar counter, around the braai, or on the web.

It speaks to the power of South African creativity to communicate, no matter the restrictions.

Probably the finest example of this is the Drive Dry campaign by Fox P2.

12 | SCREENAFRICA | October 2011

Riaan Cruywagen

Skateboard designs by Lubabalo Mtati

Drive Dry

David Hasselhof

Loerie winner in TV, Print, Radio,Viral and a few other categories, the campaign plays on the theme of dating. Rough looking convicts are interviewed as they vie for the chance to meet you. It’s controversial because it plays on the stigma of prison rape, but it’s also a new take on the implications of drinking and driving because it doesn’t push the guilt button and rather works on the viewers psyche by implying that, if you get caught, you could end up in prison as a hardened criminal’s bitch.

The campaign has great social cred. It is widely talked about. The impact has been such that it has coined a catch phrase: “Pappa wag vir jou”. Even taxi drivers have been known to put their inebriated customers at ease by declaring: “Pappa’s not gonna get you tonight.”

Poster design by Lubabalo Mtati

Local not local enough For all the industry’s focus on traditional media in South Africa, there was a lack of awarded work that really exemplified our traditions. Some industry folk say part of the reason is a drive to create work that appeals to international award juries.

Another reason is that the aspiration of our audiences often tends to be ‘western’.

We do, however, see a lot of advertising that plays on typically South African characters, but not much of it seems to be deserving of an award.

There were a few exceptions. Two gold Loeries went to student, Lubabalo Mtati, for his contemporary designs for posters, skateboards and t-shirts. As Mtati says: “My aim was to create awareness, revive

pride and provoke thought about the loss of tradition in South Africa.” His work does it in a way that appeals to black youth by reviving indigenous themes in a modern style.

Another exception was Saatchi & Saatchi Cape Town’s campaign for Sasko Flour. They picked up a bronze award for a recipe book that revives iconic African motifs in a contemporary style.

The book is wrapped in a contemporised Shwe-Shwe apron, the pocket of which has a conversion table printed upside down so the wearer can read it while she is baking.

A silver was awarded for their calender of which the fabric ‘pages’ can be torn off and used as tea towels at the end of the month. The campaign not only shows an appreciation for the cultural identity of the market but, very importantly, it shows a deep understanding of their needs.

As creative director Sammy-Jane Thom explains: “I think that there is a fine line between Afro-chic and Afro-relevancy. There is a place for

AD cetera

town

Sasko Flour calendar

‘African’ style but the motives behind it need to be examined, as that will determine how the local market receives it.”

The last awarded piece in this regard was Spoek Mathambo’s gold winning music video, Control, directed by Michael Cleary and Pieter Hugo. The latter’s influence on contemporary African

Sasko Flour recipe book cover

photography is profound and his work is lauded internationally. It has inspired Beyonce’s latest video, Run the World (Girls).

The dance moves are also based on our own Pantsula.

Another less popular but incredibly powerful music video that references Hugo’s work directly is Nick Cave and Grinderman’s, Heathen Child.

This points to ‘western’ taste for contemporary African culture and could prove the assumption that international award juries have no taste for it, wrong.

At the D&AD awards this year, the only South African piece awarded a yellow pencil was Sean Metellercamp’s music video for Die Antwoord, Zef Side. The South African rap group has won worldwide acclaim and this video exemplifies their ‘Sefrican white

trash’ culture.

There are examples in the larger sphere as Neil Blomkamp’s District 9 and Lauren Beukes’ international award winning novel, Zoo City, show. Part of their success, both locally and abroad, is that they ignite the imagination by mixing science fiction – a typically ‘western’ theme – with contemporary South Africa.

This highlights the cross-cultural trade in ideas. As Festus Masekwameng, creative director of Joburg agency, Mother Russia, says: “I believe ideas, and therefore cultures, are universal.”

Ideas vs production values In terms of the standard of winning work at the Loeries, many felt a lack of great ideas but the feeling was that production values were high across all spheres, particularly in the film and radio categories. The power the medium still holds in our market means that our radio is finely crafted and stands up to the best in the world. Net#Work BBDO’s Loerie

Radio Grand Prix winner for MercedesBenz also picked up the Cannes Lions Grand Prix this year, and the list of radio awards is one of the longest overall.

An aspect of TV commercial production not recognised enough is sound. Cape Town audio powerhouse, We Love Jam, was responsible for the audio on 16 winners across TV, radio and digital. They are known not just for their technical abilities but chiefly for their dedication to the craft of sound design.

As We Love Jam’s sound designer, Arnold Vermaak says: “It’s amazing how much work goes into something almost imperceptible.”

That he and sound designer Graham Merrill are both practicing musicians goes a long way to explaining their talent and obsession with sound. I bumped into Vermaak at the Loeries after party. A band was on stage belting out a number.

The crowd was screaming, singing, trying to chat above the incredible din. The only calm person in there was Vermaak. As I shouted something at him he just nodded and smiled and when I leaned closer to make my point known I noticed he had sound suppressors in his ears. That’s a pro for you.

‘Hoffness’ Some advertising folk are dedicated to winning awards, others are just dedicated to doing the best job possible and this is most often the winning formula.

Whatever drives them, our creative minds and our crafts people deserve recognition and a platform like the Loeries to display their talents.

We’ve got some things to work on but the Loeries is good at highlighting that too, and the selection of MCs will remind the industry about the power of social media. But it’s not far behind; after all, the appearance of the MC on Sunday night had at least half the industry whipping out their phone cameras to share the ‘Hoffness’.

ON-AIRMARKETING |

Compiled by Joanna Sterkowicz

The 2011 annual PromaxBDA Africa competition attracted a record-breaking 850 entries, including many first time entrants. Winners will be announced on 28 October at Johannesburg’s Sandton Convention Centre, following a conference on the latest global trends in on-air promos and channel branding. Screen Africa asked some of the speakers on the programme to reveal their secrets to a good promo.

T Bron Dean (Orijin)

Liz Dunning (Dunning Penney Jones)

Marice Tobias (Tobias Entertainment Group)

hey have to be short, sharp enough to attract your attention and ensure they engage you for the duration. Making an effective television promo is not easy.

According to Bron Dean, creative director of Johannesburg-based Orijin, the first mistake people make is that they say a promo should tell you what a movie or programme is about.

“Those sort of promos are basic statements of fact and very, very boring. A good promo tells you enough about what the programme or movie is about to tease your interest; it also entertains as content in its own right. Finally, it must have a call to action.

“The call to action is again not only ‘tune in’ information. As marketing is either of a rational or emotional ilk, so too the call to action is either rational – the expected tune in details – or emotional, a buy in to a brand attribute.”

Co-chair of Promax Europe, Liz Dunning of Dunning Penney Jones, will present a session all about international television re-brand stories. “What has made these re-brands successful is a clear brief, a well differentiated brand proposition and a great creative idea with enough budget and time to be realised,” says Dunning, who has worked in the UK and the US. Alan James of James&Wilkinson Media, a consultancy with 40 years of media experience in advertising and broadcasting in the UK, believes a promo is only good if it delivers to a sound set of robust objectives.

He continues: “Whereas most creative is subjective – we love it, hate it or it washes over us – effective creative against an established set of objectives always works. In our experience we find that very few broadcasters either have, or translate, company objectives that then get transferred to their actual creative output. Many creatives or marketers often work in the dark or from their own viewpoint as to what they should produce and who for — rather than follow a set path.”

Kurt Bradley of New Zealand’s leading broadcast creative agency, Brandspank, maintains that the best channel branding packages are arresting – you notice them.

Alan James and Jo Wilkinson (James&Wilkinson Media) 14 | SCREENAFRICA | October 2011

“Less successful ones are neither distinctive nor memorable. However, channel brand identities (idents) are played very regularly and often for a number of years. So although they need to get your attention, they also can’t be too gag-based or they can easily become repetitive.”

Brand idents need to be tonally right for the channel and position the channel appropriately, says Bradley. “From a single glance at the brand you should be able to sense what the channel is about. Everyone loves a good idea, the best on-air idents have a clever idea people can identify with and understand. Can an average viewer easily describe a brand ident to someone in a sentence?”

Marice Tobias of Tobias Entertainment Group defines a good promo as one that instantly connects with the audience and creates a note in their mind to tune in and watch. “A great promo stops viewers in their tracks and becomes a ‘water cooler’ moment – it is talked about, gets tons of hits on YouTube and elsewhere and becomes a cultural phenomenon. Advertising does it all the time. So can promos.”

Standing out from the clutter What makes a promo stand out from all the clutter in today’s multi-channel environment?

Dean points out that it can be done by remaining current with trends. “Promo makers, like all other artists, need to know the rules of their craft well in order to break them with flair to really stand out. To break these rules, we use the tools of our trade – edit, sound design, graphics, shot footage, compositing and so on in unusual and innovative ways. This doesn’t mean anything if the idea isn’t strong. ‘Whizz, bang’ special effects are just that — if they don’t have a strong, original and innovative idea behind them.”

Dunning adds: “A great creative idea which has longevity and can work in all types of media will always stand out.”

James punts simplicity of message.

“Relevance to the audience and information take-out must be the key elements of viewer awareness. However, without an

Steve Thomson and Kurt Bradley (Brandspank)

understanding of where the right audience is in the schedule and the right level of exposure to the promo, even the ‘best’ creative in the world will not stand out.”

Bradley advises promo-makers to closely evaluate the market place. “Avoid the trends and easy solutions. Be yourself and your individuality will come through.”

Tobias believes surprise is vital. “Take a risk. Shake things up.”

Current trends Dean notes that broadcast design currently leans towards a very European, clean-lined style, with 2D favoured over the traditional 3D design. “Humour is always popular but at the moment it is really standing out as a trend in the exceptional promos, as well as grand special effects epics for those lucky enough to have large budgets.”

Dunning has ascertained that television brands are trying to reflect more of their unique content in their brands. “Two good examples of this in my PromaxBDA Africa session are Discovery and Disney Junior.

There is also a discernible theme of segmentation as more television brands try to appeal to distinct audiences. For example, in Europe many channels aimed at women have launched in the past couple of years while they have existed in the US for many years with Lifetime, Oxygen, OWN, and so on.”

James believes the only trend today is competition allied to the global economic meltdown. “Everyone has to do more for less or be more effective. I believe that many broadcasters wrongly chase short term gain at the risk of long term pain by not investing in their brand activity as much as they should. There has been evidence from the advertising world that the companies that continue to spend during the economic downturn come out with a stronger market share and brand post recession than those companies that scaled back their advertising.

“From a creative viewpoint perhaps ‘a light touch’ featuring ‘lifestyle’ rather than heavy graphics is a route that grew up in Europe in the past decade and has perhaps entered other markets more recently.”

For Bradley current trends include ‘less is more’ and ‘keep it short’. “Longer form channel idents are not often welcome these days,” he comments. “The future of the broadcast industry is likely to see a decrease in the number of traditional television channels, which means channel brands, are likely to decrease in number or may merge with other brands.”

The global catchphrase de jour for almost all specs is ‘conversational’ says Tobias. “It’s also the most confounding and misinterpreted guideline.”

For more information on the speakers’ conference sessions visit www.promaxafrica.tv.

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TRACKINGTECHNOLOGY |

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This means Intensity Extreme is the perfect solution for adding video to laptop computers as it powers from the laptop battery.

The system enables users to capture directly from the HD camera’s image sensor, bypassing the video compression chip for true uncompressed video quality.

16 | SCREENAFRICA | October 2011

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Media workflow application framework Grass Valley has introduced the STRATUS STRATUS media workflow application framework, which streamlines a variety of tasks and processes for media production and management.

Through a series of fully integrated, task-specific tools, STRATUS facilitates an efficient workflow across the entire content creation and distribution chain – all from a single, intuitive graphical user interface (GUI).

STRATUS tools can be deployed for use in studios, sporting events, entertainment programmes and newsrooms. With its approach of integrated proxy, all levels and types of personnel have access to content and tasks. STRATUS tools can be laid out according to individual user and job requirements for ease of use and maximum efficiency.

Having a single application to install, learn, and maintain, means that STRATUS lowers the cost of entry and the cost of ownership, and enables users to do more with less. STRATUS systems provide simple configuration, minimal need of hardware and short training cycles.

The STRATUS Media Workflow Application Framework uses the latest version of the Grass Valley K2 Summit™ (v. 8.0) media server platform as the foundation for all media clips to be stored, shared and distributed in a fast and highly efficient way. K2 Summit server systems now make proxy files instantly available to virtually everyone on a network with proper authorisation. K2 technology also provides the management, capacity, and bandwidth necessary to perform complex production processes.

Other Grass Valley production applications, such as the EDIUS® multi-format editing package, have been tightly integrated to allow real-time edit-in-place and rendering of effects, as well as automated playback from the STRATUS application.

“The STRATUS platform is easy to learn and can be configured in a variety of ways to significantly improve efficiency, speed and flexibility,” said Charlie Dunn, executive vice president of Products for Grass Valley. “With an innovative, IT-centric design, STRATUS makes any organisation more efficient and able to adapt to rapidly changing business models. In today’s highly competitive, multi-distribution platform world, this has become critical to success.”

Mixing music at MTV Awards From an audio production perspective MTV Networks’ Remote Unit 8 mobile recording truck was at the heart of the recent MTV Video Music Awards (VMA) ceremony held in Los Angeles. Remote Unit 8 is equipped with two Lawo mc²66 digital productions consoles. Handling the main music mix on the show, the larger of the two desks has 48 main faders plus eight additional faders for the master section and is stocked with 8 DSP cards in the system’s core. Additionally, the console is setup for use with Lawo’s plug-in server.

Designed as a dedicated environment for VST-type audio processing plug-ins, the server facilitates seamless integration with the mc²66 while providing greater flexibility in the use and routing of processed signals, all while freeing the host recording platform from the system overhead typically associated with numerous plug-in processors.

Remote Unit 8’s second mc²66 console is configured with 16 main faders plus 8 additional faders plus 3 DSP cards in the system’s core. On this year’s VMAs, the smaller of the two consoles was used to mix the house band and whatever other live music was used going in and out of commercials.

MTV audio engineers Marc Repp and Browning McCollum, along with Jay Vicari and Paul Sandweiss, mixed this year’s event.

Said Repp: “The Lawo mc²66 is, without a doubt, one of the most intuitive,

mc266

user friendly mixing consoles available anywhere. This makes it easy for guest engineers, like Paul Sandweiss, to get up to speed quickly.”

In addition to its intuitive operation, the mc²66 console’s snapshot automation is a huge feature that was used extensively during the VMA Awards.

Repp continued: “We took one to two snapshots for each and every musical act on the show. This made it very quick and easy to recall the right mix settings for every change of act. Everything was recorded to multitrack, which for us, involves two 144 channel Pro Tools systems, one for redundancy. When you take the ease of operation, the snapshot automation, and Lawo’s AMBIT processing power, you have an unbeatable combination.”

Lawo’s AMBIT upmix tool is a new DSP module available on surround channels. It features algorithms such as Lawo’s auto centering function, a special front processing algorithm designed to achieve a stable front image, and Lawo’s rear processing.

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IBC |

Anyone who has visited the International Broadcast Convention (IBC) held annually in September in Amsterdam will know that around the end of day two, your feet start to ache from traipsing the passageways of the 13 exhibition halls in your endeavour to see as much as possible during this five-day event. This year I equipped myself with a pedometer to see how much walking was involved in my quest to discover what was new and exciting.

I

BC2011 was a successful event all round. A record attendance of 50 462, an increase of 4% on last year, showed a great commitment to the broadcast industry despite the fragile status of the world economy. The broadcast market saw growth in Asia, particularly China which rose 21%, while South America increased a whopping 24%. India has lured in over 100 million new TV viewers in the past eight months – impressive figures that no manufacturer could possibly turn a blind eye to.

What makes IBC exciting for me is the fusion of the latest developments on offer and the insight given into future technologies, an opportunity to look forward with the R&D departments of key role players in the industry.

The hype of stereoscopic 3D (S3D) is over; it is now just another medium offering immersive experiences as if it was always like that. It’s the depth that varies, 18 | SCREENAFRICA | October 2011

Pictures courtesy IBC

By Ian Dormer

with demos on systems that allow the viewer to set the degree of 3D to suit their own intraocular distances and therefore, level of viewing comfort. 3D camera rigs from studio cameras through to micro HD stereo rigs were hotly contested between an increasing number of suppliers. While glasses-free 3DTV sets are still a thing of the future, current 3DTV picture quality has improved dramatically.

New screen Tablet technology has introduced a new screen for content, bridging the gap between the smartphone and the TV. There is significant development of software for content generation and advertising agencies are taking this journey very seriously as the tablet boom creates a new generation of eyes and ears to advertise to. Tablet ‘apps’ for almost any device control application are increasingly common. From remote control devices through to control surfaces for audio mixing and video switching – the i-Pad revolution continues.

The Thunderbolt factor A host of new products designed for Thunderbolt-equipped computers was prevalent with many vendors vying for a slice of the pie. Thunderbolt I/O

technology gives you two channels on the same connector with 10Gbps of throughput in both directions making data transfer ultra fast and systems ultra flexible. From monitors to storage devices Thunderbolt may yet prove to be the most significant new technology in computer design in recent years.

Super Hi-Vision – again!

As always Japanese broadcaster NHK showcased its Super Hi-Vision system.

Eight times the resolution of HD, Super Hi-Vision offers incredibly crisp images.

The demonstration was impressive with live cameras broadcasting from central London and Amsterdam’s Central Station. Coupled with their 22.2 surround sound system the Super Hi-Vision experience cannot be equalled.

NHK is optimistic that they will have test transmissions for Japanese viewers terrestrially and on Ku-band satellite by 2015. They will broadcast the London Olympic Games 2012 in Super HiVision, for public display, in a coproduction with the BBC and the European Broadcasting Union (EBU).

Cameras There were plenty of cameras to drool over. An array of portable cameras offering interchangeable lenses to the

smallest of cameras with almost 1800 wide angles, camera technology has made it possible to film virtually anything on the planet and beyond. Perhaps the most significant for me was the number of high speed cameras manufactured by the traditional equipment suppliers, as opposed to scientific and industrial research groups, offering anything from 200 to 10 000 frames per second rates with unrivalled picture quality.

Acquisitions There were a few notable company acquisitions announced at IBC which caught my eye. Notably 3ality Digital, considered to be the leading innovator of the most sophisticated S3D production technology in the industry. It acquired Element Technica, a company longknown for its manufacturing expertise, accessories, and mechanical engineering of motorised S3D camera rigs.

Adobe acquired the assets of privatelyowned Iridas which includes Iridas SpeedGrade, a toolset for stereo 3D, raw processing, colour grading and finishing.

According to the Adobe announcement, with the addition of Iridas technology, Adobe Creative Suite Production Premium and Adobe Creative Suite Master Collection ‘are expected to gain a comprehensive set of tools so video editors can manipulate colour and light for any type of content, including professional film and television’.

So how far did I walk at IBC? Well, apart from accidentally resetting my pedometer twice I worked out that in the five days I was there I treaded over 90 000 footsteps equating to an average of 18km per day. And I have the blisters to prove it!

Look out for the IBC product review in the November / December issue of Screen Africa.

| CAMERAS

Post process

SA first to test new RED HDRx process

A revolutionary new way to expose video was given its first South African test on the SABC’s 2011 IRB Rugby World Cup campaign.

L

ucky Bean Media director Chris Green was tasked with helming a spot for production agency Eject Media which involved scenarios where ordinary South Africans show their support for the national rugby team, the Springboks, in interesting and creative ways.

“Our story revolved around a young girl on a bicycle transporting a rugby trophy through the South African landscape, passing through scenarios that show a growing tide of support for the Boks,” said Green. “We wanted a sense of

realism and fluidity and so chose to film as many of these scenarios as possible in a single take.”

Director of Photography (DOP) Adam Bentel had to light a scene that required an inside-outside exposure.

“The shot needed a camera to move inside a mechanic’s workshop but it had to start on the young girl riding past the workshop door in broad daylight,” explains Bentel. “As this was a single, fluid camera movement, it required two separate exposures – one for the interior and one for the exterior.”

TWO STREAMS ARE BETTER THAN ONE – Chris Green and DOP David Pienaar

With time and budget constraints, Bentel chose to explore the HDRx function on the brand new RED Epic camera system, which involves two separate video streams.

“HDRx involves setting the camera to record two separate streams of the same footage at two different exposures,” says DOP David Pienaar, the camera supplier on the project. “This allows you to blend the two exposures to get a greater exposure range – RED claims up to 18 stops – resulting in a much greater dynamic range.”

Satisfied with early tests, on the day the team pulled off the shot without having to light the interior, save for practical lights and natural light.

“We used an 8x4 silver bounce inside to create a bit of contrast on the performers and this coupled with the practical LED strips on the underside of a raised car, provided all we needed for interior light,” says Bentel. “We shot with a set of ARRI CP2 and being fairly fast lenses (T2.1), I closed to my incident reading of f5.6 (my preferred f-stop) and programmed the RED Epic’s HDRx function to record a simultaneous motion image at six stops under f5.6.”

The team was able to check results immediately by downloading the card and creating a preview blend of the two streams through the RED Cine X software’s Magic Motion, something Bentel was more than happy with. “The results were immediately visible through the blend, and we could safely ascertain that we had exposed correctly for the shot to work.”

With its offline cut locked, Eject Media took the footage to Pudding Telecine Services where Colorist Nicholas Apostoli provided the blend of the two exposures through the Baselight system.

“Using the Baselight’s ability to read the main exposure channel (A Track) and the HDRX (X Track) channel simultaneously, we were able to recover normally lost highlights and combine both in one pass,” says Apostoli of the process. “Before this, unless you had a motion control rig, it was not possible to get perfect exposure inside and out on video, utilising this lighting set up.”

The process required a simple rotoscope, which was achieved quickly and efficiently.

“Traditionally this kind of effect would then have to be done in two passes, rotoscoped and then composited in a tool like Flame. But with the RED Epic’s HDRx capability we achieved the shot without having to leave the Baselight suite.”

“This process allowed us to shoot quickly and create the sense of fluidity that the shot required, without having to spend inordinate amounts of time on lighting set-ups,” says Green.

Limitations Like any new technology HDRx does have limitations, such as shooting scenes with a lot of motion. “The X track’s lower exposure is acquired by changing the shutter angle of each exposed frame, thus exposing each frame with less motion blur, creating a crisper track,” explains Pienaar.”

However, new technology leads to new methodologies, something Pienaar and Bentel are very excited about.

“Having a crisper X track could come in handy on shots requiring effects such as keying, allowing the X Track to act as a built-in mask for the compositor, and allowing the A Track to handle a high degree of motion blur at wider shutter angles,” notes Pienaar. “The X Track can also be used to fire off stills during shooting, at an acceptable crispness for print.”

Both stress that HDRx should also not be used as a replacement for lighting, mentioning that the RED HDRx process is an extra string in the bow of a cinematographer. “HDRx shooting is something I would recommend as a creative tool when shooting for a realistic look, and when under time constraints,” comments Bentel.

“I’ve always been a fan of special effects that don’t draw attention to themselves,” adds Green. “Here we have a shot that aided the sense of realism and pacing that the edit required, yet set-up and logistical problems were virtually eliminated by a very neat technological innovation.

“It’s a tool that could greatly aid filmmakers to tell their stories.”

October 2011 | SCREENAFRICA | 19

A systems integrator is an individual or business that builds systems for broadcast, production and post-production clients by combining hardware and software products from multiple vendors.

Picture courtesy Timbre Broadcast Systems

SYSTEMSINTEGRATION |

Systems integration – a specialised approach

U

sing a systems integrator that aligns cost effective, preconfigured components and off-the-shelf software to meet key business goals is preferable to more expensive, customised implementations that may require original programming or manufacture of unique components.

Creation of these integrated systems may include designing or building a customised architecture or application, integrating it with new or existing hardware, packaged and custom software, and communications infrastructure.

Some systems integrators working in specialised areas, like installations or upgrades, may offer more customisation for specific applications.

Systems integration has traditionally been a crucial specialty and the existing hardware or software must be preserved within modern broadcasting networks.

Fortunately South Africa, with its modern broadcasting, production and post-production infrastructure, is well served on the systems integration front with a multitude of companies supplying equipment from a broad spectrum of

Mega SABC newsroom contract

Q

uestek Advanced Technologies has been awarded a multimillion rand contract to replace public broadcaster SABC’s existing newsroom system.

Says Questek’s George van Gils: “The value of this project is in excess of R50m and includes a new server based newsroom computer system and a newsroom production system. It is being installed for SABC TV, radio and 20 | SCREENAFRICA | October 2011

manufacturers.

It is common practice for a single company to supply equipment from various manufacturers to satisfy the customer’s requirements. The ability to determine the correct mix of equipment and manufacture is a highly skilled area.

Existing customers also require upgrades to systems remain abreast with technology. Suppliers are required to cater for this need and ensure that upgrades are totally compatible with the existing infrastructure for seamless integration.

For instance it is clear that file based systems are becoming the de facto means of signal storage as opposed to traditional tape formats.

Sales manager of Jasco Broadcast Solutions (formerly Spescom Media IT),

By Andy Stead

Steve Lauter confirms this. “File based is definitely an on-going trend and the spin-off from this was pretty noticeable at the recent IBC broadcast technology trade show in Amsterdam where a number of vendors offered various archiving solutions.”

Colin Wainer of Inala Broadcast, a major systems integration specialist, concurs: “I would say that signal storage in the future will be totally file based.”

Sony South Africa’s Broadcast and Professional Division supplied a fully systems integrated high definition (HD) outside broadcast (OB) van to pay-TV broadcaster M-Net SuperSport this year.

“It has just been announced that Sony was awarded the contract to supply SuperSport’s OB division with another

ON CUE EDITING – Quantel sQ Editing system

multimedia newsrooms in Johannesburg and regional stations throughout South Africa.

“These new systems provide comprehensive facilities for the production of multiple daily news bulletins in multiple languages by SABC news personnel countrywide.”

The newsroom computer system consists of a newsroom production system (including media storage,

ingest, edit and play out system); a broadcast media automation and management system; automated studio play out; ingest control; MAM for four studios; and archive to and from videotape at one of the above ingest stations.

Key components on which the production system is based include a scalable Quantel server system centred on four sQ servers operating as a single

new 28-camera HD unit, similar to the recently completed OB6 HD,” says Sony South Africa’s Gerhard Strydom.

An OB van is a prime example of the intelligent use of systems integration.

Space restrictions dictate that the correct mix of equipment is critical, and a look through any of the modern OB vans which travel the roads of South Africa confirms this.

Timbre Broadcast Systems’ Armand Claassens has also provided services for mobile OB requirements. “Malapati Productions are the kings as far as mobile OB rigs are concerned,” he says.

“We are currently running 20 Panasonic cameras in three different rigs, two of which run the Tricaster 850 Extreme, which is a complete live integrated production system with ISO recorders.”

Systems will continue to evolve, expand and upgrade and the need for systems integration specialist companies and personnel will grow.

South Africa remains abreast of world trends in this regard and offers world class product, service and support.

‘virtual’ server; Quantel sQView as the browse client; Quantel sQCut as the Cut Editor client; Omnibus OPUS/G3 media management; and Columbus News automation.

“The Quantel sQ Server environment provides a unified ingest, production and playback environment,” continues van Gils. “Material is captured on the ‘virtual server’ comprising two sQ building blocks and is immediately available for access by connected journalists, producers and Quantel workstations for viewing, selecting, editing and approving material.

The solution supports a mixture of sQ View and sQ Cut clients. Optionally sQ Edit or sQ Edit Plus workstations can be added for craft editing if desired.

Finished material is stored ready for immediate transmission or review”.

SYSTEMSINTEGRATION |

Supplying the OB industry THE INS AND OUTS of INTEGRATION – M-Net’s OB6 HD van

T

he Broadcast and Professional Division of Sony South Africa (Pty) Ltd is a major supplier of integrated broadcast solutions to the industry in southern Africa and supplies equipment to most of the broadcasters and production services in South Africa.

A big part of the equipment supply is for state of the art high definition (HD) outside broadcast (OB) vans such as the recently commissioned OB6 HD van which was handed over to pay-TV

broadcaster SuperSport in April this year.

“OB6 HD is a 28-camera full HD mobile production unit (MPU),” says Sony South Africa’s Gerhard Strydom. “It includes Sony’s renowned acquisition tools, HDC-1500R cameras,

Providing solutions

J

asco Broadcast Solutions (formerly Spescom Media IT) has been active in the South African broadcast arena for over two decades, having played a significant role in the development of the industry in the region. During this time Jasco Broadcast Solutions has garnered a reputation for excellence in the provision of solutions and systems integration.

“Technology solutions help to support programme delivery for the leading broadcast corporations in the southern African region,” says Steve Lauter, sales manager, Jasco Broadcast Solutions. “The company’s strategic alliance with world brand Avid commenced over 15 years ago, resulting in an unrivalled depth of technical knowledge and experience in the industry.

“This reputation, augmented by a long standing relationship with Sony since 1995, has established Jasco Broadcast Solutions as a major player in the southern African broadcast arena.

We also operate in Mauritius and

AN AVID RELATIONSHIP – The Jasco offices 22 | SCREENAFRICA | October 2011

the Seychelles.”

The company’s comprehensive offerings include: project management, systems integration, on-air support and workflow consultancy services. Customers are carefully guided through the various processes involved in the provision of solutions. Clients are also assisted with on-air support during the early stages of installation.

Due to the strength of its technical skills, the company provides 24/7 support to clients. Jasco Broadcast Solutions currently has in excess of 400 editing suites in operation and numerous integrated multi-user broadcast production systems, supported in the region by its highly qualified technical team.

“We have completed multiple broadcast solutions for several southern African clients,” concludes Lauter. “We were able to design, supply, implement, integrate and commission multiple functionalities across multiple brands and products to deliver a total solution in each case.”

HDC-3300R super slow motion cameras and the newly introduced HDC-P1 multi-purpose compact cameras, all with Canon lenses.

“The vehicle also includes Sony’s best of breed post-production equipment, such as the MVS-8000G video switcher and top spec video monitoring equipment, including BVM-L170 Professional Master Series reference LCD monitors.”

Recording decks include Sony PDWHD1500, XDCAM HD 422 and HDCAM VTRs. Sony’s turnkey solution to SuperSport also includes a whole range

Spot on specialisation

A

of EVS video servers and non-linear production tools, Probel video and audio routers, Axon digital glue products, Miranda multiviewers, Tektronix test and measurement equipment, VSM control, Telex RTS Communication System and Calrec Artemis audio console.

“Sony has recently been awarded the contract to supply SuperSport’s Outside Broadcast division with another new 28-camera HD OB Unit, similar to the recently completed OB6 HD,” says Strydom. “We anticipate delivery early next year.”

installed more than 2 400 studios and facilities.”

A shortlist of some of their clients include Urban Brew, VWV Group, Curious Pictures, HD in Motion, Omage, Learning Channel (SABC), Foghound Studios, Audio Arts, Sonovision Studios, Rhema TV, Rapid Blue (eight-camera HD OB), Red Cherry (10-camera HD studio), Spiritword (five-camera HD studio) and Zambia’s second broadcast channel, among many others.

good example of a major systems integration project undertaken by Timbre Broadcast Systems is the work done for Malapati Productions.

Says Timbre’s Armand Claassens: “In my opinion Malapati is the king as far as mobile outside broadcast (OB) rigs are concerned. We are currently running 20 Panasonic AG-HPX372 cameras in three different rigs, two of which are running the Tricaster 850 Extreme, which is a complete live production system with ISO recorders.

“Timbre has interfaced the cameras with full remotes over a hundred metres. We INTERFACING CAMERAS – A flyaway kit have also modified the cameras and the system to run Timbre is a supplier of various dual Tally lights and can record on the equipment manufacturers which are used cameras, as well as the Tricasters, at the in their systems integration. These same time as an ISO recorder.” include Newtek, Panasonic, Focus Providing turnkey solutions for Enhancements, Yamaha, Sennheiser, broadcasters, audio and video post Apple Mac solutions provider, Kramer, production houses, Timbre offers a fully Astroscope, Matrix Switch Corporation, equipped workshop and provides service Azden, Dynacore and Mackie. It also support down to component level. provides independent advice to ensure “We also design studios and build that clients have the most appropriate and specialised equipment to integrate cost-effective solution for their particular systems,” says Claassens. “To date we requirements. have built, designed, maintained and

FUL LY I NTEGR AT E D BR O A DC AST S OLU T I ON S

THE SMART SOLUTION • Over 30 years experience • A one-stop shop - delivering turnkey broadcast solutions from image capture to transmission • Offering specialist skills and integration expertise – support available 24 x 7 • Partner with best-of-breed global brands such as Sony and Avid • Supplied technology, skills and expertise to major national and private broadcasters in Southern Africa.

Tel: +27 11 266 1500 Technical Support: 080 000 1446 E-mail: broadcastsales@spescom.co.za www.jasco.co.za

TELEVISION | continued from page 1

M-Net turns 25

LANDMARKS – Derek Watts from Carte Blanche

The Face of Africa

The long running Egoli – Place of Gold was the country’s first locally produced daily soap. M-Net was also the first South African broadcaster to shoot a soap entirely on location, The Wild.

“Local content is extremely important to M-Net,” says M-Net’s Communications director Lani Lombard.

“In the past financial year we have commissioned more than 170 local productions for our different channels.

“M-Net continues to boost the local – and African – television industry,

providing many job opportunities. A channel such as Mzansi Magic has created new opportunities for a new generation of local directors, producers, writers, cameramen, sound crews, editors and crew.”

Other big M-Net landmarks include the launching in 1989 of M-Net SuperSport, South Africa’s first dedicated sports channel.

The first episode of the multi awardwinning investigative magazine show, Carte Blanche, which remains as big a

wishes M-Net a Happy 25th Birthday

24 | SCREENAFRICA | October 2011

draw card today as ever, was broadcast in 1998.

It was the advent of the DStv satellite bouquet (operated by MultiChoice) in 1995 that triggered the birth of a number of new channels to complement the M-Net terrestrial channel. The first of these was the dedicated movie channel, Movie Magic, now called

M-Net Movies. Channels initially contained mostly international, packaged content. In November 1999 M-Net launched the Afrikaans language channel, kykNET, a huge boost to local content production.

Lombard continues: “It’s M-Net’s mission to provide world-class entertainment to a variety of audiences across the African continent. Our channels either fall in the General Entertainment group of channels or in our more niche, Special Interest group of channels.

“We are also proud to be able to deliver channels to different language groups.

Our children’s channel, Koowee, is broadcast in both Afrikaans and Zulu and AfricaMagic Swahili is the latest addition to our bouquet of channels in Africa.”

According to Lombard, the M-Net channel remains the number one channel on DStv with the most viewers.

“KykNET, M-Net Series, M-Net Action, M-Net Movies, Channel O and Mzansi Magic are also very popular among their target audiences.”

This is just part of the M-Net success story. When founders Koos Bekker, Cobus Stofberg and Jacques van der Merwe began M-Net, working out of caravans, they surely could not have imagined that it would reach such heights.

New agencies on board

S

pecialist photographic equipment rental house Photo Hire, which caters for stills and video needs, recently became the authorised agent for a number of cutting edge products.

Zylight’s unmatched colourmixing technology and highquality construction meet the demands of location and studio professionals, who require an extremely bright and wide soft source, while offering all of the innovative features for which Zylight is renowned.

This includes fully dimmable with no colour shift, adjustable colour temperature and colour correction, Zylight unlimited colour control, integrated ZyLink wireless control, and rugged construction for years of reliable service.

RedRock Micro, the recognised leader in affordable professional-quality cinema accessories, reinvented digital filmmaking in 2008 with HDSLR cinema rigs and accessories. Today, Redrock Micro continues to lead the industry in innovation with its award-winning depth-of-field adapters, EVFs, 3D rigs, support rigs, focus controllers, and

RedRock Running Man

advanced cinema accessories. Soon to be launched is the Micro remote follow focus.

Glidetrack is among the most respected manufacturers of camera slider systems. It produces a wide range of slider products made from industrial strength selflubricating Igus bearings and tracks.

Simplicity and versatility are the characteristics of these systems, from the SD range all the way through to the HD and XD ranges.

| FILM

A virgin birth T

he new Afrikaans-language film, Saak van Geloof (A Case of Faith), hit South African cinemas in late September.

Produced by Welela Studios and distributed by Indigenous Films Saak van Geloof is the directorial debut of producer Diony Kempen (Meisie, Jakhalsdans) and stars Robbie Wessels (Poena Is Koning, Bakgat!), gospel singer Riana Nel, Niekie van den Berg and Michael Brunner.

Andrew Worsdale is the associate producer on Saak van Geloof, which is Welela Studios’ third feature film.

The film tells the story of a young girl who falls pregnant and proclaims that she is a virgin. Kempen co-wrote the screenplay with Jaco Botha who wanted to pose the question of what a community would say if there was another virgin birth two thousands years after the birth of Jesus.

According to Kempen, the story is a faith-based tale that originates from the Boer War with themes of love and

acceptance.

Worsdale explains how the film came about: “Jaco’s idea of what would happen in today’s world if there was a Virgin Mary in a small town made for a fantastic ‘what if?’ premise for an intimate, realistically handled story.”

Some people might consider the film to be blasphemous but Kempen stresses that this is not the case. “Both the community and church congregation of Prince Albert, where the film was shot, expressed concern about what we were shooting. They were worried about the message the movie would send out. The cast and crew met with the church elders and told them the story of the film. They accepted it and were put at ease.

“I do not think the film is blasphemous at all. It asks questions about miracles and the way we look for guidance in our lives.”

Worsdale elaborates: “Dominee Briers was open-minded and asked the question: ‘If the Virgin Mary was alive today, would we believe her?’ The film also asks other

Suppli

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of

st

questions and takes a stand on love and forgiveness. It is about family values.

There are many parents who don’t accept their children and I hope they will learn from the message of the film.”

Saak van Geloof was shot on a low budget over two weeks. Kempen explains that this was a huge challenge. “We were also unlucky with the weather – the wind howled and some exteriors had to be moved inside.”

Worsdale comments that the actual process from development through to production was relatively quick. “Diony is

a very driven producer / director; when he sets his sights on something he just goes for it. The film was privately funded and made use of the the Department of Trade and Industry rebate.”

Saak van Geloof was shot on a Sony HD PDW700. “I wanted to keep it simple stylistically. Our aim was to have the action unfold within the frame. The landscapes and town’s beauty made it much easier to get lovely shots.

As it was my first feature I wanted to make sure I told the story and come in on budget.” – Karen van Sckalkwyk

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MIRACLE QUESTION – Robbie Wessels en Riana Nel in a scene from Saak van Geloof

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www.questekadvanced.co.za October 2011 | SCREENAFRICA | 25

FILM |

Projecting the future

By Karen van Schalkwyk

There is a concern among South African independent filmmakers that the number of local films released on circuit will decrease dramatically because more and more 3D studio films are being screened, and many digital projectors are already converted to 3D.

D

anie Bester of the Film Factory (Bakgat! franchise) maintains that the amount of digital screens available for South African content has dropped from 160 a year ago to about 60 today.

“The screens are in fact still digital but when the exhibitors have to choose between a 3D film and a local film, we are out of the cinemas faster than the spin of a shutter,” states Bester.

Mark Harris of Nu Metro Exhibition says that this is not the case: “There is a difference between the E-Cinema digital screens and the D-Cinema digital screens that we have on our circuit. Initially we invested in the E-Cinema solution which is primarily for on screen advertising as well as selected full length features, including local films. None of these screens will ever be converted to 3D screens as they are not Digital Cinema Initiatives (DCI) compliant. In other words major Hollywood studio content cannot play off this system.

“The D-Cinema screens are all new investments over the past three years and are primarily used for 3D content on our circuit.”

Screen Africa contacted Ster-Kinekor Pictures for its perspective but did not receive a response prior to going to press.

Stuart Forrest of Cape Town-based Triggerfish Animation (Zambezia) believes the 3D market for animation titles is huge. “For animation producers, this is good news. Animation looks much better in 3D, because you have precise control of the 3D environment and you can tweak it until the experience is perfect.

“I think that eventually the premium on 3D tickets will narrow if not completely disappear and it will be the consumer’s choice to view in 3D or 2D, at little extra cost.”

According to Bester a film’s revenue potential is directly linked to its performance at the cinema. “The more one makes at the box office, the more DVDs you sell and the more broadcasters 26 | SCREENAFRICA | October 2011

pay for the property. Obviously with a very short and limited cinema run further revenue streams are negatively affected.”

To print or not to print Asked whether it is important for filmmakers to create film (celluloid) prints instead of, or in addition to, digital prints, Harris responds: “This is a question that should be directed at distributors that specialise in ascertaining how many prints and which format are best for a specific title. As an exhibitor we are presented with various films that we either decide to screen or not and on how many screens. This is done in consultation with the distributor and depends on the film’s commercial viability.

“For local films the trend is simple: they either go completely digital (using the E-Cinema solution) or totally on 35mm. Very few titles have been a combination of both.”

A film only stays on circuit as long as it does business. It has to generate sufficient revenue so it is not taken off to accommodate new releases at a specific cinema if it is one of the lower earning titles of the week.

Bester provides the perspective of what a film needs to earn on circuit to make money for the producers and if film prints are an option. “The producer has to make R1m at the box office to pay back marketing and encoding expenses (P&A). To release on film adds another R1m to the tab that has to be recouped at the box office before you even start to pay back the film’s initial investors.

“There are obviously some advantages to releasing on film, like a wider release and a longer play window, but in the end

it comes down to a bigger budget, bigger risk and an increase in the barrier to entry for younger filmmakers.”

Reduced costs Forrest maintains that the cost of distribution is always a concern.

“However, digital cinema goes a long way to bringing the price down. 3D movies are always digital but the downside is that colour and brightness varies greatly from cinema to cinema. Producers have many challenges when it comes to distribution, exhibition and making their money back.”

Harris points out that the digital revolution has made film distribution more flexible. There are other big advantages for exhibitors such as the ability to show blockbuster movies on multiple screens within a cinema complex; ease of operation; more user friendly technology; the ability to add the latest 3D technology on the digital projectors (D-Cinema only); improved picture quality; the ability to show alternative content from sports, films, education, events, corporate and film festivals; more efficient methods of delivering content to cinemas; back catalogue screenings; and cost

effective advertising.

“Digital cinema is experiencing considerable growth and has also been responsible for the rebirth of 3D content, offering a more realistic and immersive experience because of the latest technology and high resolution of D-Cinema digital projectors. These changes may render our current 35mm equipment obsolete in the future. The opportunities of digital projection are many,” he comments.

Forrest says that it is inevitable that digital cinemas will become more prevalent. “This will make wider release for shorter runs more feasible. It will also give cinemas more flexibility to change shows from week to week according to demand without being hampered by print costs.

Where does Bester see the industry in the next five years? “I am very excited about video on demand (VOD) and Internet streaming. The advantage for the producer is that every view translates to revenue. Internet streaming is not yet an option in South Africa but Australia, the US, Canada, New Zealand and the UK, with their large expat populations, are new and large unexplored markets for us.”

| FILM The National Film and Video Foundation of South Africa’s (NFVF) Sediba programme for advanced and emerging producers aims to help them package projects for local and international markets.

U

K-based Angus Finney, an experienced international film industry executive, consultant and author is the main facilitator for the Sediba Programme.

Finney runs London’s premier film finance market, PFM, which has raised more than $120m towards independent film production over the past decade.

“The aim of the Sediba programme is to develop well-rounded producers who understand the business of filmmaking from packaging to financing to distribution,” says Finney.

“South Africa has a strong history of servicing international productions, which has helped develop some experienced line producers and service-orientated film and television companies. However, Sediba courses are strategically aimed at developing fully-fledged film producers: filmmakers who understand the development process, the challenges of

A guide to producing putting a package together (including script, appropriate budget, director and cast) and the difference between local language and culturally specific South African content, next to larger international co-productions.”

Finney elaborates that the programme also spends a considerable amount of time on financing, recoupment, business planning, distribution and marketing aspects of the industry. “We also encourage each producer to do their own personal plan prior to any business planning. This ensures they focus on their immediate needs, financial aims and career prospects. We aim to nurture a cohort of producers that can take the South African industry to the next level.”

On raising film finance in the current precarious global economy, Finney says: “Raising development finance is always difficult. It’s high risk and often results in considerable sunken costs and time expended with no production payoff. But South Africa has some very favourable aspects when it comes to production finance – in particular your tax structures and the NFVF’s growing status as a key strategic partner. The key is to price each project correctly, with a firm eye on

the market.”

He adds: “The main gap in skills and knowledge lies less in practical production and more in what I call ‘financial producer’ skills, areas such as international sales, finance models, recoupment charting, business-to-business marketing, and so on. That said, creative management skills are paramount, so we focus on how to handle writers and directors and how to support creative talent. These skills are critical if a producer is to lead a team and command the respect of the other partners.”

It is vital that emerging producers have passion and determination. “They also need to have the ability to listen, forge links and partnerships with people brighter and more experienced than they, and keep going when it seems impossible,” says Finney.

He maintains that the business of financing films is not set in stone. “The best way to finance films is per project and with a defined set of specific targets.

Every film is unique. However, any serious South African producer needs to understand the local and international markets. In particular, a proper knowledge of the international terms of

LOCAL INDUSTRY ALIVE – Angus Finney

co-production – and countries that South Africa has co-production treaties with – is essential for films of more than $3m to $4m.”

Finney believes that the South African industry is in a good state. “We should be encouraged that the local industry is alive and that audiences are finding indigenous films appealing beyond the Leon Schuster slapstick comedies.

“The key is how to develop local and township audiences and this requires excellent local films that are compelling, resonate and say something about the communities and people living across the nation.” – Karen van Schalkwyk

October 2011 | SCREENAFRICA | 27

3DCAMERAS |

The return of the 3D as a format for motion picture is not new – it has existed since the 1950s and enjoyed a resurgence in the 1980s and 1990s, driven by the large format IMAX theatres and Disney themed venues. In 2010 the world began to experience the new wave of stereoscopic 3D, largely kick-started by James Cameron’s Avatar. Last year the format also started to infiltrate the American and European television market, driven initially by sports coverage and wildlife programming. South Africa is yet to have 3DTV but 3D films screen regularly at our cinemas and we are seeing 3D commercials on the circuit. South African suppliers, as shown on the next three pages, are fully geared up to service 3D shoots.

Seriously 3D

W

Panasonic AG-3DP1

Covering the Olympics in 3D

P

anasonic Broadcast recently entered into a deal to broadcast the 2012 Olympic Games, which commence in London in July next year, live in stereoscopic 3D. Although Panasonic unveiled its HDC-Z10000 3D video camera with image stabilisation at a news conference ahead of the Internationale Funkausstellung (IFA) trade show in Berlin recently, the camera to be used for the Olympics is the AG-3DP1.

“Panasonic has agreed to supply Olympic Broadcast Services with cameras, screens and production teams to help a pool of TV companies broadcast the 2012 games live,” says Johannesburgbased Sean Loeve of Panasonic Broadcast Systems.

The AG-3DP1 is equipped with dual lenses and two full 1920 x 1080 two megapixel 3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p in AVC-Intra 10 Bit 4:2:2 full pixel 1920x1080.

“Left and right eye channel signals are separately recorded onto P2 cards. Focus, 28 | SCREENAFRICA | October 2011

zoom and iris adjustments are synchronised accurately for the left and right lenses. The AG-3DP1 is equipped with Genlock and TC In/Out for synchronisation of multiple cameras,” explains Loeve.

Panasonic also released its new AV-HS410 Live Switcher at IBC this year with substantially improved user interface and excellent expandability such as stereo 3D support 177.8 mm colour LCD panel, new memory preview function and improved multi-view display to provide enhanced ease-of-use.

This all-in-one 1ME switcher features excellent expandability for 3D and SDK applications.

Panasonic Corporation is an Official Worldwide Olympic Partner in the Audio and Visual Equipment category for the International Olympic Committee (IOC) and Olympic Broadcasting Services (OBS). It will provide comprehensive support for the first 3D broadcast of the Games, enabling viewers to experience the full excitement of 3D in their living rooms with a new level of immediacy.

hile 3D television broadcasts may not be a reality in South Africa in the immediate future, leading provider of digital and HD broadcast solutions in Africa, Visual Impact, is extremely active in the 3D rental market. It has several local and international projects either completed, current or on the cards.

Visual Impact’s Marius van Straaten elaborates: “Some of the 3D projects we have serviced thus far include Earth Flight, a JDP Bristol documentary. This wildlife documentary is produced by award winning JDP Productions (UK).

We also did the recent world first – the Parlotones live 3D concert – as well as a shoot for South African Tourism with production company Wild Africa for the French market.

“At the moment we are currently testing for several 3D commercials for release on the local cinema circuit, the first one being Mercedes for Frieze Films.

We are also conducting tests for a live show entitled Mixed Martial Arts.”

Visual Impact provides extensive training in the 3D medium. “We trained

Pro Ultra 3D Rig

at the recent Mediatech Africa exhibition in Johannesburg and did a 3D workshop that was fully booked. Visual Impact Academy ran a one-day 3D course in September and we have a THX colour science course coming up on 18 and 19 October 2011, where we will host Bob Cadwell and Michael Chinnery from THX Cine Space. These guys are colour scientists and famous in their fields,” explains Van Straaten.

In addition Visual Impact provides support and post-production tools to facilitate 3D shoots. Van Straaten continues: “We use the Pro Ultra 3D rig with various different cameras and finishing tools, including Da Vinci Resolve and Assimilate Scratch Lab, as well as the Visual Impact FCPO plug in (used on set to line up shots).”

As to the future of 3D in South Africa, Van Straaten is bullish: “I believe it will increase alongside international trends.

South Africa has many 3D cinemas and 3DTV sets are in the market already so 3D TV broadcasts will follow soon, I am certain. The recent IBC broadcast technology show in Amsterdam had a proliferation of 3D kit on display.”

| 3DCAMERAS

third dimension 3D all the way

S

ony provides multiple solutions for 3D origination ranging from consumer products to high-end production. Most of Sony’s professional cameras are sold as individual units and are configured according to the production requirement, so while they may not have been sold as 3D specific products they are used in many 3D applications.

“The products may be defined under various separate headings,” explains senior brand manager Andrew Fraser. “On the consumer front there is a small web video 3D camera, the MHS-FS3K, which is aptly called ‘Bloggie’. There is also a consumer Handycam – the HDR-TD10E.” On the professional 3D acquisition front Sony offers the electronic news gathering (ENG) all-in-one camcorder, the HXR-NX3D1, which uses AVC-HD codec. Recently announced and available in November will be the PMW-TD300 – a shoulder mount camera using EX codec.

“For high end production purposes the most common methodology is to integrate two cameras into a single 3D rig which is constructed and supplied by third parties

such as Pace and 3ality. Almost all of Sony’s cameras have been used in this type of two camera set-up, from the CineAlta models down to the PMWEX3.”

Sony cameras have been used extensively for events filmed in 3D such as the Wimbledon Tennis Championship, UEFA Champion’s League football final, the recent U2 3D movie, the 2010 FIFA World Cup and multiple Discovery Channel natural history series.

ESPN are partners with Sony and a significant amount of their 3D sports content in the USA is acquired on Sony equipment.

“From a local perspective there is no real technical hurdle for pay-TV operator MultiChoice to broadcast a SxS (Side by Side) 3D signal on the DStv platform,” concludes Fraser, “but to date I am not aware of any such plans.”

Sony HDR-TD10

Sony HXR-NX3D1

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October 2011 | SCREENAFRICA | 29

Photos by Kobus Loubser

3DCAMERAS |

New rig for wilder 3D

By Linda Krige

A

team from Aquavision recently put the new Genus Hurricane 3D rig to the test at the Ann van Dyk Cheetah Centre at De Wildt near Hartebeespoort.

The Hurricane rig is reportedly cheaper and more mobile than most other rigs on the market.

According to Jason Sproat from Pro-Sales they displayed the rig on their stand at Mediatech Africa in July, where it caught the eye of Aquavision CEO

Peter Lamberti.

“Today’s shoot is in one sense to test out the rig, but also to make a five minute promo video for the cheetah centre which will be used to showcase the level and quality of Peter’s 3D work to the US 3D television channel 3net,” explained Sproat.

Lamberti noted that the rig was built by professional cameraman Alister Chapman. “He knows how to build a rig that can be set up quickly and is portable and durable. It’s also very lightweight and

excess baggage.”

During the morning’s shoot, the rig was assembled and moved easily to different locations, and stored away quickly when it started to rain.

Because the rig is not motorised, it is cheaper than others. “It makes 3D pretty affordable, and shows that cost doesn’t have to be prohibitive,” explained Lamberti.

“It’s very manual, which we really like in wildlife because there is less chance of something going wrong, and very often we find it quicker. With some of the more expensive rigs, when you get dirt behind the mirror you literally have to take the whole thing apart – on this rig you can take out a side panel and reach the mirror easily.”

Sproat explained that the cameras can be set up on the rig in an over-under position, or side by side.

The mirror is also kept small, which holds other benefits. “It keeps the whole rig smaller, but it also picks up less dust, less vibration, and it is a smaller area CHEATING HIGH COSTS – The Genus Hurricane 3D rig in action at the Ann van Dyk Cheetah Centre that can catch the wind,” noted Lamberti.

“It’s simple, we just like the packs into one pelican case, which makes way it works,” he added. traveling very easy because you have less

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30 | SCREENAFRICA | October 2011

Report by Joanna Sterkowicz

| BROADCAST

Who will win the (OTT) race?

The content provision business has turned into a mad scramble with traditional broadcasters, pay-TV operators, Internet companies, mobile phone networks and telcos all vying to reach fragmenting audiences across multiple platforms.

O

ver-the-Top (OTT) TV, where consumers view content that is available on the Internet and delivered via a broadband connection, was a term frequently mentioned during a session at the recent International Broadcast Convention (IBC) in Amsterdam on how to target consumers.

Said CEO of Vimond Video Solutions, UK, Helge Hoibraaten: “I believe that the OTT TV space will be the most significant form of TV distribution in the future. Broadband capacity is growing and the cost of distribution falling. OTT TV penetration is driven by the consumer’s desire to be independent of TV schedules. My six-year-old old son is growing up in an era when you can have any content any time.

“At the moment many services in the OTT TV space are merely replacements for video recorders, like catch-up TV services for example, and are far from creating exciting experiences for the user. In addition there is a lack of suitable content and no clear business model which defines the new value chain and who is in it.

“As to who will take the lead in the OTT TV space – broadcasters already have viewers’ attention which is a big advantage. Broadcasters are also in a position to define what is considered to be good content and that’s a healthy space to be in. Furthermore, they know how to engage a mass audience.

I describe broadcasters as the ‘sailpowered’ industry at the moment but other players are coming up with diesel and steam. You want the audience to move to you and not your competitors.

All the big changes in the broadcasting landscape of the past 10 years have been technology driven.”

Anthony Rose of Zeebox, UK, described OTT TV as ‘taking last night’s TV and sticking it on the Intenet’.

“The current perception is that broadcasters are reliable and Internet is a bit dodgy because of buffering issues, but that is changing. I believe that exciting new things should be introduced to OTT TV to make the viewer experience more interactive, like dual screens. Also, you need to drive traffic to your website,” commented Rose.

Survival of the biggest Group digital officer of LOVEFiLM, UK, Lesley

MacKenzie

maintained that only the big players — incumbents or new players — will win in the new broadcasting

landscape.

“I think all broadcasters should get into OTT TV and they need to do it quickly. LOVEFiLM is not just a subscription service but transactional and rental as well. We’re in the UK and Germany at the moment on multiple devices and are aggressively expanding with more content and platforms.”

MacKenzie stressed that the power of the brand should not be underestimated. “Marketing is very important and you need strong marketing roots. Because big brands like Amazon already reach their audiences they can market their new services directly.

“Content remains king and is the biggest barrier to entry to any new

player. It’s expensive to buy content as there are so many players, plus content requires distribution windows.

Content providers need a compelling offering on several platforms that’s easy to access.”

Statistics

Paul Tarplee of TwoFour Digital,

UK quoted some interesting statistics collated by UK regulator OFCOM. Thirty-five percent of adults in the UK use Internet to watch catch-up TV; 74% of homes have wired broadband; and 93% of homes are attached to a set top box (STB).

Tarplee continued: “I have five kids ranging from seven to 17 and a whole range of devices and games consoles in the house. Kids switch from one device to another with little loyalty. My kids have TV in their rooms yet they plug in their iPhones to watch content.

“Connected TV, where Internet and Web 2.0 features are integrated into TV sets, is in its infancy. But it raises the question – when we are in our living rooms, are we going to switch on our connected TV or are we just going to use a set top box (STB)? Is the TV still going to be the primary source of content or will it be the STB? Broadcasters need to find ways to live with the chaos caused by new media platforms.”

On the mobile front Steve McCaffrey of Motorola Mobility stressed that consumers are very discerning. “You have to take note of their desires and demands. Content has to be

contextually relevant – it has to be what consumers want to watch.

Mobile phone operators must ask what is the personalised device on which these consumers watch content? When and where is that content watched?

“I’m a firm believer in OTT TV and I think mobile operators should embrace it. The big problem for everyone is how to give their content a common look and feel once it is aggregated. There needs to be some gateway into the home and not necessarily a STB. If you look at the multiscreen environment, moving content across more screens creates problems.”

Motorola was recently acquired by Google for $12.5bn, a subject on which McCaffrey refused to comment.

The medium is the message* Hoibraaten noted that when he worked at TV2 in Norway, he and his team struggled for nine years to raise the profit from the broadcaster’s OTT service to 5%. “Now, in the past two years, it has grown from 5% to 10%.

The way we distribute the message is the message. You have to create a thrilling user experience.”

Rose concluded the session by saying that the Internet survives by chaos and the survival of the fittest.

“No-one has the answer – you just have to keep trying new things.” *A phrase coined by Marshall McLuhan in his book Understanding Media: The Extensions of Man, published in 1964.

October 2011 | SCREENAFRICA | 31

Report by Joanna Sterkowicz

Photo courtesy IBC

BROADCAST |

LOOKING into THE crystal BALL – The discussion panel at IBC

Each year in September at the International Broadcast Convention (IBC) held in Amsterdam at least one conference session is devoted to the future of broadcasting.

How will traditional broadcasting survive in the face of the new mobile and Internet delivery platforms?

N

o-one will ever know exactly what the future holds for traditional broadcasters but there were two opposing views at the IBC2011 session – broadcasters are completely under threat by the new digital platforms versus new ways to deliver content present exciting new opportunities for broadcasters.

Not surprising to hear then that the ‘grand-daddy of public broadcasters’, the BBC, is wholeheartedly and creatively embracing the new digital delivery platforms.

“We see the digital revolution as a world of opportunities,” said John Smith, CEO of BBC Worldwide, the commercial arm of the BBC that does business in over 200 countries. “Our strategy is to be everywhere – in every country and on every platform. But because technology changes at such a rapid pace we have to consistently upgrade our infrastructure.

“Similarly the BBC has to constantly upgrade its portfolio. For instance, our groundbreaking 1999 series, Walking with Dinosaurs, is currently being developed into a 3D movie together with the Cameron / PACE Group. This will be the world’s first 3D dinosaur movie.”

Smith stressed that great content remains at the heart of the BBC’s 32 | SCREENAFRICA | October 2011

business model. “Great content will always be king, no matter how many platforms you deliver to and regardless of the popularity of user generated content (UGC).

“We believe in building strong brands around our most popular content. In fact, today BBC Worldwide operates more like a brand manager than a broadcaster. We create physical and virtual products to help people enjoy our brands to the fullest.”

The BBC has had great success in marketing brands like Top Gear, Dr Who and Dancing With the Stars through social media. There have been more than 800 million views on the BBC’s YouTube channel. Top Gear alone has 14 million Facebook fans who download legitimate clips of the show from the site. To date 24 million BBC apps have been downloaded worldwide. In 2010 Dr Who was the third most popular download on iTunes.

Smith’s advice to traditional broadcasters? “Be brave, imaginative and promiscuous — get into bed with as many partners as possible to try new things. You won’t know up front whether new ventures will work so you have to be prepared to take risks. Don’t let anything in the new technological world stop you.

Find astonishing new ways to get your content out to viewers.”

The flipside Luke Johnson of Risk Capital Partners and formerly of Channel 4 forecasted doom and gloom for traditional broadcasters.

“Traditional linear TV is under serious threat. It’s delivering worse value than ever before so people are rebelling against it. Globally the number of viewers per individual channel is declining.

Advertisers expect more than they’re getting. Traditional TV in the corner of the lounge will soon be ancient history,” said Johnson.

He predicted that long form content won’t disappear but questioned why broadcasters always claim that commissioning programmes is hugely complex and takes years to master.

“Commissioning is a straightforward process and content creation is a great business,” he stated.

Taking a few obvious digs Johnson said that doing business with the BBC at top level is all about politics. “The BBC is the most powerful institution in the UK so as a public broadcaster it is unassailable. I think that soon the culture of lifetime jobs at the BBC is going to disappear.

“My advice to anyone currently working for a broadcaster is to leave and start their own business,” concluded Johnson.

Hyper-connected world William H Roedy, former chairman and chief executive, MTV Networks International, UK, expressed optimism about the future of broadcasting.

“In the US traditional TV is a $160bn

business so there are a lot of people protecting that industry. It’s true that there are some dangerous winds in the air but I don’t see TV going down the drain like newspapers and the music industry.

However, it’s advisable to be cautious as the new technology is certainly very disruptive. I think it’s essential to have audience ratings (ARs) for video on demand (VOD) and other new media platforms.

“We’re no longer in the connected world; we’re in the hyper-connected world. The customer is king; he wants rich content of the highest possible quality on all devices, on demand and with an easy interface at higher broadband speeds,” noted Roedy.

Now retired, Roedy conceded that he’d made many mistakes in his career.

“Mistakes are good because you learn from them. The first of 10 things I’ve learnt from my mistakes is to go global because the world is multi-polar.

“Secondly go local — respect and reflect local cultures. You want to export out, not import in. The third lesson is to be adaptable as the speed of change is hyper. Four – break the rules, think out of the box, take risks and don’t be afraid.”

The remaining lessons are: never accept no for an answer; surround yourself with the best people (local and smart); always do things with a passion; travel and meet face to face rather than do Internet meetings; create a great work environment because happy people means productivity; and lastly, apply and learn from all experiences.

In closing Roedy stressed the importance of broadcasters undertaking corporate social responsibility programmes.

A maze of music and images

| MUSICVIDEO

Liquid Gate Studios was recently tasked to create a music video for Afrikaans rock brand Sonsteek’s latest single, Kan Ek So Leef?

B

asing his visual translation around the lyrics of Kan Ek So Leef? (Can I Live Like This?) director, cinematographer and editor Kobus Swart wanted to create a powerful rock music video ‘with movie-like flare’ that would remain true to the Sonsteek brand.

“Liquid Gate had a long-standing relationship with Sonsteek even before they were signed by Universal Music,” says Swart. “We’ve been involved in all of their music videos as well as a strategic PR brand spot with one of their instrumental preludes on the debut album, Ons Ideale (Our Ideals).

“They are incredibly talented musicians and give us lots of creative licence in the music videos. We have created a dark cinematic theme for the Sonsteek brand, illustrating their imagery with low key lighting.

“I always maintain the identity of the band’s dark monochromatic approach to storytelling in all the music videos we produce for them. It also has to fit the hard rock style of their music.”

Swarts’ concept for Kan Ek So Leef? portrays the analogy that everyone at some point feels lost in their own lives.

Swart continues: “Whether it’s due to self-destructive tendencies, poor decision making or a demanding society that punts false lifestyles, we feel trapped in our own surroundings and circumstances.

This music video is a reflection of the maze that society imposes on us.

“There is a fantasy map of a castle and its maze in the video with the storyline of a young girl who has to find her way back home after she found herself lost just living her life. The girl’s grandfather gives her a coin which is the key with which to reach her origin – the centre of life’s maze.”

When asked what the budget was, Swart responds: “A music video has a budget? Generally budgets for local music videos are either non-existent or shockingly cheapo. We had to beg, borrow and steal to make this video work.”

Most of the video was shot on the Canon 5D Mark II, with slow motion sequences on the Canon 7D at 50fps.

Aerial footage was filmed on the Canon 550D. The shoot had to be done in two parts – the band scenes were shot in one evening and the character scenes on another.

As a location Swart chose Chartwell Castle & Guest House in Johannesburg, after a friend had told him about the maze at the venue. This is the biggest hedgerow maze in the southern hemisphere and the third largest in the world, with over 900 conifer trees covering 6 000 square metres.

“We used a combination of existing location props and sourced scene specific ones under the guidance of talented art director Mia van Aswegen. The coin featured in the video is an actual collector’s Inca coin dating back to the 18th century. On the wardrobe side stylist Storm Witney made the dress for the ‘grown-up’ girl character,” notes Swart.

Post-production was done on Liquid Gate’s own Final Cut Pro. Swart’s brother Dawie handled all the visual effects in Apple Motion and Adobe After Effects.

Nate’s Audio Visual generously sponsored all the production and lighting gear and accessories.

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www.photohire.co.za October 2011 | SCREENAFRICA | 33

DOCUMENTARY |

Reports by Linda Krigeby Linda Krige

Documentaries to change the world NGOs, foundations, philanthropists, brands and media turned out in droves to support South Africa’s inaugural Good Pitch², an initiative of the Channel 4 BRITDOC Foundation and Sundance Institute Documentary Film Programme, which aims to build partnerships around documentary projects.

T

he first Good Pitch to take place outside the UK or US was held at Atlas Studios in Johannesburg in September.

Good Pitch outreach director Anita Khanna says she expected it to be much more difficult to explain the concept to people.

“The films are selected on the basis of great stories, but also because they have the potential to support work around today’s big social issues. Classical distribution models are not working for the hard hitting documentary that aims to change the world, so when we heard about the Good Pitch model, we realised that we could really do something with it here,” says Khanna.

Creative partnerships She adds that Good Pitch fits in perfectly with the biennial People to People International Documentary Conference and the annual Tri Continental Human Rights Film Festival, which took place simultaneously.

“People seemed to be really engaged with the process and lots of partnerships were formed on the day. It’s an invitation only event and most of the participants are not from the film industry. The whole day is designed to get people to think creatively about getting films made and 34 | SCREENAFRICA | October 2011

distributed,” notes Khanna.

“We’ve always believed that social justice films can support social change.

That’s their role. They have to entertain and move people, to hold the audience, but they also have the ability to make people question and to ask: ‘What can I do about this?’ Even if it’s something small – like offering to show the finished film to a room full of people – it counts.

Filmmakers want their films to be seen and used, not shown on TV once and at festivals only to be forgotten. This way these films get seen by more people and have a much longer life.”

Grassroots One of the highlights for Khanna was seeing so many individuals in the room, representing large and small organisations — all interested in using film in their work.

“I think the participants around each table gave an enormous amount to the filmmakers. These are people often working at the cutting edge of the issues being raised in the films and their expertise is invaluable. I liked the fact that we included lots of grassroots organisations and that they taught us what they need in terms of how they can use doccies to support their work – including the need for films in local

languages or with subtitles for rural areas.

Many really important doccies don’t get to the people that matter because they can’t access them. We need to think about that if we want our films to make a difference.”

Khanna was overwhelmed by the response on the day, and says they’ve had lots of positive feedback.

“Participants felt generally excited about the concept and the ethos, and many participants were impressed by the high quality of the pitches and excited by the potential of these films in production to be beautiful and powerful documentaries. Lots of networking took place and the filmmakers now have a lot of work to do following up on the some of the offers for meetings or for outreach work. In a couple of cases strong offers were made by leading organisations who intend to use the films in their work.

“Some funding was raised on the day and negotiations about further funding are ongoing. The filmmakers are in a stronger position to speak to potential partners and leverage resources for their films.”

Monitoring results Khanna will be monitoring the effects and concrete outcomes of Good Pitch over the next year.

“Five of the doccies are in production, so seeing how support was raised to get the films finished will be key. I will also track how the films are used in campaigns, not just looking at how many people see the films and where, but also at whether they made a difference. Did they raise awareness? Did they support a campaign or lead to a change in policy? It’s going to be difficult to measure but I think we must try if we want to promote this as a really effective model.”

Another Good Pitch event is in the pipeline, while eastern and west Africa are looking at holding their own Good Pitches.

“Participants from those regions from the Ford Foundation, a key supporter of Good Pitch here and the original Good Pitch in the US and UK, were very excited about what they saw and want to give filmmakers in their regions the opportunity to form partnerships with local organisations by holding local events.

“In terms of what we do, we’re thinking through our call for next year and how we can get many more applications from southern African filmmakers so we can make it a regional event. And quite frankly, I can’t wait to do it again,” she adds.

Seven documentary projects with strong social justice messages were pitched to an assembly of over 200 participants at Good Pitch² at Atlas Studios in Johannesburg, after which representatives from the selected organisations responded on how they could either help the project or use it as part of their work.

| DOCUMENTARY

Pooling resources at Good Pitch² © iris dawn parker

S

etting the scene at Good Pitch² chief executive of the Channel 4 BRITDOC Foundation Jess Search said that everyone gathered at Atlas Studios in Johannesburg for the event needs each other.

“Filmmakers need partners in civil society and organisations need powerful documentaries to help them spread their messages. It’s about pooling resources,” she noted.

Volunteerism The first project pitched to the audience was The Dawn of a New Day by Ryley Grunenwald of Marie-Vérité Films. The documentary, which premiered at the recent Durban International Film Festival, focuses on access to healthcare and volunteerism.

According to Grunenwald she was at Good Pitch² to find partners and funding to start an outreach programme to mobilise youth for volunteerism.

Frank Meintjies, who represented Mandela Day, promised to keep in touch with regard to a partnership. “It’s always a challenge to explain to people what to do and how to get involved. There’s a number of ways that this film can be utilised,” said Meintjies.

Sustainable conservation Director Mike Hutchinson and producer Sharon Farr’s Guardian of Uganda’s Gentle Giants is a documentary that looks at Uganda’s first appointed veterinary officer Dr Gladys Kalema-Zikusoka as she tries to protect Uganda’s mountain gorillas.

“It’s a character-driven piece that looks at a sustainable conservation model,” said Farr. “We’re looking for production funding, as well as partners who will be able to use the film. We hope her work can be applicable all over the world, and her story needs to be told.”

Dominique Young from Al Jazeera was interested in the story. “There are a number of things we can do, of which the most obvious is providing co-production funding. The film would have to be cut shorter to fit Al Jazeera slot length, but I think there is a huge audience that would be really interested in this.”

Education Ntsika, by director / producer Alette Schoon and producer Johanna Mavhunga, is a film about a white, female

principal who moves from a privileged Grahamstown school to a township school.

Mavhunga said the documentary will follow the principal’s journey, and viewers will meet the learners and their parents.

“Whether she fails or succeeds, we hope it opens up dialogue and shines a light on why so few people in South Africa are going to university.”

While many pledged support for the project, Media Monitoring Africa’s William Bird commented that Ntsika was the kind of thing that should be viewed on South African screens. “One issue with the way our education system is portrayed in the media is that everyone knows it’s a disaster, but no-one unpacks why it is so.”

He promised to use the MMA’s good relationships with the South African media to get the right publicity for the project.

Prisoner rehabilitation Devil’s Lair by director Riaan Hendricks and producer Neil Brandt exposes on the challenges convicts face when they are released from jail, and the lack of prisoner rehabilitation. Hendricks grew up with gang leader and ex-convict Bryan, which gives him unique access to tell the story.

“Although they are criminals, we fail these people. They need to be

rehabilitated. I need to find people who may have been in jail and were rehabilitated in some way. I need to create heroes,” said Hendricks.

Nicki Naylor from the Ford Foundation of South Africa was really moved watching the video clip from Devil’s Lair because she grew up on the Cape Flats.

“It’s hard to find funding for a project like this, because donors don’t find it a sexy subject, but this film is important because it’s easy to demonise prisoners and not take into account the role and responsibility of communities and the state.”

Producer / writer / director Peter Goldsmid and producer / visual artist Jacki McInnes pitched the documentary Dirty Money which explores the ‘human emotion’ behind the world of informal street recyclers.

Paul Meyer of game development company Luma Arcade talked about a possible education partnership. “I think game development has a long history of not being taken seriously enough as a tool for change and education,” he noted.

Arab spring One of the films to receive the most attention was The Dream of Shahrazad by director Francois Verster and producer Neil Brandt. It promises to use four people in Egypt and Turkey to locate the

events of the Arab spring and the politics of revolution within a context of storytelling and music. More specifically it will use the famous Arab stories of 1001 Nights.

“It will combine music, fable and politics, showing the connection between art and freedom, and revolution and storytelling,” said Verster.

Of the participants gathered for the pitch, Spier Films, has already provided funding and Al Jazeera has commissioned the filmmakers to do a half-hour programme on one of the characters.

The last project pitched was director Jo Higgs and producer Jacky Lourens’ project, Men from Atlantis. It follows a group of men who make a dramatic stand against the abuse of women and children in Atlantis in the Western Cape.

According to Lourens the film is finished, but they need funding and partners to organise community screenings, followed by collaborative conversations between men and women in Atlantis. They also want to raise more funds for a shelter featured in the documentary.

Founder and CEO of Bozza, Emma Kaye suggested creating a ‘mobihood’ using shorter cuts from the film. “We can create a Men from Atlantis channel on Bozza and create a community around it, which can hopefully touch the lives of people living in Atlantis.”

October 2011 | SCREENAFRICA | 35

AFRICA | Gambia, the smallest country on mainland Africa, is internationally known as the setting for AfricanAmerican Alex Haley’s Pulitzer Prize winning book Roots (Kunta Kinte). The book was adapted into a seminal television mini-series of the same name which broke audience records in 1977 when it aired on ABC in the US, generating 130 million viewers in eight days. Despite the series’ popularity it has taken a long time to inspire real growth in the local film industry. Martin Chemhere talks to two local filmmakers and a government minister to determine the status quo.

Alhagie Manka

SUPPORTING HOME GROWN MOVIES – Fatou Mass Jobe Njie

West African country on growth path “A

s a young Gambian production company there are numerous challenges that face us, the main one being finance. However, we have the talent, determination and creativity to produce good quality films,” says Kingsley Eze Ngadi, who founded Gam-Super Top Movies in 2000. The company mainly produces for television and is based in Banjul.

“Despite the slow growth of the industry, most production houses today have quite modern facilities equipped with gear ranging from HDV video to XD video.”

Gam-Super Top Movies has been involved in co-productions for national broadcaster Gambia Television (GRTS) on titles that include Bitterness, Living in Dreams and Evil Communication.

From 2001 to 2003, Gam-Super Top Movies’ popular breakfast show, Faburama, which aired every Saturday, positioned the company well in its formative years.

The company also trains actors for television productions.

Industry body perspective Film and music industry organsation State of Mic is located in Churchill’s 36 | SCREENAFRICA | October 2011

Town and has produced several feature films.

The organisation offers studios with modern digital facilities but there are several hindrances to the general growth of film production, according to Alhagie Manka, director of State of Mic. “Notable challenges include the lack of a good market for local feature films, a factor that tends to discourage producers as they won’t take the risk of investing in long form productions.

“In addition, the country’s small population still prefers to consume Nollywood films. This has caused an unsustainable local market. However, we actively encourage making home grown movies. GRTS still carries a lot of foreign content as this segment tends to attract sponsorship from private institutions,” says Manka.

Created in 2005, State of Mic brings together young filmmakers and other artists in Gambia. It has all necessary audio and video equipment and is also involved in film training. At the time of going to press 15 trainees were undergoing training in recording and editing in audio and video.

Since 2006 the company has produced feature films Orr / Betrayal, Jainaba Ak Naffie and Silent Chapter. Other titles

Kingsley Eze Ngadi

include the drama series Ramadan co-produced with Africell plus feature film Time and Chance in the Gambia that was produced this year.

One of State of Mic’s biggest productions is the documentary The Smiling Coast that screens at the Shoot-me Film and Music festival in The Hague (Netherlands) in October this year.

Its longest running television programme is the QCell Skits that has aired since 2009 and will complete its run in 2012.

Government view Minister of Tourism and Culture Fatou Mass Jobe Njie says her government assists in the growth of the film industry by maintaining an open door policy for foreign film companies wanting to use the country as a location for their films.

She cites The Mirror Boy as a good example of the many Nigerian films that have been shot in Gambia recently with the support of the government. Several of the film’s actors are Gambians and the film recently premiered in London.

“The national television operator GRTS was established in 1995 and this has improved the showcasing of local films. Moreover, the Gambia Copyright

Act of 2004 specifically protects films and cinematographic works,” she says.

Njie notes that despite having no film commission in place, plans are afoot to establish a regulatory film body. This body will assist in developing local films and will handle requests for use of Gambian cast and locations by foreign film companies.

Gambia has a cultural policy document dating back to 1988, which addresses many artistic and cultural issues such as theatre and film development. But, as Njie points out, it needs revision to accommodate film production appropriately.

Although she is optimistic about the potential of her country’s film industry, Njie believes that the lack of capacity falls far short of inspiring the small number of film professionals in the country.

“This means that even the handful of locally produced films need more technical expertise. Our filmmakers still lack capital to invest in full length feature films. Furthermore, there are no cinemas in Gambia.

“Yet there is a new vigour and interest in film which, if harnessed correctly by government and the private sector, could produce great results,” concludes Njie.

| AFRICA

Tsotsi actor stars in Zimbabwean film Rising Zimbabwean scriptwriter Joe Njagu (Lobola) has penned another potential blockbuster movie to come out of the country titled The Gentleman.

W

ritten and directed by Joe Njagu, The Gentleman is produced

by Rufaro Kaseke, Munya Chidzonga, Batsirai Masvinge and Lilian Chidavaenzi. It is a coproduction between The Decent Arthouse, Ivory Pictures and Alternatives Inc Media Services. South African-based Predestined Pictures coordinated the South African shoot.

Award-winning South African actor, Presley Chweneyagae (Tsotsi, Zama Zama, State of Violence) stars in this first ever Zimbabwean action drama which was shot over four weeks in and around Harare and Johannesburg.

Other leads are played by Munya Chidzonga (Lobola), Precious Makhulumo (Amakhorokoza) and Kenyan Sheila Kwamboka (Big Brother Africa).

Njagu believes this cast will have major appeal across Africa due to a number of factors including Chweneyagae’s stand-out performance in Tsotsi, which helped win the Best Foreign Language Film at the 2006 Oscars, and the popularity of the Big Brother Africa brand across the continent. In Zimbabwe, Makhulumo stands out as an influential part of one of the country’s longest running soapies.

BIG NAME – Terry Pheto and Presley Chweneyagae in a scene from Tsotsi

Batsirai Masvinge, who also doubles as the film’s unit publicist, says the thematic framework of the film is built around the universal theme of love and how far one will go to protect loved ones.

He also believes The Gentleman is as distinct in its way as Lobola, which is a more localised drama that particularly appeals to Zimbabweans. Apart from the star cast there is the added value of the use of three languages – English, Shona and

Zulu.

“We are very excited about this project and confident it is going to re-define filmmaking in Africa as a whole,” says Masvinge.

With a budget of about $167 000 (R1.285m) and shot in high definition (HD) on a Canon 7D camera, it was cut by veteran editor Charles Mawunga whose experience ensured a good final product. According to the producers the

film is very technical as Munya appears as a twin. There was also lot of special effects make-up involved.

In Zimbabwe the film will be distributed by Ivory Pictures while in South Africa the producers are still talking to a number of independent distributors. The film will be released straight to DVD with the intention to distribute across all regions of Africa.

– Martin Chemhere

Gambia’s leading filmmaker A Gambian production company is forging a path in a challenging film environment reports Martin Chemhere.

W

riter, director and producer Amadou Sillah fronts leading film and commercial’s production company Sillah Arts Audio Visual. The company produces films, documentaries, music videos and television and radio commercials.

Formed almost two years ago, it has five films to its credit but prior to that its founder made six films for local production house Vinasha Productions.

Sillah was head of local drama at the company before it moved to the UK. During this time Sillah wrote and directed local feature films such as Topa Sa Nafsu, Natou, Kolareh, Lou Waay Deff, Teey and the television series Terre Mou Tee.

ON THE GO – Amadou Sillah

He was also assistant director on a number of other productions such as Banjul Cops, Amm Sahout, Arrou, Once Upon a Time in the Sahel and Child of Destiny.

“We are making a positive impact on

the local film and television industry. If you look at the number of productions we have made in the past two years since I started the company, you can see that we have done more than other Gambian companies. I am sure we are the busiest local film company at the moment,” says Sillah.

Arrou screened at the African Movie Academy Awards some years back where it was nominated for Best Actor, Best Female Actor, Best Supporting Actor, Best Sound, Best Picture and Best Director.

Sillah rates the film among the most outstanding local productions. “It uses local languages and was well received by Gambians at home and in the diaspora.

Regionally, it screened successfully in Senegal.”

He notes that issues such as capacity building, financial support for projects, marketing and distribution are at the core of challenges faced by most Gambian production companies.

There is also a severe lack of training by formal training institutions in Gambia.

Sillah trained on the job with some of the

country’s filmmakers who had received the best film education overseas.

Says Sillah: “It was my initiative to learn from people who had been to international film schools in Europe and the USA. I am now standing on my own two feet as a result of learning from their experience.”

According to Sillah most local studios use state of the art digital cameras, good sound systems and Adobe and Avid Express software for editing. This has led to an increase in the number of local film productions from about four to six films a year in recent years to about 20 today.

He welcomes collaborative efforts between the regional filmmaking powerhouses of Ghana and Nigeria, saying productions from the two countries have had real influence in the Gambian film industry.

“The influence (and perhaps the danger) is that there are some locals now writing stories echoing Nigerian concepts and cultural values,” he comments.

Nigerian Larry West recently helped to set up the Gambian-based Africa Movie Makers Association.

October 2011 | SCREENAFRICA | 37

FILM |

By Karen van Schalkwyk

Making lots of movies

T

he Film Factory has proved to be one of the most prolific film production companies in South Africa and is currently in development with another three films, Bakgat! 3, Wolwedans in die Skemer and Verraaiers.

Producer Danie Bester explains how Wolwedan in die Skemer came about: “As a young boy I was fascinated by my older sister’s obsession with a radio show of the same name. When I heard that the screenplay had been written by Leon van Nierop, I immediately asked Henk, our head of development to pursue a collaboration with Leon.

“Our film is based on one of the biggest Afrikaans radio shows ever. The Afrikaner nation was literally glued to their radios for years to find out who the murderer was, what secrets were concealed by the De Wet family and what mystery lay beneath the Hotel Nyala’s majestic veneer. We aim to target the original radio audience as well as attract a younger audience to the film.”

The Bakgat! franchise is very close to Bester’s heart. “This third installment plays off in England and sees the return of Wimpie and the gang. Bad weather, bad food and worse beer forms the comedic backdrop for great sports and romance. I

38 | SCREENAFRICA | October 2011

PASSIONATE SUPPORTIVE TEAM IS KEY – A scene from Bakgat!

am also very excited to produce my first trilogy.”

Verraaiers is produced with Bester’s partners on the acclaimed Danie Bester Roepman – Paul Eilers, Piet and Sallas de Jager.

“I am very excited about this project too,” continues Bester. “Verraaiers examines the immediate relations between friends, neighbors and family at the end of the Anglo Boer War when the Afrikaner

court marshaled and executed other Afrikaners due to differing opinions about the war.”

The films have all been financed by part equity, the Department of Trade & Industry (the dti) rebate and product placement.

“It’s easier in some ways once to raise finance once you have a reputation for solid production and delivery. However, the budgets are higher which creates new challenges. I am a bit more careful in my approach to making films and generally do not rush in guns blazing. Passion and a great, supportive team are the key factors to making films,” notes Bester.

He believes that one of the biggest tragedies for local producers has been that more than 65% of local digital screens have been converted to 3D. “In the past we had a small theatrical distribution platform but now even this has virtually disappeared in less than a year. If one wants to release on cinema form now on and you do not have prints, you are dead in the water. Obviously this is a very large cost that has to be carried by the production and investors.”

The other great tragedy is the fiasco at public broadcaster SABC. Bester maintains that this is the single worst thing that could have happened to the emerging industry. “So many people have been negatively affected by this single entity. I think we would have seen double the amount of films being made and massive growth for our industry if it was not for the failure of the SABC. The dti has literally saved the independent film industry.”

Bester stresses that making money in the film industry is hard. “Roepman has garnered some interest from international sales agents and distributors and we hope to convert this interest into future pre-sales and international distribution relationships.

“Ek Joke Net will go into profit but this was a brand building exercise from the start. We have already started with Ek Joke Net 2 and this will be released mid to end next year.”

| Continued from page 1

International comedy in Cape Town participants were enthusiastic and committed and brought a different dimension to the module. South Africa is well placed historically in the international market and should have the confidence to grow its business on its firm foundations,” adds Gough.

Cape Town based Waterfront Studios handled the coordination of the event from the South African side.

According to Waterfront Studios producer Markus Davies, just having the international guests in South Africa was already a highlight.

“It has been a rocky road to secure the South African leg and succeeding to bring them here has built a relationship with the EMC to return to the country in the future.

This is crucial to the development of the local industry. As a result, South Africans have secured relationships that will bear fruit to all in the near future.”

Gary Edwardes, Waterfront Studios general manager says: “Our involvement with EMC fits with our strategy of competing internationally by cementing our relationships with top decision makers.

Our staff members who

participated in the EMC learnt from the best. We certainly hope to send more staff on the various modules in the future, as well as continuing our sponsorship of the Cape Town leg.”

According to South African participant Asivhanzhi ‘Asi’ Mathaba, executive producer of Asi-B Films, he saw the EMC as an important opportunity for networking and an investment in the future of the industry. “If you look at the calibre of the lecturers, this was a chance to get unlimited access to them for a few days,” said Mathaba.

“I haven’t done comedy before and I’m working on a slate of films of which some will be comedy. As a producer, you need some of the basic rules of identifying good comedy. I’ve learnt that there can be truth and pain in comedy, and that it’s not only about the jokes. It has set me free.”

However, Mathaba notes that he would have liked to have seen more African participants on the course.

Another local participant, development executive at Light & Dark Films Anneke Villet, attended the 2010 Cape Town module on

AFDA hosts global event entertainment management and decided to attend the 2011 module as well, based on her experience the previous year.

“I especially enjoyed the workshop seminars on script editing and storylining. My company will be producing a sitcom for broadcast next year and I believe that what I’ve learned at the EMC will be of much practical use.”

Villet believes the hosting of the EMC will bear fruits for the local industry. “I think that the South African industry can learn a tremendous amount from the EMC about truly professionalising itself.

Unfortunately our industry suffers under the typical lack of proper funding and training one encounters in a developing country. The EMC provides its alumni with practical tools that they can apply in their day-to-day work life and can teach others within their industry.”

The EMC will be present at MIPCOM in Cannes at the beginning of October, and the next module for 2011 entitled Entertainment Management will take place from 2 to 8 December in Andermatt, Switzerland.

through technology. This includes commercial and open source software for education, new and existing social media platforms, real time broadcast and telecasting of lectures, meetings, forums, assessment and support.

“Secondly, we will look at institutional sharing and collaboration to see how to create and maintain agreements between institutions and competition for students. Other issues that fall within this are vulnerability of intellectual capital and intellectual property, dealing with cultural and academic disparity between institutions, and harnessing diversity.

“Co-production, lecturer and curriculum sharing form an integral part of this conversation over five days of networking and to seek out collaboration opportunities.”

Holmes notes that there is a significant shortage of skilled film lecturers and management worldwide. To give an example, England’s National Film School recently advertised in South African weekly Mail & Guardian to fill the position of head of the school.

AFDA has been a member of CILECT since 2004. Other South African film training institutions to have joined the association are Wits School of the Arts (full member), Big Fish School of Digital Filmmaking, Tshwane University of Technology (provisional, pending 2012 induction). Schools have to meet certain criteria to qualify for membership. These include official accreditation as an institution, staffing, equipment and facilities, industry recognition and placing graduates in the industry.

“CILECT, which stands for Centre International de Liaison des Ecole de Cinema et de Television, was formed in 1954 in Cannes, France,” continues Holmes. “During the 1960s and 1970s ‘Cold War’ CILECT became the touchstone for film schools from the east and west to meet. The past few years have seen an explosion of film schools all over the world, upping CILECT’s membership significantly.”

Film schools in Burkina Faso, Cameroon, Nigeria and Ghana are CILECT members and members of CARA. On 30 April 2012 AFDA, in association with CARA, will hold a one-day international conference to stimulate research in areas of interest for film, television and media schools, with a particular focus on film education in Africa.

DTT latest commence roll out by the end of October.

Earlier in the month Minister of Communications Roy Padayachie was quoted as saying that an institutional mechanism for a dedicated DTT Project Office has been developed and approved for implementation.

“A DTT Project Governance Board, chaired by the Minister has been established to oversee the work of the Project Office.

The process to capacitate the Project Office is expected to be finalised before the end of the calendar year,” he said.

At the time of going to press, the Independent Communications Authority of South Africa (ICASA) was expected to publish the amended DTT regulations by the end of September 2011. This follows

the gazetting of the amendments to the Broadcasting Digital Migration Policy for public comment on 19 August.

Minister Padayachie continued: “The Joint Spectrum Advisory Group (JSAG), which will advise ICASA on the most efficient process to be adopted in resolving matters related to spectrum management, to minimise and or prevent harmful interference during digital terrestrial migration has been established. ICASA has also started to engage with affected broadcasters and signal distributors to second officials to the advisory group.”

In its parliamentary presentation the DoC hinted that its roll out plan may be adjusted to more aggressive timelines to meet its self-

imposed deadline of December 2013 as the cut-off of the analogue signal. The deadline set for Africa by the International Telecommunications Union (ITU) is June 2015. After that Africa’s analogue frequencies will no longer be protected.

Key drivers affecting the DTT launch date are the finalisation and gazetting of the DTT standard by the South African Bureau of Standards (SABS); the finalisation of the STB control solution by the SABC and e.tv (to prevent signal piracy and to stop subsidised STBs from leaving the country); the time required to procure components by manufacturers as well as time required to develop and test STBs; and the availability of a

functional Conformance Lab. Meanwhile, the scheme for ownership support (ie. STB subsidy scheme for South Africa’s poorer households) has been developed by the DoC and presented to the Economic Sector and Employment (ES&E) cluster.

“The Universal Service and Access Agency of South Africa (USAASA) has developed the means test and the qualifying criteria to prove eligibility for STB subsidies. This includes the level of the subsidy and once finalised it will have to be gazetted. As part of the management of the subsidy, engagements have started with retailers and the South African Post Office,” said Minister Padayachie.

The STB manufacturing

strategy has also been developed and presented to the ES&E cluster. Monthly forums on the state of stakeholders’ state of readiness have commenced.

The Southern African Digital Broadcasting Association (SADIBA) has finalised its initial research work on transmission parameters.

According to the DoC, draft parameters state that 60% of the South African TV owning households will need outdoor antennas (approximate cost – R110.00) and the indoor active antennas (approximate cost – R45.00).

Network coverage needed for the commercial launch of the DTT platform is 70% and signal distributor Sentech is committed to reach that target at the time of the launch.

October 2011 | SCREENAFRICA | 39

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40 | SCREENAFRICA | October 2011

IN DEVELOPMENT 80 MINUTES Periphery Films Dir: Simon Taylor / Julia Taal Feature Drama A LION IN THE BEDROOM Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature AMABHUBESI Inkwasi Television Prod: Bell Curle TV Magazine AMBUSH ALLEY NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary AMKA CORPORATE Panache Video Productions Exec Prod: Haroon Kalla Corporate At The Creek Without A Paddle Zen Crew Exec prod: Laura Tarling Documentary BAD MEDICINE Tin Rage TV Production Dir: Enver Samuel Documentary Bagged Izithulu Productions Exec Prod: Donovan Mulligan / Mike Westcott Short Film BLAST FROM THE PAST Sirius Films Prod: Ian Manly Documentary BREAD AND WATER Periphery Films Dir: Simon Taylor / Julia Taal Feature Documentary BREAKDOWN Bollysamo Pictures / Apeiro Productions Prod Man: Carolyn Gregorowski Feature CAPE OF GOOD HOPE Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Child Geniuses Talent Attack TV / Fuel Media Productions Prod: Paul Llewellyn Documentary Series CHILDREN OF FAMOUS ACTIVISTS Current Affairs Films Prod: Jane Thandi Lipman Feature Film CHILLI CHICKS International Radio Pictures, Inc Kit Reynolds TV series COILED DO Productions Prod: Marlow de Mardt / Brigid Olën Feature CONSERVATION & BEYOND SuitePeople TVP Prod: Bell Curle Documentary ECONOMIC TRANSFORMATION Gaonakgang Film Productions and Publications Writ: George Phuthiyagae Documentary

ESCAPE Current Affairs Films Prod: Jane Thandi Lipman/Beata Lipman Feature Film Ex Pats Current Affrairs Films / French Connection Prod: Jane Thandi Lipman Drama series FORSAKEN DO Productions Prod: Marlow de Mardt / Brigid Olën Feature GOUE STERRE Suite People TVP Prod: Bell Curle TV Series GRIZMEK Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature HEAVEN ABOVE EARTH Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature IIQ Sukuma Media Dir: Bonginhlanhla Ncube Feature IK1 – TOURISTS IN DANGER Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Inventing Africa Imageworks Prod: Anthony Irving Documentary KADU’S JOURNEY DO Productions Prods: Marlow de Mardt / Brigid Olën Feature Launch of the Academy of Young SA Scientists Panache Video Productions Producer:Liesel Eiselen Documentary LEARNER TEACHERS Curious Pictures SABC Comedy Series LION GIRL DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature National Field Band Foundation Championships 2011 Panache Video Productions Prod: Liesel Eiselen Documentary NEW BEGINNINGZ Sukuma Media Dir: Bonginhanhla Ncube Documentary Nongoloza Current Affairs Prod: Jane Thandi Lipman Feature RATE MY PLATE International Radio Pictures Exec Prod: Kit Reynolds Community Project SEBOKENG MPA (Motswako) Dir: Charls Khuele / Zuko Nodada Feature SHARON AND MUGABE’S ELEPHANTS NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary SHORT BUSINESS FEATURE WITH BBC / ABC Current Affairs Films Prod: Jane Thandi Lipman Short Business Features SUPERMAMA GoogelPlex Productions Dir: Karen van Schalkwyk Feature SWANK! International Radio Pictures Prod: D Gillard Theatre Production

tHE blood kng and the red dragon Current Affairs Prod: Jane Thandi Lipman / Mtutuzeli Matshoba Feature THE CONSEQUENCE DO Productions Prod: Marlow de Mardt / Brigid Olën Feature THE EDGE International Radio Pictures Kit Reynolds TV Series THE FILM MAKER Elle Bolt Productions Prod: Elle Bolt Reality Series The Scores Are In Current Affairs Films Prod: Jane Thandi Lipman Game Show / Entertainment Series VULTURE KILLING FIELDS SuitePeople TVP Bell Curle Documentary WARD 22 AKA SPECIAL OPS DO Productions Prod: Marlow de Mardt / Brigid Olën Documentary ZERO DIET Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature ZEBRAS DO Productions Dir: Bruce Beresford Feature

PRE-PRODUCTION Elegy: forsaken in South Africa Market Street Productions Prod: Paul Van Zyl Short film Holidays for Madmen Imageworks Prod: Anthony Irving TV Series IMATU UNION VIDEO FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video LION’S TRACK Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature Mandela Synergy Films Drama / Documentary MASTERS OF DREAMS Current Affairs Films / Up Front Entertainment / French Connection Prod: Jane Thandi Lipman Documentary TALK OF THE TOWN SuitePeople TV Productions Bell Curle TV Series The Black Out Dithakeng Projects and Flms Executive producers- Thabang Nkunyane Short Film TO CARE FOR YOU ALWAYS Noble Pictures Prod: Claudia Noble Short Film TRUE DREAM South African Great Movies Production Dir: John Wani Feature VKB LANDBOU BEPERK FC Hamman Films PM: Odette van Jaarsveld Corporate Video Wolwe Dans In Die Skemer The Film Factory Prod: Jozua Malherbe Thriller

E N E C S A E MAK IN PRODUCTION 3RD DEGREE e.tv Investigative TV series 4PLAY: SEX TIPS FOR GIRLS III Curious Pictures Prod: Stephane Coetzee Drama 90 PLEIN STREET III Born Free Media Exec Prod: Carolyn Carew TV Series A 400 year old bestseller – The King James Version of the Bible Eugene Botha Productions / It’s a Wrap Productions Prod: Eugene Botha Documentary AMBASSADOR 2 Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature ABC AMERICA NEWS SPECIAL ON MANDELA Current Affairs Films Prod: Jane Thandi Lipman Feature News Special AFRO CAFÉ SEASON 7 Bonngoe Productions Exec Prod: Pepsi Pokane Adult Contemporary/ Music AFRO SHOWBIZ NEWS SABC News International Exec Prod: Jody-Layne Surtie TVMagazine AFROX YEAREND RESULT FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AFROX AFRICA INSIGHT EPS 4 FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video AFRICA CALLING Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature ALL ACCESS Homebrew Films Prod: Paul Venter/ Hannes van Wyk / Tammy Anne Fortuin Magazine Show ANIMAL COMMUNICATION NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary ANGUS BUCHAN’S ORDINARY PEOPLE FC Hamman Films Dir: FC Hamman Feature

BINNELAND Stark Films Dir: Danie Joubert TV Drama BOPSY BUNNY Firefly Animation Studio Exec Prod: Antony Steel Short Films CHEETAH DIARIES 3 NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary CORTEX MINING FC Hamman Films PM: Odette van Jaarsveld Corporate Video DADDY’S MESS Dzunde Productions Prod: Thandiwe Mashiyane TV Sitcom DRAGON’S FEAST 3D NHU Africa Exec Prod: Vyv Simson / Sophie Vartan Wildlife Documentary EASTERN MOSAIC Red Carpet Productions Magazine Programme FIRESTONE Street Smart Creative DOP: Peter Palmer Commercial

GNLD AFRICA CONVENTION FC Hamman Films Prod: FC Hamman Corporate Video GENERATIONS Morula Pictures Exec Prod: Mfundi Vundla Soapie GROEN Homebrew Films Prod: Jaco Loubser Wildlife HOUSE CALL Izwe Multimedia / Urban Brew Series Prod:Annalie Potgieter Live Medical Talk Show INSIDE STORY Curious Pictures / Discovery Channel Dir: Rolie Nikiwe Feature ISIDINGO Endemol South Africa Dirs: Raymond Sargent / Johnny Barbazano Daily TV Drama JOU SHOW MET EMO en Wickus Homebrew Films Prod: Jaco Loubser Variety Show POPCRU 7TH CONGRESS FC Hamman Films PM: Odette van Jaarsveld Corporate Event TOP SHAYELA Curious Pictures / Vuzu Prod: Khobi Ledwaba Reality Magazine Series MK Campus Homebrew Films Prods: Jaco Loubser / Ben Heyns Student Show MONTANA Penguin Films Prod: Roberta Durrant TV Series MOTSWAKO Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show MZANSI INSIDER Bonngoe Productions Exec Prod: Pepsi Pokane TV Magazine O SESSIONS Fuel Media Productions Dir: Paul Llewellyn Music Show ONS MENSE Homebrew Films Prod: Jaco Loubser Current Affairs OXFORD UNIVERSITY PRESS Plexus Films Prod: Miki Redelinghuys Corporate Film PASEKA EASTER ELEPHANT NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary PASELLA Tswelopele Productions Insert Dirs: Liani Maasdorp / Werner Hefer TV Magazine Programme PEACE PARKS NHU Africa Exec Prod: Vyv Simson/ Sophie Vartan Wildlife Documentary Series REDI ON MZANSI Imani Media Prod: Bruce Townsend TV Series Religion and the ANC Eugene Botha Productions / It’s a Wrap Productions Producer- Eugene Botha Documentary RHYTHM CITY Curious Pictures Prod: Yula Quinn e..tv Soapie RHYTHM CITY INTERACTIVE Curious Pictures / e.tv Prod: Viva Liles-Wilkin Interactive Platform Media ROCKING FUTURE Summertime Productions Prods: Sean Gardiner / Tanya Vandenberg Educational Video

ROER Homebrew Films Prod: Jaco Loubser Cooking Show SAVING RHINO PHILA NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary SCANDAL Ochre Moving Pictures Series Prod: Romano Gorlei Daily TV Soap SLENDER WONDER FC Hamman Films DOP/ Dir: FC Hamman Commercial SOLENTA AVIATION FC Hamman Films OM: Odette van Jaarsveld Corporate Video STRANDED NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary STUDIO 53 M-Net Inhouse Productions Insert Dir: Navan Chetty Mag Programme Technorati Talent Attack TV / Fuel Media Productions Dir: Maxine Nel Technology Magazine Show THE RUDIMENTALS Periphery Films Prod: Simon Taylor Feature Documentary THE STORY OF LITTLE FOOT Paul Myburgh Film Prod: Paul Myburgh Documentary THE TRIP OUT A Roddam van der Merwe Production Prod: Bonginhanhla Ncube Feature THE TRANSPORTERS Sukuma Media/ Reality Motion Pictures Dir: Bonginhlanhla Ncube Documentary TOP BILLING Tswelopele Productions Prod: Patience Stevens TV Magazine TOUCHING THE DRAGON NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary Turn It Out Fuel Media Productions Dir: Ben Brewster Dance Reality show VKB BRANDING LAUNCH FC Hamman Films Prod: FC Hamman Corporate Video VILLA ROSA Spectro Productions Dir/s: Luhann Jansen / Andries van der Merwe/ Leroux Botha/ Isabel Smit TV Drama When The World Was Here Fuel Media Productions Dir: Mzilikazi Kumalo Documentary Series Why are We so Angry?

Fuel Media Productions Dir: Scott Smith, Shaft Moropane Documentary Series

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POST-PRODUCTION AFRICA CALLING Two Oceans Production Prod: Giselher Venzke / Bertha Spieker Feature AFROX CO2 PLANT FC Hamman Films PM: Odette van Jaarsveld Corporate Video AFROX SHEQ INDUCTION FC Hamman Films PM: Odette van Jaarsveld Commercial

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October 2011 | SCREENAFRICA | 41

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

Events | OCTOBER 27 Oct – 6 Nov

Africa in Motion (AiM) Edinburgh African Film Festival Edinburgh, Scotland

www.africa-in-motion.org.uk/ 27 Oct – 5 Nov

South African Horrorfest Film Festival

Gardens, Cape Town www.horrorfest.info 28 October

6th Annual PromaxBDA Africa

Sandton Convention Centre, Johannesburg www.promaxafrica.tv Date TBC

Bojanala Film Week

Rusenburg

NOVEMBER 18 – 19

AFDA Film Festival Cape Town

AFDA Film School www.afda.co.za 18 – 19

AFDA Film Festival Johannesburg

AFDA Film School www.afda.co.za

DECEMBER Date TBC

Africa International. Film Festival

Venue : Port Harcourt, Nigeria www.africafilmfest.com/ 42 | SCREENAFRICA | October 2011

ALL’S FAIR PianoJ Productions Prod: Pia van Rensburg Short Film Angels Of The Sky CDS-Films Exec Prods: Chris Dos Santos, Andrew MacDonald Feature Film Bally Cullen Guesthouse Ad Panache Video Productions Prod: Liesel Eiselen Corporate Bitter Root Imageworks Dir: Kerry Negara Documentary BUA NNETE Owami Entertainment Dir: Charles Khuele Short Film CAPE TOWN INTERNATIONAL JAZZ FESTIVAL 2011 Esp Afrika (Pty) Ltd Prod: Yana Lombard Documentary CHAMELEON NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary CHEETAH DIARIES 2 NHU Africa Exec Prods: Vyv Simson / Sophie Vartan Wildlife Documentary DANGEROUS TRAILS – ELEPHANTS IN THE MINEFIELDS NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary DEAR SISTER Media Village Prod: Debbie Matthee Short Film DOOMSDAY Rogue Pictures Dir: Neil Marshall Feature ENDANGERED NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series HARTLAND Bottomline Entertainment / Fix Post Production Michael Modena TV Drama HOOFMEISIE The Film Factory / Fix Post Production Dir: Morne Du Toit Family Comedy Israel Inside (Working Title) Imagination Productions / Wayne Kopping Films Dir: Wayne Kopping Documentary IQILI Impucuzeko Prod: Sharon Kakora Feature Kemang? lmol Production Dir: Lizzy Moloto Feature Film MARRY – ANN Shadow Films Dir: David Forbes Documentary Melodi Jazz Festival 2011 L. Dukashe Productions Director: Lumko Dukashe Live Concert DvD PERFECT SHISHEBO Curious Pictures Prod: Nthabiseng Mokoena AFP – Cooking Show PURPLE TOWN Sukuma Media Dir: Bonginhlanhla Ncube Documentary RATI EN MAATS Khaki Productions Dir: Wynand Dreyer Children Series – Edutainment RESTYLE MY STYLE Curious Pictures Prod:Anita van Hemert Children’s Programming

SA JUNIOR MASTERS Our Time Productions Dir: Jaun de Meillon Series on SuperSport SAFE HOUSE Moonlighting Prod: Genevieve Hofmeyer Feature SCAREDYKAT Dirty Soul Productions Dir: Kyle Lewis Horror Feature Film SCHOOL EWASTE INITIATIVE/ DESCO/ INCREDIBLE CONNECTION Philip Schedler Productions Prod: Philip Schedler Corporate SLENDER WONDER FC Hamman Films Prod Man: Odette van Jaarsveld Corporate Video SOKHULU AND PARTNERS 2 Paw Paw Films Prod: Roberta Durrant TV Drama STETSON HATS Fourth Dimension Films / Creative Photo Services Dir: Neil Hermann Corporate Tanzanian Investment Opportunities Benchmark Productions Director: Dermod Judge Corporate TASTE OF RAIN Luna Films / On Land Productions Prod: Bridget Pickering / Richard Pakleppa Feature TREASURE GUARDS Tandem Communications Exec Prod: Jonas Bauer / Rola Bauer Feature VINE COLLEGED (PTY) LTD Sukuma Media Dir: Bonginhlanhla Ncube Corporate WALKING IN VICTOR’S SHOES Current Affairs Films South African Prod: Jane Thandi Lipman Feature Documentary WELLBODI BIZNES Plexus Films / Four Corners Media Prod: Miki Redelinghuys Documentary ZAMA ZAMA Kokamoya Productions Prod: Bertus van der Walt Feature ZION Letcosmart Prod: Zibusiso Nkomo Feature

COMPLETE AFROX AFRICA INSIGHT EPS 3 FC Hamman Films PM: Odette van Jaarsveld Corporate Video AYESAN – FIGHT TO LOSE SMS Multimedia Inc Dir: Seyi Specialborn Akanbi Feature AWOYE – RETRIBUTION Sms Multimedia Line Prod: Temitope Akanbi Feature Child On-Line Protection Week Imageworks Director: Anthony Irving TV ad COLOUR TV Bongoe, Jungle / Brand Bernie Productions Line Prod: Hulette Pretorius Variety Dept of Social Development Congress FC Hamman Films Prod Man: Odette van Jaarsveld Three-day corporate event Free State Balloon Fiesta Imageworks Prod: Anthony Irving Corporate

GLAMOUR – THE REALITY BEHIND DREAMS ZG Films Prod: Javed Jafferji Feature GULUVA BIP Films Dir: BI Phakathi Feature Film INHLIZIYO YAMI Sukuma Media Exec Prod/ Dir: Bonginhlanhla Ncube Music Video INTERSEXIONS Curious Pictures / JHUCCP Creative Dir: Rolie Nkiwe Drama Series IMATU 3 DAY CONGRESS FC Hamman Films Prod Man: Odette van Jaarsveld Three-day Corporate Event JOURNEY TO STATE HOUSE ZG Films Prod: Javed Jafferji Documentary JOURNEY INTO WILDERNESS Tekweni TV Productions Prod: Sandra Herrington Documentary KAN EK SO LEEF Liquid Gate Creative Studios Prod: Kobus Swart Music Video Ke mo fumane StreTalk Productions Bobby Mokhema TV drama KING NAKI Plexus Films Prod: Miki Redelinghuys Documentary LACONIA Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature MISSION CRANE Two Oceans Production Prods: Giselher Venzke / Bertha Spieker Feature O SESSIONS Fuel Media Productions Dirs: Paul Llewellyn / Shaun Pearce Music Show PROGRESS Periphery Films Dir: Simon Taylor Feature Documentary RED SUN OF AFRICA DO Productions Prod: Marlow de Mardt / Brigid Olën TV Feature ROCKING FUTURE Summertime Productions Prod: Sean Gardiner & Tanya Vandenberg Educational Video SHORE – THING Homebrew Films Prod: Jaco Loubser Reversioning TIMELAPSE Team GR8 (for 48 HFP) Writers: Carl Roddam / Deon van der Merwe Short Film THE TEACHER BIP Films Dir: BI Phakathi Feature THE BETRAYAL Shakarny Inovations Prod: James Kingston Feature The Bone Grinder Playing Cabin Films Dir: Shumelani Mapholi Feature Film VISCOUNT DOWN Msasa Enterprises Dir: Harmon Cusack Feature WRONG CALL Team GR 8 Dir: Bonginhlanhla Ncube Short Film SowetoDrift Young Minds Productions Prod: Phillip Hlophe & Pule Earm Feature Film

Screen Africa relies on accuracy of information received and cannot be held responsible for any errors or omissions which may occur. E-mail production updates to: info@screenafrica.com

August 2011 This monthly feature selects prominent local productions and ranks them in terms of audience ratings (ARs). Selected foreign programmes are shown only for comparison.

ARs are weighted over the period of transmission and the number of transmissions during the calendar month. Data is supplied by the South African Advertising Research Foundation and processed by Interactive Market Systems (South Africa) (Pty) Ltd.

| Audience Ratings

The cream of the local productions Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how often it is transmitted – D=Daily, W=Weekly, S (followed by a number) indicates a series of that number of episodes. Television Universe estimated at 5.232 million households. One ratings point of all viewers

SABC2 Rank Programme 1 Muvhango 2 Home Sweet Home 3 Ga Re Dumele 4 7de Laan 5 Speak Out SABC3 Rank Programme 1 Bring It On 4: In It To Win It 2 Isidingo: The Need 3 Bring It On: All Or Nothing 4 Isidingo – R 5 Monaco Royal Wedding M-Net Rank Programme 1 Salt 2 The Karate Kid 3 Carte Blanche 4 Edge Of Darkness 5 Grown Ups e.tv Rank Programme 1 Scandal 2 Terminator 3: Rise Of The Machines 3 Rhythm City 4 Terminator 2 Judgment Day 5 Lotto Draw Live

Channel

July 2011 AR

June 2011 AR

Talk

15:30 M-F

S5

3

1.5

1.7

3rd Degree

Actu 21:30 Tue

W

e

5.0

5.5

M-F S5

2

7.3

8.3

Genre

Date Genre AR 14/07/2011 Soap 26.2 21/07/2011 Sport 21.4 11/07/2011 Soap 18.7

Name

SABC1 Rank Programme 1 Generations 2 Soccer Build-Up 3 Zone 14 4 Vodacom Challenge:

Orlando Pirates vs Tottenham Hotspurs 5 Vodacom Challenge:

Orlando Pirates vs Kaizer Chiefs

Day/s

3 Talk

The top five programmes

Start Time

Frequency

represents about 145 590 viewers.Key to genres: Actu: Actuality, Docu: Documentary, Dram: Drama, Educ: Education, Maga: Magazine, Musi: Music, News: News, Quiz: Game Show, Real: Real life, Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth Entertainment,

7de Laan

Soap Vari

19/07/2011 Sport

18.3

Carte Blanche

Maga 19:00 Sun

W M

1.3

1.0

21/07/2011 Sport

18.0

Fokus

Actu 18:30 Sun

W

6.0

4.9

Generations

Soap 20:00 M-F S5 1 22.6 21.6

Gospel Gold

Musi

Vari

Sun

W

2

4.7

4.9

Isidingo: The Need

Soap

18:30 M-F

S5

3

4.7

4.4

Jam Alley

Vari

18:30 Fri

W

1

5.9

6.5

Live Lotto Draw

Quiz 21.30 W/S S2

2

6.1

5.5

Morning Live

Maga 06:00 M-F S5

2

2.1

2.2

Muvhango

Dram 21:00 M-T S4 2 11.7 10.9

News at Seven

News 19:00 Daily D

e

6.6

6.5

News at Seven on 3

News 19:00 Daily D

3

3.3

3.2

Pasella

Maga 19:30 W W 2 5.4 4.7

Rhythm City

Soap 18:30 M-F S5

Scandal

Dram 19:30 M-T S4 e 8.9

8.3

Selimathunzi

Vari 18:30 Wed W 1 6.0

5.3

Special Assignment

Actu

Top Billing

Maga 19:30 Tue

Yo-TV

Y-Ent Vari Vari D e 2.1 1.7

Date Genre AR 04/07/2011 Soap 15.5 17/07/2011 Soap 11.6 10/07/2011 Sitc 11.3 18/07/2011 Soap 10.2 14/07/2011 Actu 9.3

Date 30/07/2011 19/07/2011 31/07/2011 04/07/2011 02/07/2011

Genre AR Movi 5.6 Soap 5.5 Movi 5.0 Soap 5.0 Actu 4.7

Date Genre AR 24/07/2011 Movi 1.8 10/07/2011 Movi 1.6 31/07/2011 Maga 1.5 31/07/2011 Movi 1.5 17/07/2011 Movi 1.3

Date Genre AR 11/07/2011 Soap 11.8 10/07/2011 Movi 11.0 11/07/2011 Soap 10.7 03/07/2011 Movi 10.2 30/07/2011 Comp 10.2

brought to you by

The Cape Town Lab reports that it still has no feature work coming through the lab at the moment, although it is awaiting confirmation on various quotes. The Lab expects both French and German long form productions to commence shortly. International commercials show an influx of three times the number of local – interestingly most commercial work is shot on 35mm film. Student work continues on both 16mm and 35mm, but there have been no documentaries.

The Johannesburg Lab has not processed any feature work during this last period. Commercial work is still extremely low with a few documentaries being processed. Bulk printing has levelled off somewhat with 50 features, 646 trailers and 1 428 commercials printed in August, which is down from July.

The number of commercials submitted by Media Host is also slightly down on the previous month.

We would like to thank the laboratories and Media Host for the information they have supplied to us.

We make no attempt to identify the title of the production, or the production house or any other information as this is often confidential

W

e

9.3

9.7

3

2.2

2.1

2

3.0

3.4

Top foreign shows Days of Our Lives

Soap 17:10 M-F S5

1

3.4

3.8

WWE Wrestling Smackdown

Spor

W

e

4.6

5.2

The Bold and the Beautiful

Soap 18:00 M-F S5

1

20:30 W

The above represents a selection of programmes only, and is calculated on the total calendar month’s weighted average of the total audience over all age groups. If you want a particular programme included please contact Enid Venter on +27 (0)11 025-3180. The purpose of the schedule is to show the types of programmes South African audiences view, and to what extent.

We feature the top five shows viewed for each of the channels.

VitalStats

21:30 Wed W

2

Statistics for August 2011 Through the labs: Johannesburg Features 0 Cape Town Features 0

Shorts Commercials 0 6

Doccies 16mm 35mm 4 8 2

Shorts Commercials 0 10

Doccies 16mm 35mm 0 5 5

Commercials submitted to broadcasters via media host August 2011: 1 783 compared with 1 860 last month information – we simply supply the numbers.

We rely on the co-operation of broadcasters, suppliers of commercial material to broadcasters and local film laboratories for information. However at the moment local broadcasters are not forthcoming in providing these vital statistics.

Efforts will continue to be made to build on this statistical data base in order to improve accuracy and should readers have comments or other ideas in terms of statistic gathering, please send an e-mail to andy@screenafrica.com. Your comments would be appreciated.

October 2011 | SCREENAFRICA | 43

Close up | IBC

Stuart Ashton of Blackmagic Design

Sony SA’s Gerhard Strydom and Jess Goedhals

Screen Africa’s Hermione Ballinger with a traditional Dutch lady at IBC opening party

Mo Goyal and Anil Parmer on the Evertz stand

Barbara Jaumann (Sachtler) and cinematographer Nino Leitner

David Ross, CEO of Ross Videos

The First Grader première

Justin Chadwick and Anant Singh

Actress Shoki Mokgapa, Deputy Minister of Public Works Hendrietta Bogopane-Zulu and producer Anant Singh

Director Justin Chadwick, Former Minister Barbara Hogan and Deputy Minister of Basic Educaiton Enver Surty

Struggle veteran Ahmed Kathrada and actor Vusi Kunene

Entertainment Master Class (EMC), Cape Town

e.tv Spring / Summer Launch, Soweto

Professor Mavuso and Thandi Makhubele

Kenny Kunene

Sandy Mokwena and Joyce Skefu

Andrew Eborn, MD, OctopusMT, UK (first on left); Paul McKenzie (4th from left at back); Christoph Fey, EMC MD (next to McKenzie); John Gough, head of Programme, EMC (first on right); and Tony Humphreys, MD Talent TV, UK (next to Gough)

Advertisers List | Zola and Moshidi Motshegwa

Lodi Matsetela Wright Ngubeni, Thandi Makhubele and (Puo Pha Productions) Zenzo Ngqobe

Loyiso Gola and Ntando and Hlelo Masina ‘The Twinz’

New Appointmnents | Adele Le Roux has been appointed regional sales manager for Gauteng (for Corporate and Travel) at Tempest Car Hire. The Film Division falls within her portfolio.

Le Roux, who has been in the car rental industry for 18 years, will

44 | SCREENAFRICA | October 2011

work alongside sales coordinator / film administrator Ransom Hunguka and account manager Tamsin Muller to meet the car hire needs of the film industry.

Hunguka is a proud achiever of the 2011 Tempest Service Excellence Award and has been at Tempest Car Hire since 2008.

ABT........................................ IBC AJA Video Systems.................................. 9 Aon Insurance........................................42 A Studio Called Wonder.....................27 Atlas Studios .........................................41 Avmark Systems....................................41 Black Ginger............................................. 1 Black Magic Design................................. 7 Blade bfx..................................................13 Case Connection, The..........................41 CatDV .....................................................42 Digital Direct..........................................29 Gauteng Film Commission GFC)......43 General Post .........................................40 Gerhard Beukes Photography ...........42 Grass Valley............................................... 5 Harambe Technologies......OBC

HDHUB...................................................30 Howard Music ......................................40 Inala..........................................................21 Jasco.........................................................23 Jaycor........................................................30 Lawo / B&I..............................................15 Panasonic................................IFC Photo Hire & Sourcing.........................33 Pink Room Productions.......................38 Pro-Sales..................................................17 Puma Video............................. FC Questek...................................................25 Sony..........................................................11 Sound Surfers.........................................29 Video Africa .........................................38 Vision Cases ..........................................40