The Callsheet Issue 6

ISSUE 06 | 2016 BAN DURMART FILM NS S LIO E N CAN

SHOOT YOUR WINNING COMMERCIAL IN AFRICA

CONTENTS / 01

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02. Studio Joburg Opens at Expo Centre

10 20 22 38

COMMERCIAL SERVICE WORK IN SA Kim Crowie talks to the leading commercialservice companies on the continent, and unpacks the successes of 2016.

04. Saving Lives with a Kiss

05. Comatose - New

African Production

07. New Additions Made to Sunrise Team

08. Introducing Squeers 09. Get Creative with Digital Sputnik

10. Why You Should

SA’S DIRECTORS TO WATCH

South Africa’s top director-based companies are home to some of the brightest directing talent in the world.

Shoot Your Commercial in Africa

14. Commercial

Production Houses

20. Commercial Directors to Watch

22. SA: Land of

Striking Locations

24. Commercial Studios and Gear

LOCATIONS FOR COMMERCIALS

Far from a one-trick pony, Africa can double for any landscape or city on the globe. Take a look at page 22.

28. Tabletop Productions: Cooking up a Storm

30. Animation in SA 34. Post-Production for Commercials

36. Commercials: The

Client Says It Best

38. Durban FilmMart 2016

44. Namibia: Mesmerising Locales

DURBAN FILMMART 2016 Get excited for the 2016 edition of this prestigious event, complete with expert panellists and awesome masterclasses.

48. Fixers in Africa 49. Events to Diarise 50. Opportunities 51. Associations News 52. Directory of Advertisors

02 / NEWS

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STUDIO JOBURG OPENS AT EXPO CENTRE!

The Johannesburg Expo Centre (JEC) is proud to announce the launch of Studio Joburg, a fully-fledged film and television content hub.

B

ased at the JEC, Studio Joburg is the result of a collaboration between the owners of the Expo Centre and a consortium of leading film practitioners.

“We believe that this new development will provide a top-class facility for the production of content within the film industry,” explains Craig Newman, JEC CEO. “It will also be an important development for the people of Soweto and the surrounding areas in terms of job creation and skills development.”

For many years, South Africa has been a popular destination for the production of filmed content for the US and Europe. Since the creation of the dti’s Location Film and Television Production Incentive, and the South African Film and Television Production and CoProduction Incentive, South Africa has become a desirable film location as well as a co- production partner of choice.

The film value-chain consists of several support

Craig Newman and Lance Gibbons

services that are crucial to the completion and success of each film project. These services include set building, painting, catering, wardrobe, design, and lighting, to name a few.

“Each of these support services means several job opportunities for people in the area,” explains Newman. “In other words, this venture will mean skills development, job creation and investment into the south of Johannesburg.

People living in Soweto and the surrounding areas will also be able to work closer to home.”

Discussions are currently taking place with a film school and broadcaster that could become anchor tenants within the Studio Joburg facility. “The added benefit of this would be the proximity to the potential workforce from Soweto and its surrounds,” explains Newman.

Eddie Mbalo, who joins Newman and his team in this endeavour, is a film and television production expert with over 30 years’ experience in the

industry. Mbalo served as the CEO of the National Film and Video Foundation (NFVF) for 10 years, a statutory body within the Ministry of Arts and Culture, dedicated to the promotion and development of the South African film industry.

At the 64th Cannes Film Festival, the Hollywood Reporter in association with Agoralumiere International, honoured Mbalo with an African Vision Award for his role as a creative defender of African Cinema. “We believe that the Expo Centre is the ideal location for an undertaking of this nature,” says Mbalo.

In addition to the sheer size of the venue, it’s extremely practical. There is an adequate power supply with access to plug points all over the venue and a sufficient water and ablution supply,” he says.

The multipurpose facilities of the JEC provide more than 50 000m² of indoor space, more than 100 000m² of versatile outdoor space as well as a multipurpose arena that can

accommodate up to 20 000 people. It is accessible from all major highways and conveniently located 30 minutes away from both OR Tambo International Airport and Lanseria Airport.

There are also a number of three, four and five star hotels all within 15 minutes of the venue.

The Expo Centre has also proven its worth among film producers in the past, having provided facilities for the famous science-fiction thriller, District 9, directed by Neill Blomkamp and produced by Peter Jackson.

“The JEC was an ideal venue for our production of District 9,” says Michael Murphey.

“It worked extremely well as a film studio – the size, the layout, and the location all worked perfectly for us.”

“We believe that Studio Joburg will become an important content and entertainment hub for the Gauteng province,” says Mbalo. “It’s an exciting venture that will benefit in particular the people of Johannesburg and Soweto,” he concludes.

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7th

2016 Industry Programme 09h00 – 13h00 Talents Durban Mentorship (closed)

10h00 – 13h00 Africa Doc Pitch

14h00 – 16h00 Jumpstart (closed to Selected Projects)

09h00 – 13h00 Jumpstart (Closed to Selected Projects)

09h00 – 13h00 Tele-dialogues

14h00 – 16h00 Business Model Canvas Producers’ Workshop

09h00 – 13h00 Business Model Canvas Producers’ Workshop

14h00 – 17h00 Finance Forum Meetings (closed to official projects)

09h00 – 13h00 Finance Forum Meetings (closed to official projects)

09h00-13h00 Jumpstart (closed to Selected Projects)

09h00 – 13h00 Jumpstart (Closed to Selected Projects)

al Film Festival 2016

at the Durban Internation

durban Filmmart

10h00-11h00 Film and Publications Board: Online content distribution

09h00-10h00 09h00-10h00 Panel Discussion: Panel Discussion: Presales The Dynamics Agreements: of Curating Creating a Festival value for your Programme investors

10h00-12h00 The Restless Pitch: Public Pitch Session

12h00-13h00 Case Study: South Africa and France Treaty presented by NFVF

Lunch

14h00-16h00 Authenticity is Key - Building Credibility with Audiences with GG Alcock

15h00-17h00 Talents Durban Story Junction

09h00-13h00 Tele-dialogues

DURbAN INTERNATIONAL FILM FESTIvAL 16-26 JuNE 2016 DURbAN FILMMART 17-20 JuNE 2016

09h00-13h00 Finance Forum Meetings (closed to official projects)

MONDAY, 20 JUNE

14h00 – 17h00 Finance Forum Meetings (closed to official projects)

SUNDAY, 19 JUNE

10h00-13h00 Business Model Canvas Producers’ Workshop

SATURDAY, 18 JUNE

09h00-10h00 Window to 09h00-10h00 the World: Panel Discussion: Roundtables with New Strategies Intl Festivals and for Financing Markets Independant Film

10h00-12h00 What determines a good story tell and how to tell it? Junaid Ahmed and Akin Omotoso

14h00 – 16h00 Business Model Canvas Producers’ Workshop

FRIDAY, 17 JUNE 09h00 – 13h00 Project Packaging: DFM Official Projects (closed)

Registration: 10h00-17h00

14h00 – 17h00 Project Packaging: DFM Official Projects (closed)

Registration: 10h00-17h00

09h00 – 13h00 Business Model Canvas Trainers’ Bootcamp (closed)

Registration: 10h00-17h00 09h00-10h00 Using Short Films To Build Brand And Audience – Todd Brown, Head of International Acquisitions, XYZ Films

14h00 – 1-7h00 Business Model Canvas Trainers’ Bootcamp (closed)

Registration: 09h00-17h00 09h00-10h00 KwaZulu-Natal Film Commission Panel Discussion

10h00-12h00 Packaging Independent Commercial films for the US Market, Jeff Byrd, Featherfilms

09h00 – 13h00 Tele-dialogues 14h00 – 17h00 Tele-dialogues

10h00-11h00 Storytelling and Story Selling (with the Business Model Canvas)

09h00 – 13h00 Tele-dialogues 14h00 – 16h00 Tele-dialogues

11h00-12h00 Restless Talent: “How to Pitch and Not Fall Flat on Your Face”

12h00-13h00 Financing Your Film through Distribution and Marketing presented

by NFVF

Lunch 14h00-15h00 Immerse Yourself - Virtual Reality Where it’s at?

15h00-16h00 Talking through completion bonds with Film Finances SA

16h00-17h00 SAGE - Building Relationships, Building Stories: What to expect and what you get in the editor/director collaboration

09h00 – 13h00 Talents Durban Mentorship (closed)

14h00 – 17h00 Tele-dialogues

12h00-13h00 Co-Production with Netherlands presented by NFVF

Lunch 14h00-15h00 SONOfind Online Search Made Easy Barbara Hintermeier, Sonoton 15h00-16h00 Panel Discussion: Where Social Media and marketing meet

16h00-17h00 Panel Discussion: VOD: Screaming for Streaming - Where do you sign up

09h00 – 13h00 Talents Durban Mentorship (closed) 14h00 – 16h00 Africa Doc Pitch

12h00-13h00 Opportunity and Transformation in the Animation Sector presented

by NFVF

Lunch 14h00-16h00 Talents Durban on Story: What’s yours and how can you tell it?”

Selina Ukwuoma

16h00-17h00 Finding the Right Partner: A Round Table with Industry Professionals

09h00 – 13h00 Project Packaging: DFM Official Projects (closed) 14h00 – 17h00 Project Packaging: DFM Official Projects (closed)

09h00-13h00 Talents Durban Mentorship(closed)

14h00 – 17h00 Tele-dialogues

09h00 – 13h00 Documentary Pitch Rehersals (closed) 14h00 – 16h00 Documentary Pitch Rehersals (closed)

04 / SPOTLIGHT

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SAVING LIVES WITH A KISS The First Kiss, a PSA by the Western Cape Government in South Africa and Y&R, is part of an extremely effective campaign with a simple message: wear your seatbelt, folks.

W

hen The First Kiss first hit local television screens, we all winced involuntarily at the graphic result of a moment of forgetfulness neatly wrapped up in a beautiful love story. Produced

by Martina Scheider and directed

by Jason Fialkov, the Safely Home campaign created a stir – sparking heated discussions on social networks on the importance of seatbelts and the power of shock advertising. The spot was shot in studio and on location in Woodstock and the Bo Kaap, with the final crash capturing the scene with astounding accuracy.

Scheider says Y&R approached Egg Films with the concept, which is based on a successful campaign run in Ireland and Northern Ireland for the same purpose. It saw a 100% increase in backseat seatbelt wearing, and a 50% increase in front-seat wearing rates. “The brief was to adapt it to a local market and add the twist of the kiss. We were aligned on this from the beginning. It was important to me to build the love story upfront to ensure the emotional impact of the crash scene,” she explains.

“My job was to bring it to life

emotionally. It was important from the start of the film to misdirect the viewer, taking them along on a love story,” says Jason. “Then ‘CRASH!’ – take everything beautiful away; that’s what happens when you don’t buckle up.” He goes on to say that working on this campaign has affected him, too. “To be honest, I never used to wear my seatbelt before making this commercial. I definitely do now.

It’s not a joke. I definitely think the ad will stay in people’s minds on a subconscious level.”

Twenty-year-old Nikita Khan is the face of the campaign.

Liesel Hardenberg, Director at

MyBooker, says Nikita’s sunny personality landed her the role.

“She is incredibly warm and unaffected, as soon as you meet her, you love her, and this is exactly what her character in the PSA needed, a lead role that the public would love and feel the loss and sadness … making the message of the PSA so memorable and powerful. Gotta love a director who is so confident in his skills, he is prepared to take a chance on a completely inexperienced performer for such a demanding role.”

Nikita is extremely excited about the campaign, and just as confident in its ability to sway

viewers. “What stood out for me was how real everything looked, especially the crash…

People say that the ad is too brutal to show, but that’s real life, it happens, we need to face this possibility and be responsible.”

Fialkov worked closely with DOP Willie Nel and Stunt Coordinator Gideon van Schoor to create the crash scene, while post-production was done by Upstairs Ludus and Wicked Pixels.

But perhaps the reason this PSA is so effective because, as Jason says, “You’re not trying to sell a product; you’re trying to save lives. It’s a whole different kind of world you find yourself in.”

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The Safely Home campaign The First Kiss was produced by Martina Scheider and directed by Jason Fialkov © Egg Films

WESTERN CAPE: 13 Prestwich Street, Cape Town, 8001. Tel: +27 21 425-2170 Cell: +27 (0)83 252 1151 GAUTENG : 311 Surrey Avenue, Randburg, Gauteng, 2194 Tel: +27 11 326 4684 Cell: +27 (0)82 825 1299 E-Mail: info@proevents-sa.co.za Website: www.proevents-sa.co.za

SPOTLIGHT / 05

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NEW FILM COMATOSE IN PRODUCTION

Comatose brings South African and Nigerian talent together to tackle the challenging subject of euthanasia.

Comatose ©1Take Media

1

Take Media has begun and African talent such as Aissa production on Comatose, Maiga, Bimbo Akintola, Robert a dramatic Afro-futurism Whitehead and Deborah Lettner feature film set to be starring. Comatose is directed released in early 2017. The film

by Mickey Madoda Dube, with explores an African perspective on production set to begin in Durban the euthanasia debate, with awardand continuing in Nigeria. winning actors Fabian Adeoye The film is adapted from a Lojede (Jacob’s Cross, Man on play written by prolific CanadianGround), Hakeem Kae Kazim (Black Nigerian writer Jude Idada. It Sails, 24, Hotel Rwanda), Mary Twala follows heet I-2 p Ad 05-2016* 5/15/16 8:14 PM Page 1 1 siblings Segun (Lojede) Sheet I-2 p Ad 05-2016* 5/15/16 8:14 PM Page Sheet I-2 p Ad 5/15/16 8:14 PM Page (Sarafi na,05-2016* The No1 Ladies Detective and1Omowunni (Akintola) as they Agency) and other acclaimed local battle over the life of their ailing

mother Nana (Twala), who is in a coma. One wants to pull the plug, one wants to keep her alive. One resides in Lagos and the other in California. In this battle of wills, dark family secrets come to light, relationships are shattered, and the true meaning of love is revealed.

This argument has been raging for decades across the globe.

Comatose will dig into the matter, off a variety of perspecti ves C ering CMY C M M Y Y CMCMMYMYCY CY CMYK K to this complex issue. is going C M Y CM MY “This CY CMY K

to be the most challenging role I’ve played. The film has so many layers: visual and narrative,” says Lojede, who co-wrote the script and who is co-producing with Dude.

1Take Media begins principal photography on 13 June 2016, with funding from the South African Department of Trade and Industry (the dti), the National Film and Video Foundation (NFVF) and the KwaZulu-Natal Film Commission.

NEWS / 07

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NEW ADDITIONS MADE TO

SUNRISE TEAM

Sunrise Productions, creators of the award-winning animated series Jungle Beat, have made new senior appointments across the business.

J

Jungle Beat © Sunrise Productions

ennifer Burgos will join the senior management team and be responsible for driving commercial and business development. Jennifer’s focus will be the deepening of current, and growth of new strategic partnerships globally. Jennifer’s extensive experience includes Turner Broadcasting, Aardman Animations and Discovery Networks.

Joining the Story team are BAFTA award-winner Will Brenton, and writer Robin Crowther-Smith.

Will has co-created, written, produced and directed highly successful children’s television including The Tweenies, Wibbly Pig and Mighty Mites. Robin has written on Shaun the Sheep and Morph.

Eric Lessard will join the Production team as Animation Director. Eric previously worked at Dreamworks as the Senior Animator on Shrek, Shrek 2 and Madagascar, and as Animation Supervisor on Shrek 3.

Commenting on the

appointments, Founder Phil Cunningham said: “We are delighted to welcome Jennifer, Will, Robin and Eric to the team. They all join us with a wealth of experience in the children’s sector and we’ve already benefitted from their expertise. We have ambitious plans for growth over the next three years and these key appointments enable us to reach our goals.”

Sunrise is currently in-production on a brand new TV series set in the world of Jungle Beat.

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08 / SPOTLIGHT

FOR THE

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LOVE OF NUTS!

Squeers is a new LGBQT satirical animated comedy currently in development by some of SA’s animation trailblazers.

I

ntroducing Squeers – a new, edgy and hilarious animated television series in development by Cape Town creative Matt Torode and Joburg-based writer Lebogang Mogashoa. The 7-minute episodes are based on the original South Africa LGBTI comic strip

by Roberto Millan, originally published in The Pink Tongue.

The show follows Neil and Artel, two gay squirrels in search of success, love and happiness, as they navigate their lives in the treetops of the City Gardens.

Wendy Spinks of Zero Point Studios is attached as Creative Producer and EP. The show is

Squeers © Pop the Culture & Zero Point Studios

currently looking for investment and broadcast partners, with 78 episodes planned for Season 1.

Pop the Culture and Zero Point Studios are involved in presenting and producing the adaptation, with the NFVF supporting the project

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and funding the development to produce a teaser video, a written script and a few episode outlines of the show while it is pitched to potential broadcasters and investment partners.

This will be the first animated

show of its kind to deal with adult topics pertaining to what it actually means to be part of the LGBTI community, and how, as humans, we share the same struggles and dreams.

“Financing animated series’ is always a challenge in SA,” says Spinks, “But our main challenge may lie in breaking into the greater African market.

This series can be considered controversial to many, but it will break ground and we believe there to be a substantial and growing niche audience globally.”

The Squeers teaser goes live on 6 June. For more information, visit www.squeers.com.

NEWS / 09

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AFS worked on Old Spice’s campaign Legendary Man © AFS Productions

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AFS Productions' Heinz commercial aired at the 2016 US Superbowl © AFS Productions

Castel Beer TVC © Ginger Pictures

COMMERCIAL HIGHLIGHTS IN 2016

South Africa has had a bumper commercial season this year. Kim Crowie explores the joys, triumphs, trends and challenges of the sector, from production companies, locations and studios to tabletop, short-form animation and post production.

B

y all reports, South Africa has had a robust, busy commercial season in 2015/16 that has extended well into winter time. A number of production companies have reported continuous work from both local and international advertising agencies and brands, with the weakening Rand encouraging spend despite

clients continually tightening their purse strings. Says Monica Rorvik, “Wesgro Film and Media Promotion has been very pleased to hear how active the commercial and stills season has been.”

Ginger Pictures Producer Julie Ah Fa says this is the best year they’ve had since they started in 2008, with most of their shoots taking place in Johannesburg

for Pan African clients. The company will also be bringing in new clients and a new director soon. “We have worked with McCann, Ogilvy, TBWA, FCB with whom we won a Silver Award for best TV commercials for a series of three commercials.

The brands worked for were mostly cellphone providers like Orange, Tigo, Vodacom and

Pan African food like Jumbo, Castel Beer, XXL energy drink, Peak and Bonnet Rouge milk.

So for us it was an innovative year because we did a lot of food advertising,” she explains.

AFS Productions also saw an exciting commercial season. Their recent commercial for Heinz aired during the US Superbowl in 2016, and was featured on AdWeek.

12 /

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Wimpy’s Mr Cuddles was directed by Dani Hynes © Egg Films

Kyle Lewis uses his bold, visual aesthetic for Volkswagen © Arcade Content

Montego production © bouffant

Behind the scenes on a service shoot © Namib Films

The ad sees adorable wiener dogs donning the most delightf ul litt le hot dog bun suits, locally manufactured by Captain Costumes. Another highlight was their Old Spice campaign Legendary Man. “This year we celebrate our 20th year in business and we are still having as much fun as when we started the business!” says Brin Kushner. “The South African Rand has devalued greatly against the US dollar and this had definitely led to an influx of foreign productions wanting to shoot in South Africa.”

Egg Films has once again made a splash in the commercial world.

They were the highest-ranked South African production company in the official Loerie rankings for 2015, with Terence Neale as the second-ranked local director and Rozanne Rocha-Gray and Julia Schnurr came fourth and eighth respectively in the producing category. Stellar work like Your Future Is Not Mine for Adidas Originals (Johannes Leonardo), Mr. Cuddles for Wimpy (FCB), and First Kiss – Jason Fialkov’s shocking

but well-received seatbelt PSA for the Western Cape Government (Y&R) – rose to the top. Egg Film Service has also been on a roll with car ads recently, servicing spots for Porsche, BMW, Audi and Volvo.

“We were really happy that two of our most popular campaigns this year – for Wimpy and for Careers24 – were dialoguedriven,” says Egg Films Managing Director and Executive Producer Colin Howard. “Out of ten boards we receive, it’s rare for more than two to be dialogue-driven.

We love voiceovers, vignettes and visual storytelling as much as any agency art director but we also believe that memorable dialogue still stands out, perhaps now more than ever while there’s so little of it. So we’re hoping it’s going to make a comeback.”

Their sister company, Arcade Content, has also had an incredible year. 2015 was the company’s second year in the business and they worked with a number of top agencies, creatives and brands well into 2016, according to William Nicholson, Producer and

WE ALSO BELIEVE THAT MEMORABLE DIALOGUE STILL STANDS OUT, PERHAPS NOW MORE THAN EVER WHILE THERE’S SO LITTLE OF IT. SO WE’RE HOPING IT’S GOING TO MAKE A COMEBACK. Co-Founder. From Rob Smith’s One Rand Family for Sanlam to Lebogang Rasethaba’s Ziyabanda for Castle Lite and Kyle Lewis’ Up! campaign for Volkswagen – Arcade is pushing boundaries with their cutting edge creative concepts.

“The single most exciting trend we’ve observed is how agencies and clients alike are becoming increasingly bold and open-minded about what film advertising can be,” Nicholson says. He cites King James and Sanlam, and Ogilvy Cape Town seeing potential in Lebo’s and Kyle’s reels. “They knew the work was not going to look or feel traditional, which is why they came to us.” bouffant saw some exciting

growth in their company with Thabang Moleya shooting feature film Happiness is a Four Letter Word, and Dean Blumberg and Marc Sidelsky working in branded content for Nestlé.

“Marc Sidelsky shot a beautifully filmed Ford Ranger commercial for JWT Dubai,” says bouffant’s Executive Producer, Peter Carr.

“Dean Blumberg was the only SA film director to make it into the recently announced Gunn Report Showreel of the Year for his Student Flights campaign with TBWA\Hunt\Lascaris. Petar Spiljevic, Gordon Lindsay, Dean Blumberg and Erik Van Wyk have all featured in Adforum’s Top 5 Directors throughout this year.

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Heinz’s US Superbowl ad sees adorable wiener dogs donning little hot dog bun suits. © AFS Productions

bouffant was ranked joint 11th in the Best Ads on TV Rankings of Global Creative Advertising in the Production Company category; Erik and Dean were listed as 19th and 29th in the Directors rankings respectively.”

Moonlighting, too have reported a great season, working with clients from the UK, US, France, Sweden, Dubai, Germany and Finland, among others.

“What’s stood out is where

the clients have really taken advantage of the production value by coming to Cape Town for a few weeks and shooting for 10 – 15 days, delivering multiple spots to different agencies throughout the world,” Beccy Kellond, Moonlighting’s Marketing Manager explains. “For a major French brand, we had a new agency team arriving every other day with additional artists from all over the world. We’ve just

Terrence Neale’s work on Adidas Originals garnered international attention © Egg Films

done the same for a US company, where we ultimately delivered 42 spots to numerous markets.”

As Navigator Films Executive Producer Tina Talbot says, “After almost two decades and another bustling film season behind us, we yet again stand back in wonder and amazement at the unpredictable, from time to time thrown into unprecedented, territory. Cognisant of that adrenaline rush that binds us all

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in the intensively creative nature of film production, we reflect on how some of ‘back-then’ stressful and head-scratching moments have dissolved into the pride and gratitude for our talented crew, our loyal clients and supportive suppliers. We have a strong industry that only continues to grow from strength to strength.

Proud of our people, proud of our work. ‘We’ll be right back after this commercial break’.”

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COMMERCIAL PRODUCTION HOUSES OPERATING IN SOUTH AFRICA

We bring you a comprehensive list of the major production houses and companies operating in Southern Africa, offering a range of services across the commercial sector.

COMPANY NAME

SERVICES

NOTABLE CLIENTS/BRANDS

WEBSITE

1410th Street

Wimpy, SA Dept. of Energy, Telkom, Ariel, Nando’s, Sasol Company Affiliates: Shootaway, Colt Talent, Just R1, 1BIG Fence, OSCASA, IPS (Payroll)

www.fourteententh.co.za

1 BIGdoor Entertainment Group

Full Production Services, Animation, Multimedia All-inclusive Entertainment Group

Shootaway Production

Full Production Services

www.shootawayproduction.com

7 Films 9mm Films Africade Productions

Directors Full Production Services Full Production Services

Mika Kallio, Amazing Race Asia, DNA, Vuka!, Formula 1 Pupa, Kinder Joy, Kronos, CrashCarBurn

AFS Productions

Full Production Services

AmberRay Productions Area 51 Productions Atomik Pictures

Full Production Services Full Production Services Full Production Services

Axis International

Directors

Bang Bang Films

Full Production Services

BeatRoute Productions

Big Banana Films

Full Production Services, Tabletop Production Services, Post Production Full Production Services

Bigmouth Studios

Directors

Bioscope Films

Directors

BFX Studios / Bladeworks

Birdfilm

Full Production Services

BlackGinger

VFX, Post Production, Animation for Commercials Full Production Services

BLM Productions Blue Sky Films Blue Wizard Productions bouffant

Full Production Services in East & Central Africa Full Production Services Directors

CAB Films

Full Production Services

Can Can Films

Full Production Services

Cape Direct

Full Production Services

Human, Landrover, Amazing Race Asia & Australia, Samsung Heinz, Old Spice, Microsoft, Apple, IKEA, Hersheys Boardmans, Shoprite, Pep, The Farm, Air Extreme Flying Fish, Papaya Films, The Bank, Opus Films, Sky Nestle, Audi, Glo, Pepsi, Coca Cola, Ford, Guinness Swatch, Danonino, Mastercard, Kiri, Coca Cola, ProNutro Tiger Brands, Beacon, Buy Smart, Skrillex, Cell C, SuperSport, Skittles, Aquelle, Hennessy BBC Earth, Channel 4, MIA Films, M3 Creative, IWC Media Kraft Post, Eject Media, Blue Door, Time Square Prod.

Bar One, Toyota, Musica, Orange, Pantene, Coca Cola Orange, Nestle, Ribena, Toyota, Suzuki, Activia Hunters, Nedbank, Vodacom, M-Net, Johnnie Walker Volkswagen, Air Norwegian, Sanlam, Truworths, Renault Lyons Tea, Tusker, Johnnie Walker, Guinness, Coca Cola Nestle, ICASA, Sasol, Transnet Dimension Data, KFC, DStv, Total, Honda, Lucozade, Samsung, Robertsons Absa, Adidas, Honda, IKEA, T Mobile, Nike, Guinness, Ford, Bells Glass Film, Home Corp, Nutopia, Brave Films, Sneezing Tree Brave Films, Twin Films, Tantrum, Hapi, Traktor, Biscuit, Blink

www.1bigdoor.com

www.7films.co.za www.9mmfilms.com www.africadeproductions.com www.afsproductions.com www.amberray.co.za www.area-51.tv www.atomikpictures.com www.axisinternational.co.za www.bangbangfilms.com www.beatroute.co.za www.bladeworks.co.za/bfx www.bigbanana.co.za www.bigmouthstudios.co.za www.bioscopefilms.co.za www.birdfilm.com www.blackginger.tv www.blmsa.com www.blueskyafrica.com www.bluewizard.co.za www.bouffant.tv www.cabfilms.com www.can-canfilms.co.za www.capedirect.com

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COMPANY NAME

SERVICES

Cape Film

Full Production Services

NOTABLE CLIENTS/BRANDS

WEBSITE

Catapult

Directors

Hippo, Leadway, Mazda, Ford, DStv, Romans, Blackberry

www.catapult.tv

Chroma Television Productions

Full Production Services

Pick n Pay, Vodacom, Toyota, Mutual & Federal, WBHO

www.chromatelevision.co.za

Cinergy

Full Production Services, Directors, Post Production

Coldplay, Glasfit, Mitsubishi, Opel Corsa, Rompetrol

www.cinergy.tv

Clive Morris Productions

Full Production Services

Microsoft, Telkom, SKA Africa, Hisense, Sun International

www.cmproductions.co.za

Coastal Connection Producers

Full Production Services

BLM, Final Touch, Maxfilm, Bedford Falls, Onesuch Films

www.coastalconnection.co.za

www.capefilm.co.za

Collective Energy

Full Production Services

Conduit Productions

Full Production Services, Animation, CGI, VFX

Hunters, Locnville, Alcatel, Coca Cola, SAB Miller, Guinness

www.conduit.co.za

Cool Banana Production Company

Full Production Services

Barclays, BMW, i-D Castle Lite, Credit Suisse, Nokia, Nikon

www.coolbanana.co.za

Creative Vision

Full Production Services, VFC, Animation

Tsogo Sun, Jelly Tots, Hertz, Dimension, Nando’s

www.creative-vision.co.za

CSQUARED Productions

Full Production Services, Media

SuperSport, TWT, Sunfoil, Barclay’s Premier League

www.c2.co.za

Darling Films

Directors

Environ, SABC, KFC, Datsun, Metro FM, VUZU, Sprite

www.heydarling.tv

www.collective-energy.co.za

Dancing Light Productions

Full Production Services

Coughex, Lifebuoy, Pandigital, LG, Volmer, Meritz

www.dancinglight.co.za

Delicious Fresh Film

Full Production Services

JWT, Tiger, Magnum, MacDonalds, OMO, Pilkington, Lacoste

www.deliciousfilms.tv

Dragonworx

Full Production Services

Dv8 Films

Full Production Services

MTV

www.dv8.co.za

Edenrage Media

Full Production Services, Live Events and Immersive Media

Virgin Atlantic, MTN, Pamper’s, Liqui Fruit, SABC, Tiger, Veet

www.edenrage.tv

EFX Productions

Full Production Services

FIFA, SuperSports, SABC3, ABSA, IBM, Ericsson, Barclays

www.efxproductions.co.za

Egg Films / Arcade Content

Directors

Castle, Sanlam, 1Life, Absolut, Vodacom, Adidas, VW, Loeries

www.eggfilms.tv www.arcadecontent.tv

Eject Media

Full Production Services

SABC, Nokia, Sasol, Vodacom, Coca Cola, Old Mutual

www.ejectmedia.co.za

EuroConnection Production and Management

Full Production Services

Coca Cola, Converse, KLM, Nivea, Polo, Selfridges, Danone

www.euroconnection.co.za

Evidencia Africa Productions

Full Production Services

Y&R, Décathlon, Tropicana, Vania, Airwick, Frontline

www.evidencia.co.za

Farm Film / Farm Africa / WeShootFood

Full Production Services, Tabletop

Coca Cola, Nissan, Goodfellas, Audi, BBC, ABC, PBS, MTV

www.farmfilm.tv www.weshootfood.tv www.farmafrica.tv

Feel Good Films

Full Production Services

Nescafe, Audi, NSW, Maggi, Nivea, VW, Spar, Mars, Doritos,

www.feelgoodfilms.tv

Figment Films

Full Production Services, Commercials, Shorts

Telkom, Sanlam, Darg, VW, Drive Dry, Coronation

www.figment.tv

www.dragonworx.co.za

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COMPANY NAME

SERVICES

NOTABLE CLIENTS/BRANDS

WEBSITE

Figure One Films

Full Production Services

Sony Music, Ster-Kinekor, Wrestlerish, Die Windpomp

www.figureonefilms.com

Film Machine

Directors

Fineline Productions

Full Production Services

Philips, Big Joe, Spears, Gallagher Bassett

www.finelineproductions.net

Filmworks

Full Production Services

McDonalds, Lays, Cheetos, Atlantis, General Motors

www.filmworksgroup.com

First Productions

Full Production Services, Stock and Editorial Images, Commercials

T-Mobile, BMW, Swan Insurance, Graces Property

www.firstproductions.co.za

Fly On The Wall

Directors

MTC Namibia, MTN, Diesel, Vice UK, Nike Africa, Dove

www.flyonthewall.co.za

Fopspeen Moving Pictures

Animation, Full Production Services

Piet Grobler, Sanna’s Garden

www.fopspeen.co.za

Freelink

Full Production Services

Corsodyl, Levi Jeans, Sprite, Flair, OMV, UMC, Audéo

www.freelink.co.za

www.machine.co.za

Fresh Eye Films

Directors

BMW, Mini, Nissan, Mercedes-Benz, Karstadt

www.fresheye.co.za

Frieze Films

Commercial Producers, Directors, Full Production Services

Fosters, Visa, LG, Vizir Animals, Stelth Ulvang, Naked Ape

www.friezefilms.com

Fuel Media

Full Production Services

VUZU, Channel O, MTV Base, World Bank, Liberty Life

www.fuelmedia.co.za

Gatehouse

Full Production Services

Citroen, Gillette, Carling, Walgreens, Bombay Sapphire

www.gatehouse.co.za

Gavin Schneider Productions

Full Production Services

Allianz, Anglo Gold, Becks, Chevrolet, Davidoff, Ellesse

www.gsproductions.co.za

Gentlemen Films

Full Production Services

National Geographic, Klipdrift, SANBS, MultiChoice, Huggies

www.gentlemenfilms.co.za

Giant Films / Giant Africa

Full Production Services, Directors

Guinness, Johnnie Walker, Windhoek, Yardley, Amstel,

www.giantfilms.tv

Ginger Pictures

Full Production Services, Stills, Audio/Radio

Orange, Tigo, Catle, BGFI Bank, Coca-Cola, Vodacom, Bic

www.gingerpictures.tv

Glo Films

Full Production Services

Hallmark, Liberty Life, Garnier, Nivea, Radox, Dark & Lovely

www.glofilms.tv

Golden Planes

Directors

Oral B, OMO, Primus, Always, Adidas, Pampers

www.goldenplanes.com

Go Trolley Films

Full Production Services, Stills

BBC Sport, Good Pitch 2, ADFA, NFVF, Nederburg, Bozza

www.gotrolley.com

Grinder Films

Directors, Tabletop, Stills

Clarins, Amarula, Q-Skyr, Møllerens Flour, Amstel

www.grinderfilms.com

Groundglass

Full Production Services, Tabletop, Directors

Citroen, Nivea, Burger King, Lipton, Amstel, BBC, Andrex

www.groundglass.co.za

Hammersmith and Elephant

Full Production Services

Chevrolet, BMW, Bridgestone, McCain, Manhattan, Telkom

www.hefilms.co.za

Happy Cat Films

Full Production Services, Stills, Directors

Nivea, Arrow, Ponds, Tomtom, Micromax LED, Coca Cola

www.happycatfilms.co.za

Homebrew Films

Full Production Services

War Horse, Media24, Tweesent, Da Vinci

www.homebrewfilms.tv

Hungry Films

Full Production Services, Directors

Castle Lite, SARS, Coca-Cola, Mugg & Bean, Everlast, KFC

www.hungryfilms.co.za

I Love That Productions

Production Music, Commercials, Corporate, TV

SABC, Bombardier SA, DJ Mshega,

www.ilovethat.tv

Juice Film

Full Production Services

25 Framces, Cap Gun Collective, Henry, Iconoclast, Pulse

www.juicefilm.tv

Jump SA

Full Production Services

VW, MTN, Nedbank, First For Women, Coronation

www.jumpsa.net

Jumping Dust Productions

Full Production Services

Kaap Film

Full Production Services

www.jumpingdust.co.za Philips, KLM, BNN, Nescafe, Unilever, Canon, Endemol

www.kaapfilm.com

Kaapland Films

Full Production Services

Kalahari Film & Media

Full Production Services

Jeep, Scuba Pro, Hisense, IKEA, Halls, Chrysler, Kotex

www.kalaharipictures.com

Lemon Reel Film Services

Full Production Services in Namibia, Ethiopia, Angola, Djibouti, South Sudan and Eritrea

Terra Mater, National Geographic, Pathe, Zodiak Media

www.lemonreel.com

Let it Rain Films

Full Production Services

Outsurance, Spar, Nedbank, Allan Gray, Hyundai, Axe

www.letitrainfilms.com

Audi, Goodyear, Chevrolet, Investec, Bugatti, Knights

www.luckyfishproductions.co.za

Lobster Tree

Full Production Services

Lucky Fish Productions

Full Production Services

www.kaaplandfilm.com

www.lobstertree.com

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COMPANY NAME

SERVICES

NOTABLE CLIENTS/BRANDS

WEBSITE

Lucky Rabbit Films

Full Production Services

KIK, BBVA, McCain, Coca Cola, Cornetto, RCI Banque

www.luckyrabbit.co.za

Machine

Directors

Made In Africa Films

Full Production Services

Taylor Swift, Publicis, Vaseline, Evergreen, Vertbaudet

www.miafilms.co.za

Magic Monkey Productions

Full Production Services

ADT, SAB Miller, Zodiac, Coca Cola, Eden Campus, BP

www.magicm.co.za

Wesgro, Sasol, The Parlotones, Pepsi

www.machine.co.za

Man Makes a Picture

Stills and Video Production

Mannequin Films

Full Production Services

Masters and Savant

Commercials, Branded Content, Animation, VFX, Directors

VW, Ultramel, Kellogg’s, iWyse, Discovery Insure

www.mastersandsavant.com

McKenzie Rudolphe Film Services

Full Production Services

Robinsons, Garnier, Bombardier, Nike, Bridgestone, Visa

www.mcrud.com

www.manmakesapicture.co.za www.mannequinfilms.co.za

Metal Tiger Productions

Full Production Services

BBD Productions, Oursin Film, Dynamo Film

www.metaltigerproductions.co.za

Migrate Films

Full Production Services

Birds Eye, VW, Oryx, Bentley, General Electric, Land Rover

www.migratefilms.tv

Miros Films

Full Production Services

Woolworths, Glo, London Olympics, Conoil

www.miros.co.za

MO Production

Full Production Services

Audi, Corbis, Getty, Pedigree, Reebok, Chloé

www.moprod.co.za

Monkey Films

Full Production Services

Guinness, Adidas, Shell, Nescafe, Goodyear, Dulux

www.monkeyfilms.co.za

Moonlighting Film Production Services

Full Production Services

Garnier, North Face, Jack Links, Zoegas, Audi, Sony, Toyota

www.moonlighting.co.za

Motion City Films

Directors

VW, Adidas, Cell C, Elle, Jameson, RE Jeans, Bobbi Brown

www.motioncityfilms.com

Muti Films

Full Production Services

Barlowworld, Pretoria Zoo, World Design Capital (Taipei)

www.mutifilms.co.za

Mushroom Media

Full Production Services

iStore, Heineken, Gill, Microsoft, DSv, VUZU, BMW, MTN

www.mushroommedia.co.za

Naashon Zalk Media

Full Production Services

DFID, IFC, SA Dept. of Social Development

www.naashon.co.za

Namib Films

Full Production Services

20th Century Fox, BBC, CNN, Endemol, ITV, Egg Films, Cool Banana, Made in Africa

www.namibfilms.com

Natural History Media

Production House

Minanawe Marketing, Sanlam, Katanga Express

www.naturalhistorymedia.com

Navigator Films

Full Production Services

Bacon Films, Bonkers, Cobblestone, DR. Film, Element, Tuna Films

www.navigatorfilms.co.za

Nomad Production House

Full Production Services

Virgin, Gallus, Sony, Miller

www.nomadprod.com

North South Productions

Full Production Services

Adidas, Audi, Club Med, Corbis, Nissan, Nintendo, Nokia

www.northsouthproductions.com

Nowhere Else Productions

Film and Stills Production

Peugeot, Décathlon, BMW, McDonalds, Kiri, Yves Rocher

www.nowhereelse.co.za

Off the Fence

Full Production Services, Distribution, Corporate, Stock Imagery

MTV US, BBC, ZDF, Fox International, Nuvo TV, Smithsonian

www.offthefence.com

Ohenemedia

Full Production Services

Okuhle Media

Full Production Services, Commercials, Corporate, TV

Melrose, Chappies, Woolworths, Shoprite/ Checkers

www.okuhle.co.za

Ola Films

Directors, Full International Production Service

Hollard, KFC, Castle, Foschini, King Price, Captain Morgan

www.olafilms.tv

www.ohenemedia.com

THE ESSENCE OF PRODUCTION DISTILLED OVER 23 YEARS Whatever your vision, whatever your budget, whatever your challenges, we’re your first call for passion, innovation, integrity and excellence.

See you at Cannes Lions 21st - 26th June. Let’s grab a coffee or a glass of rosè.

Founder/Exec Producer: Anton Rollino www.skinnyfilms.tv anton@skinnyfilms.tv +27 82 560 8256 Cape Town, South Africa View our showreel on

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COMPANY NAME

SERVICES

NOTABLE CLIENTS/BRANDS

WEBSITE

Orange Films

Full Production Services, Stills, Music videos

Garnier, Kellogg’s, GMX, C&A, Gallia, Cuprinol, Florana

www.orangefilms.co.za

Our Time Productions

Full Production Services, Commercials, Film, TV, Animation

Passing Trains Film & Television

Full Production Services

Spur, Big Korn Bites, ProNutro, Klipdrift, Isuzu

www.passingtrains.co.za

Penguin Films

Full Production Services, Film, TV, Branded Content, Commercials

OMO, Red Arrow International, Nedbank

www.penguinfilms.co.za

Philo Films

Full Production Services

Save The Children, Nokian Tyres, BMW, Yamaha, Peugeot

www.philofilms.co.za

Picture Tree

Full Production Services

VUZU, Jet, Cadillac, KWV, VW, DStv, Vital, M-Net, MWeb

www.picturetree.co.za

Pistoleros Films

Full Production Services

Plank Film Productions

Full Production Services

Wrigley’s, Chicken Licken, Hollard, Nando’s, Halls

www.plank.co.za

Prinz Productions

Full Production Services

VW, Citroen, Sony, Vogue, Bilka, Dansk, Chevrolet, Picard

www.prinzproductions.com

www.ourtimeproductions.co.za

www.pistoleros.co.za

Propeller Films

Full Production Services

FedHealth, Panadol, Amstel, Adidas, Access Bank

www.propellerfilms.co.za

Red Dot Productions

Full Production Services

Amstel, FCMB, Star, MTN, Sterling Bank, Indomie, Compass

www.reddotproductions.co.za

Red Petal

Full Production Services, Locations

VW, Kayak, BICO, Nivea, Opel, Coca Cola, Close Up

www.redpetal.co.za

Reeleyes

Full Production Services

Campina, Deloitte, Garnier, Securex, Renault, Vital

www.reeleyesfilm.com

Renegade Pictures

Full Production Services

Rocket Films Africa

Full Production Services

www.renegadepictures.co.za Ecobank, Netflix, Nestle, IOC, Oreo, Hershey’s, Sony

www.rocketfilmsafrica.com

Riverstone Films

Directors

Dreher, Neotel, Edgars

www.riverstonefilms.co.za

Rolling Pictures

Directors

VW, Orange, Cesar, Davidoff, Labello, Maggi, Pantene

www.rollingpictures.co.za

Rolling Thunder

Full Production Services

Land Rover, Father Coffee, Samsung, Nokia, Viva, Veet

www.rollingthundersa.co.za

Barclays, Jumbo, Telkom, Cellone

www.rpproductions.co.za

RP Productions

Full Production Services

Sidewinder Films

Production Services, Locations, Wildlife

Silver Lining Pictures

Directors, Stills

Coca Cola, Altel, Ponds, Tab, Sprite, Bertolli, Tomtom

www.silverliningpictures.tv

Silverline 360

All-In-One Film Service Group

Company Affiliates: Media Film Service, Media Outside Broadcast, Moonlighting, Searle Street Post, Refinery, Digital Film Service, Movie Mart

www.silverline360.com

Skinny Films

Full Production Services

Swiss Bankers, Fiat, Nurofen, Nationale Suisse, Go Compare

www.skinnyfilms.tv

Smokin’ Gun Productions

Full Production Services, Stills, TV, Commercials

Absa, Wii Lego, Whiterose, Taxi Violence

www.smokingun.co.za

Southern African Natural History Unit (SANHU)

Production Services, Wildlife

CBBC (BBC), Tigress Productions, BR, Eurovision, ARD1

www.sanhu.co.za

Spitfire Films

Directors

Mpesa, Huawei, Isuzu, SANBS, Sony, Telkom, SA Tourism

www.spitfirefilms.tv

Star Productions

Directors

Coca Cola, Visa, Outsurance, Tusker, Vodacom, Hollard

www.starproductions.co.za

Steel Productions

Full Production Services

BMW, Carlsberg, Chevron, IBM, Sony, SA Tourism, Puma

www.steel.co.za

www.bigbanana.co.za/sidewinder-films

Stillking Films

Full Production Services

Guinness, Stella Artois, IKEA, Jean Paul Gaultier

www.stillking.com

SugarStone

Full Production Services

Stretta Café, Twizza Beats, Suncoast, FMI, Hellmans, Li-Lets

www.sugarstone.co.za

Sukuma Media

Full Production Services

Sweet Spot Content

Directors

Heinz, Black Dog, 1Life, BASF, Hippo, Tusker, Toyota

www.ssc.tv

Talking Pictures

Production Services, Wildlife, Stock Footage

Nature on Track, Animal Planet, USAID, Discovery

www.talkingpics.com

TEC Video

Production Services, Commercials, Motion Graphics

Discovery Activate, Eskom, Samsung

www.tecvideo.co.za

Tekweni TV

Production Services, Digital Media, Aerial, Underwater, Stock Footage

Earthbeat, Jan Smuts (Documentary)

www.tekweni.co.za

www.sukumamedia.co.za

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COMPANY NAME

SERVICES

Terraplane

Full Commercial Producti on Services

NOTABLE CLIENTS/BRANDS

WEBSITE

The Big Picture Company

Full Producti on Services

Coors, Pampers, Lidl, Maggi, Halls, Homeland (Promo)

www.thebigpicture.co.za

The Bomb

Full Producti on Services

MTN, FNB, Primus, Vodacom, DStv, Engen, Amstel

www.thebomb.co.za

The Fabulous Boomtown Boys

Directors, Commercial Service

Coca Cola, Mars, Pepsi, Milo, Nescafe, Nokia, McDonalds

www.boomtownfilms.co.za

The Film Company CT

Full Producti on Services, DOP

Perrier (Grand Prix Lion 91), Christi an Dior, Cote d’Or

www.thefilmco.com

The Kinetic

Full Producti on Services

M-Net, VUZU, KFC, Samsung, Joy of Jazz, Nomad, SAFTA

www.thekinetic.co.za

www.terraplane.co.za

The Network

Full Producti on Services

Hyundai, Cell C, Starsat, Route 66

www.thenetwork.co.za

The Shooting Gallery

Full Producti on Services

Mahindra, Lidl, DKV, Levi’s, Iveco, Coca Cola, Lucozade, AXA

www.theshootinggallery.co.za

The Worx Digital Media

Full Producti on Services, Film, Commercials

Atlanti s, Nissan, Skinnygirl Cocktails, Coca Cola

www.theworx.tv

They

Directors

Toyota, Ocean Basket, Barclays, Engen, Nedbank

www.they.za.com

Time Frame Productions

Producti on Services

CBS, BBC, ABC, Fox, Nat Geo, Sky, MTV

www.timeframetv.com

Townsend Productions

Producti on Services, Locati ons

Trike Films

Full Producti on Services

Legit, Lamborghini, Bridgestone, MTN, Albany, Edgars, Ola

www.trike.co.za

www.townsendproductions.co.za

Twin Films SA

Full Producti on Services

Uncle Morris Films

Full Producti on Services, Films, Commercials, TV

Hero, Foxy Bingo, Sony, Gerber, VW, Grill Gilde, C&A

www.unclemorrisfilms.com

The Upstairs Ludus

Post Producti on, VFX for Commercials

Engen, Investec, Vanish, African Bank, Y&R

www.upstairspost.co.za

Velocity Films/Velocity Afrika

Directors

BMW, MTN, Canon, Investec, VW, 5FM, Ster Kinekor, SAA

www.velocityfilms.com www.velocityafrika.co.za

Velvet Films

Full Producti on Services, Animati on

Montego, Sterling Bank, Bidvest, Ellis & King, Jik, Veet

www.velvet.tv

Waterston Entertainment

Full Producti on Services, Corporate, Animati on, VFX

Discovery Vitality, MovieRide FX, Emperor’s Palace

www.waterston.tv

www.twinfilms.co.za

Way Ahead

Producti on Services

What We Want Entertainment

Full Producti on Services

Absa, Citro Soda, Coca Cola, Pampers, McDonalds, Peugeot

www.whatwewant.tv

Wicked Pixels

Animati on, VFX for Commercials

Hyundai, JC Le Roux, M-Net, Ola, Nike, Smirnoff

www.wickedpixels.com

www.wayahead.co.za

Wildflower Productions

Full Producti on Services

Nissan, Unisa, MTB

www.wildflowerproductions.co.za

Wink Films

Full Producti on Services

Samsung, Nescafe, Outsurance, Heinz, Peugeot, Orange

www.winkfilms.tv

Yeeha Media

Producti on Services, Corporate, Digital Media

Macpherson Paints, Microsoft , GT Runfl at

www.yeehamedia.co.za

Your Girlfriend

Directors

Sti morol, VW, Tropica, Toyota, Suzelle DIY, Metropolitan

www.yourgirlfriend.tv

Disclaimer: Although there are hundreds of production companies servicing the local and international commercials sector, due to limited space in the Callsheet we are unable to include them all. We have done our best to cover all major companies operating in the industry and apologise if your organisation has been omitted.

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DIRECTORS TO WATCH

Commercials Directors have seen another successful year, with a number of awe-inspiring names rising to the top. Here are just a few you should have your eye on in 2016.

TERRENCE NEALE A director who has gone from strength to strength in recent years, his most recent work for Johannes Leonardo (via RSA Films, who represent him in the UK and USA) brought him into the international spotlight again this year. Adidas Originals Your Future Is Not Mine cracked February’s Best Ad On TV, was Top Spot of the Week on Shoot, and was Editor’s Pick on Creativity and Little Black Book.

KYLE LEWIS A bright, young creative known for his bold, captivating visuals, Kyle Lewis has fast transitioned from directing music videos and branded content for SA’s top

artists to the commercial realm.

Represented by Arcade Content, he recently worked on the prestigious Loerie Awards promo, as well as a job with Volkswagen.

ROB SMITH Another director from Arcade Content, Rob Smith made waves last year with his work on Johnnie Walker’s Wager and the award-winning One Rand Family for Sanlam – which brought home Bronze at The One Show most recently. Rob was number 3 on the Loeries list and is one of the most awarded directors overall, with his work featured everywhere from Adweek and Osocio to Shoot and Ads of the World.

Terrence Neale’s work for Adidas Originals Your Future Is Not Mine © Egg Films

Karien Cherry’s Baby vs. Dale Steyn for New Balance © Giant Films

ARI KRUGER

Ari Kruger is the director behind hugely popular web series SuzelleDIY © SuzelleDIY

Although perhaps not as wellknown as other directors, Ari Kruger made his way into the hearts of South Africans with his hugely successful web series SuzelleDIY. His sense of comedic timing has brought a number of sponsors to the show including Lasher and Checkers, with a number of high-profile guests including Western Cape Premier Helen Zille, Cooked in Africa’s Justin Bonello, and renowned Banting expert Tim Noakes.

KARIEN CHERRY

Kyle Lewis’ recent promo for The Loeries © Arcade Content

An exciting young director and Giant Films newest talent, Karien Cherry is already proving herself.

She picked up a Gold Pixel Craft Award and Bronze Pixel Award at the IAB Bookmarks in March for

New Balance spot Baby vs. Dale Steyn, conceived by King James Group. Although a versatile director, on her spare time she dabbles in long form and was selected to participate in the 2015 Berlinale Talent Campus.

DEAN BLUMBERG A renowned, award-winning director with three Cannes Lions, four Creative Circle Awards, and a whopping 18 Loeries under his belt, bouff ant’s Dean Blumberg most recently completed an 8-episode online content piece with Marc Sidelsky for Nestlé that will see us edging into new and innovative forms of advertising. Blumberg was the only SA film director to make it into the Gunn Report Showreel of the Year for Student Flights with TBWA/Hunt/Lascaris.

helena@velocityfilms.com | karen@velocityfilms.com | CPT: 021 424 4971 | JHB: 011 807 0100 | www.velocityfilms.com

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Dior © Amazing Spaces

Lions relaxing at Aquila © Aquila Private Game Reserve

LAND OF

STRIKING LOCATIONS

South Africa has doubled as a huge amount of destinations on screen, including Europe, the Middle East and the Caribbean. Here’s a brief look at the country’s location offerings, trends and services.

S

outh Africa has always excelled as a service industry provider and this year’s international commercial season saw good return for most, thanks to a weakening Rand and a lengthy summer. Julia Finnis-Bedford heads up Amazing Spaces, one of the foremost location companies in South Africa. “One never

knows who is going to decide to come to shoot in SA as there is quite a bit of competition out there, but thankfully we had lots of clients coming this past season, all of whom were very happy with their shoots – naturally!” she says. “Our Gauteng office also saw a huge growth, which is very positive for us. Most of the Gauteng shoots are for the

local market – but we did host some international productions too.” Amazing Spaces hosted The Great South African Bake Off in one of their Gauteng locations, with a range of high-profile commercial brands shooting with them over the last year or so. These include McDonalds, Renault, Samsung, Nestlé, Toyota and IKEA. “Our

experience with international clients is always positive,” she says, “they are respectful of our locations and the teams are friendly and professional.”

Aquila Private Game Reserve is a preferred destination for stills and film shoots, local and international. According to Aquila’s Marketing Manager, Anna-Marie Janse Van Rensburg,

Amazing Spaces has amazing locations for film & photo shoots, events & accommodation. We have everything from beach houses, farms, classic homes, interiors & gardens to modern architectural masterpieces, offices, restaurants & sports fields.

We are a one-stop-shop, providing amazing service & locations that can replicate New York, the French Riviera, Prague, Syria, the Mediterranean, the English countryside & many more.

21 Durban Road, Wynberg, Cape Town, SA t: +27 21 761 3445 or +27 11 646 9172 e: info@amazingspaces.co.za www.amazingspaces.co.za

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FAST FACTS • South Africa has portrayed over 57 different parts of the world and has a number of reputable and awardwinning location scouts, companies and networks supporting the sector.

this year saw them play host to a number of feature films, series and other productions. Part of the reason for their popularity is their turnkey offerings, she explains.

“Aquila has a dedicated and experienced team of staff that are allocated to film shoots. These include game rangers, drivers and banqueting staff, amongst others.

Depending on requirements, we normally allocate two vehicles per shoot but can accommodate much more.” Added to their breath-taking landscapes is

• The Western Cape has experienced an exceptionally long commercial season and together with its incredible natural beauty, highlyskilled crew and ideal Mediterranean climate, it remains a firm favourite for locals and internationals.

the bonus that the reserve has never been used for hunting – meaning the animals are comfortable around vehicles and directors can get astonishing close-ups. Plus their salt pan area makes for spectacularly stark settings, not to mention their three helipads and an air strip for fixed-wing air craft .

Because South Africa is well-positioned as a location for filmmakers, it doesn’t succumb to trends and fads in the wider sector too often, although tight

• Gauteng is a broadcast hub, with Johannesburg, known as the City of Gold, at its pulsing epicentre. The region is sought after for its variety of locations including gritt y urban backdrops, sophisticated cityscapes and ample studio space.

• KwaZulu-Natal is a paradise

budgets are becoming more and more commonplace. “As much as we would have thought that the Rand being weak would have meant easier budgets, this has not been our experience at all,” Finnis-Bedford explains.

“A big percentage of all of our enquiries come to us with a tight budget.” She adds that there has also been a definite trend of shooting later into the night this season, with some shooting right through to the next morning.

of natural locations from golden beaches to historical battlefields and captivating wildlife. It is home to the annual Durban International Film Festival, with The Loerie Awards and its Creative Week returning to the city for a second year running in 2016.

AQUILA HAS A DEDICATED AND EXPERIENCED TEAM OF STAFF THAT ARE ALLOCATED TO FILM SHOOTS. THESE INCLUDE GAME RANGERS, DRIVERS AND BANQUETING STAFF, AMONGST OTHERS.

PETAR SPILJEVIC

www.bouffant.tv

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COMMERCIAL STUDIOS AND GEAR South Africa has a wide variety of commercial studio space available for hire, as well as a range of world-class, cutting-edge equipment used in some of the latest international productions.

©Panavision

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outh Africa’s commercial studios have experienced quite a busy year with a number of studios and rental spaces expanding their offerings to accommodate new technologies, clients and requests. Most recently, Panavision and Panalux have been consolidating into a 12 000 m2 premises, according to Michele St Arnaud, Operations Director for Panalux. The

company also owns Gold and Cape Island Studios in SA. “Bringing these two business units under the same roof will allow us to facilitate operations and better meet the demands of our customers who will now enjoy the benefit of having lighting, grip and studios all in one location,” she explains.

“We make it a priority to listen to our clients’ needs and what productions demand in terms

of kit and facilities. In addition to integrating cameras, grip and lighting under the same roof, we will be complementing Cape Island Studios with an extra two studios, now totalling five studios.”

In terms of technology, studios and equipment companies are always on the lookout to advance. Media Film Service recently acquired three of only 30 ARRI Alexa

SOUTH AFRICA ADDED ANOTHER NOTCH TO ITS NAME BEING THE FIRST COUNTRY TO USE THE NEW 65MM ALEXA – ON THE SHOOT OF STEPHEN KING’S THE DARK TOWER.

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WE’VE INTRODUCED THE NEW ARRI ALEXA MINI, SONY A7 AND RED EPIC WEAPONS TO OUR STOCK IN RECENT MONTHS, AND CONTINUE TO BENEFIT FROM KEY SUPPORT FROM OUR WORLDWIDE NETWORK OF PANAVISION OFFICES AND DISTRIBUTORS.

Media Film Service recently aquired 3 of only 30 ARRI Alexa 65 cameras © ARRI

McDonalds © Island Studios

65 cameras in the world. The system comprises a 65mm digital cinema camera, custom-designed prime and zoom lenses, and fast, efficient workflow tools. “This dynamic and innovative camera, developed by ARRI Rentals in the UK, has taken the industry by storm”, says Neil du Toit, CEO of Media Film Service.

“We are pleased that we are in a position to continuously offer world-class equipment to our clients and to grow the expertise in our industry.” In addition to this equipment’s exclusivity, South Africa added another notch to its name being the first country to use the new 65mm Alexa – on the shoot of Stephen King’s The Dark Tower.

Another company combining

both studio space and equipment sales and rental is Visual Impact, who now represents Digital Sputnik in Southern Africa.

Their modular RGB LED lamps are one of the most innovating developments in lighting technology over the last decade.

This move is in line with the high demand for more sustainable products – a definite trend emerging in the industry, says Michele. “Our R&D team have released several proprietary LED products including the LED Flex Light, a thin, flexible and super lightweight LED Panel, and the LED Spring Ball – an LED battery-powered soft light.” Panavision’s local camera inventory is also growing faster than ever, she says. “We’ve

introduced the new ARRI Alexa Mini, Sony A7 and RED Epic Weapons to our stock in recent months, and continue to benefit from key support from our worldwide network of Panavision offices and distributors. These important factors enable Panavision to offer leading technologies and workflows to every corner of the industry.”

Another trend in the industry is the rise of a much leaner method of filming – on-the-go shooting. This has arguably come about as a result of the many online platforms consumers frequent. “The influence of live-streaming and content providers such as YouTube, Netflix, Prime and iPlayer mean that the industry is no longer

looking to shoot solely for TV but are also looking to target a wider audience, shifting filming onto new digital platforms,” Michele explains, saying that part of what allows them to compete on an international scale is their in-house engineering and product development team – who are currently pushing the envelope in LED lighting.

“Panavision continue to innovate and push the envelope in terms of development of optics for the motion-picture industry.

With the recent Introduction of large-format digital cameras and the resurgence of shooting large format film, Panavision have invested in several series of spherical and anamorphic large format lenses purposefully designed to work with these larger format cameras. The Primo 70, Sphero 65, System 65 and Super Panavision 70 spherical series of lenses, as well as the Ultra Panavision 70 anamorphic lenses are all currently available.

Panavision are also introducing the T-series anamorphic lenses, specifically designed for digital imagers. With a large variety of lens choices, cinematographers are able to achieve a unique look to fulfil their unique vision.”

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TABLETOP PRODUCTIONS

COOKING UP A STORM We take a look at what scrumptious and mouth-watering imagery local tabletop companies are creating this season.

THE HOTTEST FOOD TRENDS IN 2016

© WeShootFood / Farm Film

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abletop production companies are always going to be in demand.

Not only do we love eating (and can’t live without it), but the yummier something seems, the more folks will flock to it. Enter South Africa’s small but fabulous group of tabletop professionals.

Companies like Grinder Films, who work between Warsaw and Cape Town, or Beatroute who can breathe life into a loaf of bread for kids, or WeShootFood who represent Robert Payton, one of the world’s most renowned food DOPs…these are the backbone of the tabletop industry. These are the people innovating to create the next great food montage.

WeShootFood has had a good year, with Payton working on campaigns in Europe, Ireland and Thailand recently, as well as local brands like Checkers,

Knorr and Bisto. The Callsheet caught up with him in December to chat about his Checkers campaign. “My approach to this Checkers shoot was one of playful inventiveness,” Payton said, “Let the food perform, and capture it in ultra-slow motion with Phantom cameras.”

High quality, 4K cameras have been all the rage in the tabletop sector of late, with Grinder Films also working with the Phantom Flex for a Woolworths project last year. The company recently worked on Q-Skyr and Cott age Cheese through their Warsaw branch, as well as a number of other local and international brands like Nestlé, Clarins, Iglo, Amstel, McDonalds and Diageo.

In January, Grinder was joined by ex-M&C Saatchi Abel Cape Town Producer Sarah Matthes to focus on the increasing

demand from the South African food and beverage market.

“There is huge potential for Simon (Barnes) in the South African commercials market and bringing Sarah on board shows how seriously we are approaching this,” Grinder Executive Producer David Rowley said recently.

“She will work exclusively with Simon as a team, bringing her knowledge and experience of how agencies and clients work and her understanding of what they need.”

Another trend surfacing in the absorption of multiple disciplines under one roof.

Beatroute Productions does this fabulously with succinct yet integrated creative offerings: TV production, music, timelapse photography and home renovation. Andrew Cleland, who heads up the company,

Although these trends hardly change the capacity, type of work and attention to detail that goes into tabletop production, it does speak to what we can expect in terms of food and beverage advertising and the way in which it is done. Healthy consumption is making a huge comeback, with a number of trends pointing towards locally sourced products and sustainable living.

Here are some of the hottest foodie trends in 2016, according to www.restaurant.org.

• Locally sourced meats, seafood and produce • Chef-driven fastcasual concepts • Environmental sustainability • Natural ingredients and minimally processed food • Homemade or artisan ice cream, butchery and pickles • Farm or estate branded items • Ancient grains • Food waste reduction and management • Street food and food trucks • Ethnic-inspired breakfast items

has worked with a number of local FMCG brands including Albany, Beacon, Doom, Joko and their hugely successful campaign for Tiger Brands’ Buy Smart initiative.

Di Britz EXECUTIVE PRODUCER +27 83 227 3041 +27 21 434 9632 di@can-canfilms.co.za www.can-canfilms.co.za

M ADE IN SOUTH AFRICA

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ANIMATION IN SA: THE LONG AND SHORT OF IT

Short format animation and motion graphics for TVCs is a well-known phenomenon, but it hasn’t been until recently that the South African animation sector has reaped the rewards of their service work.

M

ore often than not, animation is left behind as the rest of the film industry is swept through periods of disruption, celebration and movement. This year, however, saw a marked change in the sheer amount of animated service work being done across the board – in both long and shorter formats.

“Commercials have always been the underpinning of the South African animation industry.

The innovative, take-charge sensibility that is characteristic of South African studios, and the fact that we are first-language English speakers, make us attractive to international clients and offer strong competition for other countries that can

offer comparable rates,” says Julia Louw, Animation SA Chair, Communications Committee. “That said, we are now emerging out of an era of being purely service providers and into the original content space. More and more studios are getting into features and series.” She cites Triggerfish (Khumba), Sunrise (Jungle Beat), Luma (Bun & Bunee), Strika

Entertainment (Supa Strikas), Car2n. tv (My Child) and Pixcomm (Jabu’s Jungle) as examples of growth.

ANIMATION TRENDS AND ACCOLADES

A number of tertiary institutions have ramped up their offerings to include online media, animation and a number of digitally-driven courses and degrees. “This year

SA’S ANIMATION INDUSTRY AT A GLANCE • Three South African films were accepted into Annecy’s official selection this year: Triggerfish Animation and Magic Light Pictures’ Stick Man, Naomi van Niekerk’s stop-motion short ‘n Gewone Blou Mandagoggend (An Ordinary Blue Monday Morning), and Arid, the first student film from SA to make it to the festival.

• Cape Town International Animation Festival was a hit in February. The event saw 11 international speakers, four international delegations and over 76 hours of programming over four days, with attendance figures tripling since the previous festival.

• Pixcomm’s show Jabu’s Jungle was picked up by Gulli Africa in a deal that will see the show broadcast in 22 French-speaking territories.

Arid , by Charl van der Merwe, will be at Annecy this year © The Animation School

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THE FUNDAMENTALS ARE STILL THE SAME, LIGHT HASN’T CHANGED SINCE THE BIG BANG, BUT THE THINKING AROUND IT HAS CHANGED. WE AIM TO FOCUS MORE ON THE SHORT-FORMAT STYLE SINCE IT IS MORE ACHIEVABLE FOR STUDENTS AND IT’S ALSO UP-SCALABLE. Jabu’s Jungle was sold to Gulli Africa and will be broadcast in 22 territories © Pixcomm

has been very exciting for us since we have started implementing our long-term vision for the film department, namely to embrace new distribution (VOD, YouTube, live streaming, etc.). It came about when we realised that most of our students don’t consume media in the traditional way, for example, at the cinema.” Bryce Hepburn, Head of Film Production at SAE Institute South Africa explains.

“If this is the trend, then why should a forward-looking film school push out students who are expected to make media such as long-format films that will be consumed at the cinema? The fundamentals are still the same, light hasn’t changed since the Big Bang, but the thinking around it has changed. We aim to focus more on the short-format style since it is more achievable for

students and it’s also up-scalable.”

Some of SAE’s successful alumni include Michelle Nel and Dirk van Niekerk of Young Guns, and promising documentary student Francis Hweshe whose recent film Lost Tongue won a Female Critics Circle Award in New York and is now set to screen at DIFF 2016.

The Animation School recently garnered three top awards at the prestigious New York Festival.

Arid, directed by Charl van der Merwe, won World Gold Medals in both the Student Film and the Short Film categories. Aurora, directed by James Mann, was awarded a World Silver Medal in the Student Film category. These are just the latest accolades, however. Two films created by 2014 final year students won SAFTAs for Best Student Film (Jabu, directed by James Mann)

32 / and Best Animated Film (Burgeon, directed by MW Guldenpfennig).

Paint (dir. Nico Venter and Luke Berge) and Aurora (dir. James Mann), won prizes at February’s Cape Town International Animation Festival Student Awards, earning their creators trips to Nickelodeon in LA and a tour of various studios in Japan.

Arid was also accepted into the Graduation Film Selection at Annecy International Festival of Animation in France this year. “We are delighted with the stream of great news that 2016 has brought, but the key to continued success is consistency,” says Principal Nuno Martins. “We’re proud of our progress, but we have some new relationships in the pipeline that we’re sure can push us even further as a school. As our industry grows, so does the demand for technically excellent graduates who also understand character and story. Our goal is to meet and surpass international standards so our studios can continue to attract the best commercial and content projects in the world.”

Most recently Nina Pfeiffer and Ree Treweek of Shy the Sun fame have started on a new venture.

Tulips and Chimneys showcases a variety of print and animation work with additional insight into the pre-production of each project. Their services include

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animation direction, illustration, character design, production design, and concept development.

CHALLENGES AND FORWARD MOTION

Nina Pfeiffer and Ree Treweek’s new venture Tulips and Chimneys showcases print and animation work. © Tulips and Chimneys

Open Mokka TVC was directed by SAE alumnus Dirk van Niekerk of Young Guns © Young Gun Films

As with the rest of the industry, animation budgets are tight for short formats, says Bryce. “The problem is that it’s not possible to do a desktop calculation of how advert budgets react to a decline or growth in a countries economy.

In other words, if the economy shrinks by ten percent, it doesn’t mean that ad budgets will shrink by the same amount. It is one of the first things to be reduced if companies are compensating for changes in the market,” he explains. “Also, TVCs for brands that you would expect established production houses would land are awarded to smaller production companies. This could be for cost-saving purposes or the fact that with the dramatic changes in film making and digital equipment, smaller production companies can now achieve what only established production houses could do in the past. For whatever reason, it is very interesting.”

The bottom line is, despite the challenges and changes in the advertising landscape; the sector remains solid and healthy, and at least for now it continues to benefit from the weakened Rand.

Breathe Sunshine

AFRICAN MUSIC CONFERENCE CAPE TOWN

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Priest’s visually stunning production Silver Slipstreams for MBLife © Priest

POST PRODUCTION FOR COMMERCIALS

South Africa’s ability to deliver on all levels has extended more and more into the postproduction arena, with a number of renowned companies paving the way for more post work to be done in the country.

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outh Africa and more specifically the Western Cape is a robust commercial hub and as such, a number of post-production companies have a presence in the city of Cape Town, as well as Johannesburg in Gauteng. “South Africa is finally coming into its own as a destination packed to the brim with exceptional animation and VFX talent,” Conduit’s Executive Director and MD Marc Ziman told the Filmmaker’s Guide to Africa this year. “These factors, coupled with the production values SA promises, poise to entrench SA as a go-to supplier for animation and VFX worldwide.”

According to Lauren van Rensburg, GM and Post Supervisor at Searle Street Post Production (SSPP), there is some real traction in the local TVC market, which has formed part of this year’s extended commercial season – something she says is very encouraging.

“There are discussions that this is a downturned market, but from my seat it’s anything but,” she says, “The message doesn’t die, the medium simply evolves.”

Refinery’s Managing Director Tracey Williams says the SA commercial sector “appears to be consistent with not much significant growth”. Despite their sterling reputation, the company

rarely services international commercial jobs through post production, with most foreign work coming from the African continent. “Johannesburg is ideally suited to service this work and it might relate more to conveniences such as flights, etc. Refinery tends to service many international brands with version and re-purposing for our market – L’Oreal, Maybelline and Nivea – plenty of healthcare products and cars,” she says.

An ever-growing trend across the commercials industry has been branded content; with some of the advertising spend moving towards this online media space.

As a result, companies like Priest have grown their offerings not only to cater to the post side of the business, but also the production and creative sides. In 2013 they produced Silver Slipstreams for Mercedes via MBLife magazine, which was nominated for a Loerie the following year.

They’ve since expanded to work with Native Young, Pick n Pay, Techsys, CNN and the University of Cape Town on branded content, creating an offering that extends from end to end.

Another trend, albeit small, is the rise of collaborations between post houses or post production and other sectors of the industry.

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A great example of this is Refinery and SSPP as part of the Silverline 360 Group, or Searle Street Post and The Upstairs Ludus joining forces to work on Investec’s Fire Pool and Pro Maths (directed

by Keith Rose of Velocity).

Production companies are also realising the importance of working within the local post-production realm and with local post houses. Peter Carr, Executive Producer at bouffant, says post production is probably the biggest area of change in the SA industry. “More facility houses are offering improved online capabilities and their access to better online and audio operators around the globe is allowing us more options to finishing our films. Our directors like to remain involved in their films all the way though the video finish. We believe this is so important to making sure the end quality is the same as we pitched to clients. Nowadays we

Post-production by Refinery © Refinery

can do this very easily from afar.”

SSPP’s Lauren adds that although production companies are experiencing a boom in international work, the post industry gets little exposure to the foreign TVC market apart from VFX set supervision, some on-set editing or processing, and data uploads. “This is really where we need to spend some

THE IMPACT OF A

time and energy. In developing the confidence that creative, technical and complicated boards can not only be shot here, but edited and executed to the high exacting standards they can expect anywhere else in the world. I believe we have some exceptionally talented editors, colourists and online artists in the market. The proof is already

POWERFUL IMAGE

Cape Town’s premier post-production facility. Offline editing, full digital intermediates, visual effects, VFX set supervision, cinema encoding, mastering, QC and broadcast deliveries. Front end services range from graded dailies, media management and backups to high speed uploads. lauren@sspp.co.za 021 469 2820 www.sspp.co.za

in the pudding. You only have to scan a few show reels and online community portals to see the incredible work that is being delivered on the local TVCs. Along with all this talent and high-speed internet, video conferencing, Skype, screen sharing and other cool, new-age bits and bobs, the reasons for not finishing here disappear.”

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THE CLIENT SAYS IT BEST South African companies working in the commercial sector have serviced some incredible, award-winning work to date. Here’s what their clients have had to say.

MOONLIGHTING

BOUFFANT

OPEN SKY STUDIOS

“I just wanted to say an official, BIG thank you for such a terrific job you and your team did on the recent shoot for us. Michelle, Kerry and co were incredibly professional, always helpful and an absolute joy to work with. All the personnel they recommended and assembled were totally top notch. The client, agency and brand ambassadors were all delighted with the way they were treated and the results we were getting. I’ve only just started putting the edits together, but it’s already clear we have come away with excellent content, and that is of course down to the excellence of Moonlighting.”

– Mike Morley, Director

“The last time I trusted a director as much as I do Dean Blumberg was working with Keith Rose on the 8.ta launch.

I just love working with him, his attention to detail, his coming through and talking agency through his thinking all the time, his willingness to try something beyond the expected and agreed to, his dedication to getting the shot and more, and just all-round approachability and striving for excellence.

Thank you for helping us with this production and being available and ready for all requests and considerations.

Looking forward to finishing it beautifully.”

– Vanessa Pearson, Executive Director Creative, House of Brave

“I can say without a doubt that the Open Sky back lot allowed us to achieve our production value on an epic scale. Our recreation of Mogadishu was made possible because of it. The company’s openness and flexibility was also immense. Thank you all.”

– Bronwen Hughes, Director

“Cape Town is brilliant. Great weather and ambiguous locations that could literally be anywhere in the world...

It’s a great place to shoot and the crews are fantastic so I highly recommend it.”

– Bruce St. Clair, Director, Serial Pictures

Montego production © bouffant

An example of AFS Productions’ recent work.

AFS PRODUCTIONS “Working with AFS in South Africa easily rates as one my best production experiences globally. AFS’ roots enable them to appreciate the needs of production, agency, and client alike. They have a profound intuition for the challenges and solutions of production, and are veritable partners (true team players) in getting the job done, and done well. I highly recommend AFS in South Africa not only as a resilient and world class production facility, but also as a team who by nature of their talent, dedication, and spirit have become good friends.”

– Ken Arlidge, Director, Aero Films

“Your (Petar Spiljevic) ears must be burning because we presented the commercial to client today. They were over the moon – as were we.

Congrats!!! You all worked your tails off and delivered on every level. Casting included...

We definitely stand apart in our high-end yet approachable look and feel. So when you guys come to NYC to celebrate, we’ll take you out.”

– Christina Cooley, Roberts & Langer DDB New York

Lothian House © Amazing Spaces

AMAZING SPACES “Working with Amazing Spaces makes location sourcing and management a dream – how did we do it before?”

– Bev Wynne, Executive Producer, Gatehouse Commercials

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TEAM DIGITAL THERAPY MEET OUR AMAZING TECHNICIANS WERNER

CHRISTINE

MARCEL

NIC

WARRICK

NICKY

CHRISTIAAN

DEAN

LIZE

TRENT

ANTONIE

NICHOLAS

D

igital Therapy is a Sales and Service company that represents an expanding roster of highly skilled DITs and VTOs. Our Expert OnSet Workflow Supervision and High-Spec On-Set Kits are what make Digital Therapy the best choice for any production looking to shoot in South Africa and abroad. Our services include: Workflow Supervision, Quality Checking the Footage, Syncing Sound, Onset Colour Grading, Transcoding for Offline’s or Dailies Creation delivered on iPad, Flash Stick or Online Reference, FTP of dailies or offline to the client/post overseas and finally LTO Archiving OnSet. At Digital Therapy we provide a central nexus point between buying ‘prosumer’ digital imaging hardware components and access to high quality training courses which are current and industry relevant. Digital Therapy is about developing meaningful, interpersonal relationships in the South African film industry in the form of an online community or social network of well respected film industry professionals from across the world. We supply a range of onset and in house hardware and soft ware solutions.

Werner Grobbelaar is a Partner and Workflow Supervisor at Digital Therapy. Color

Management is Werner’s passion.

After high school Werner studied Photography at VUT then began his career in fashion photography and and worked in IT. This led him to work as a broadcast engineer. Recently Werner has been live grading on commercials and is currently on a feature film where he is the Dailies Colorist.

Whenever one of the guys need help; Werner is never too busy to take their call or drive out to help them in an emergency. There is no one I would rather take to war with me.

Christine Pedersen is our Accounts Manager and Sales Advisor at Digital Therapy.

Number wrangling and finding solutions to impossible problems are Christine’s passion. Previously, Christine worked for one of our largest suppliers and her previous knowledge and attention to detail have made her one of our biggest assets. Mother of two and engaged to a best boy grip, so she understands the needs of the guys onset and empathises with the client’s need to be in budget.

Marcel Klopper has a background in broadcast engineering, when he is not working with us as a DIT he is working as a Libra head technician. His cool calm collectiveness makes even the

most complicated jobs seem easy.

Nic Divischek has only recently joined us from the Quata & Europe where he was working as an Grader and Online Guru in a post facility. Nic owns a Phantom 4K Flex and goes out as the Phantom Operator and Technician. Nic’s knowledge of post workflow makes him an asset to the team.

Warrick McLeod is one of the first DITs in South Africa, and has seen it all. Experience is definitely something he brings to the table, as well as a keen eye. Warrick has won a number of awards for his cinematography and is appreciated by the older international DOPs. Nicky Van Zyl is quickly growing with us at Digital Therapy.

He is one of the best Data Wranglers we have seen in a while.

He is diligent, meticulous, hard working and takes his job seriously.

A true example of a data wrangler and one day he will definitely be a force to be reckoned with.

Christiaan Herbst has a background in corporate IT which serves him well for the job of Data Wrangling. He is professional, polite and precise.

He has been on Skeem Saam for the last two years and has proven to be reliable and committed.

Dean Shamley got his first taste of fame when he and his friend shot Jozi Shore – a spoof on the

Jersey Shore series. Dean is a Red owner operator, when his is not on set as a Data Wrangler or DIT. Lize Engelbrecht is one of the hardest-working people I know. She is not only an amazing VT operator, but also a solid Data Wrangler.

Trent Sam has been busy on long form assisting some of the best VT operators in the country, and when he is not busy running cables for six cameras, he is pushing buttons for us.

Antonie Stemmet went to AFDA and excelled at Cine before deciding to become a Data Wrangler. He has been very busy on long form and we look forward to seeing him again soon.

Nicholas Warner is the youngest members of the team but is in no way the weakest.

Nicholas has been VT assisting on commercials and is currently out on a feature as a VT Operator.

We are recruiting in Johannesburg – anyone with experience as a Data Wrangler, DIT or VT operator is welcome to get in touch with us.

Website: www.digitaltherapy.co.za

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DURBAN FILMMART 2016

This year’s edition of the Durban FilmMart runs from 17–20 June, and is a co-production and finance market and a joint programme of the Durban Film Office (DFO) and the Durban International Film Festival (DIFF).

Crew on location at Alison’s house, Courtesy of Anne Kruyer, Fineheartworks

TIPS FOR SUCCEEDING AT DURBAN FILMMART,

BY UGA CARLINI

“The Durban FilmMart will always be a big bastion in the Alison journey. It was there where I pitched my final Alison concept - after developing it for a few years, and it was there where after pitching, the final few adjustments were made that eventually became the movie we have today. It was also extremely valuable to hear the feedback from different type of commissioning editors, broadcaster and financiers from other countries. Especially with a story like this, which we as South Africans know so well and are so loyal to. It was quite something to hear objecti ve responses not tied to the story and who didn’t have any loyalties to this heroine.

A great exercise to give that final confirmation to myself as to why I would just never be willing to

KNOW WHEN TO STAND YOUR GROUND, DEFEND YOUR VISION AND WALK AWAY. THE BEST ADVICE I EVER RECEIVED IS: “NEVER IN ANGER ALWAYS IN STRATEGY AND HEART.” compromise certain elements of my visual realisation and to find partners who felt the same.

Some wonderful partnerships came out of my Durban FilmMart experience - partnerships that stretched beyond the Durban FilmMart and have become partnerships that can last a lifetime - as for me it’s all about

Alison with Christia Visser as Young Alison

sustainability. The idea is to have many more and to find the perfect fit for partnerships that are solid, partnerships with heart that can also profitable for both parties at the same time. It’s show business after all. It was after Durban that I closed all my deals - and in a big way - because of what transpired at DFM.”

UGA’S ADVICE FOR DELEGATES PITCHING AT DFM “Show Durban FilmMart some love. You got chosen, someone else didn’t and ultimately you will be benefi tting from this opportunity. You have also just come one step closer to potentially opening doors for the story that you have worked

40 / FEATURE

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Tell Me Sweet Something , Courtesy of UIP

GG Alcock

so hard to get this far. So make it count! Seize the opportunity!

And arrive prepared. Treat it like this is THAT chance. The moment you have been waiting for all your life. Never underestimate or overestimate anything. Work with and seek only the “yesses.”

The “no’s” just tie you down but remember it takes at least what feels like a hundred “no’s” to get the one “yes” and one “yes” is all you need. Listen, consider, and sleep on things. And know when to stand your ground, defend your vision and walk away. The best advice I ever received is: “Never in anger always in strategy and heart.””

DFM PROGRAMME

An insightful industry programme has been scheduled for this year’s DFM, which has as its objective to stimulate the development of project collaboration between African filmmakers in order to kindle the creation of film on the continent and increase the visibility of African cinema on a global platform.

This year’s DFM industry development programme has a strong focus on story development, the essential starting point for any film, and so a number of sessions will delve into topics that will address the subject of “What is an African story and how to sell these African stories”. South African filmmakers Junaid Ahmed and Akin Omotoso will share their experiences of developing their latest films – Happiness is a Four Letter Word and Tell Me Sweet Something respectively. United

Kingdom-based Selina Ukwuoma, a script consultant who has worked extensively with the likes of Curtis Brown and projects ranging from 2008’s BAFTA winning Boy A to the more recent Teddy and FIPRESCI Prize-winning Hoje Eu Quero Voltar Sozinho, will be presenting a masterclass on storytelling. South African author and entrepreneur, GG Alcock, will present an unusual Masterclass under the banner of “Authenticity is Key – Building Credibility with Audiences”, where he will talk about the vital necessity of engaging with an audience on their own terms through an authentic understanding of local narratives. Then the Business Model Canvas Programme based on Alex Osterwalder’s book Business Model Generation will demystify the business model design for film which to help businesses to get their first principles right – starting with who their customer might be.

Another key highlight of this year’s industry programme “Packaging for the US Market” with Hollywood producer director Jeff Byrd, a protégé of Spike Lee (Byrd worked on Mo’Better Blues, Jungle Fever and Malcolm X with Lee). Byrd is joined by well-known SA Producer Themba Sibeko Managing Director of Ziya Pictures who has over 25 years of experience in film, television and video and has worked with the likes of Bill Duke (A Rage in Harlem, Deep Cover, Sister Act 2), Danny Glover (Lethal Weapon, The Color Purple), Ruby Dee (American Gangster, Do The Right Thing), and Isaac Hayes (Shaft) to name a few.

DFM 2016 PROJECT SELECTION: DOCUMENTARY: • Dungeon Keepers South Africa. Producer: James Walsh, Director: James Walsh • For Your Precious Love – South Africa. Producer: Steve Buxt, David Heitner, Director: Keith Jones • Hatim’s Dream - Uganda.

Producer: Nathan Magoola, Director: Matthew Bishanga • Lift like a Girl – Egypt.

Producer: Mayye Zayed, Co-producer: Moritz Helmes, Director: Amrosh Badr • Spirits of the Karoo – South Africa. Producer: Zinzi Nkenene, Directors: Engelbert Phiri and Zinzi Nkenene • Testament – Kenya.

Producer: Meena Nanji, Directors: Meena Nanji and Zippy Kimundu • The Letter – Kenya.

Producers: Maia von Lekow and Chris King, Directors: Maia von Lekow and Chris King • Voetsak! Us, Brothers? – South Africa. Producer: Trish Urquhart, Coproducer: Sean Moloi, Director: Andy Spitz • Where we Belong – Ghana/South Africa.

Producer: Osei Owusu Banahene. Director: Ben Johnson

• Wiz of Zim – South Africa.

Producers: Lesedi Oluko Moche and Carolyn Carew, Ddirector: Samora Sekhukhune

FICTION: • Abnormal Loads – South Africa. Producer: Elias Ribeiro, Cait Panesgrouw.

Director: Neil Coppen • Disco Afrika – Madagascar.

Producer: Razanajaona Ambinintsoa Luck, Executive Producers: Herizo Rabary and Randriamantsoa, Director: Razanajaona Ambinintsoa Luck • Down and Dirty – South Africa. Producers: Damir Radonic and Angie Mills, Director: Angie Mills • Headland – South Africa.

Producer: David Horler, Director: Elan Gamaker • Imprisoned – South Africa.

Producer: Suda Sing, Director: Jayan Moodley • Inga, Inge – Zimbabwe.

Producer: Veronique Doumbe, Director: Tsitsi Dangarembga • People You May Know – South Africa. Producer: Laurence Hamburger, Director: Zandile Tisani • The Mango Tree that Danced with Sea Breeze – Kenya. Producer: Lungeleni Zondi, Director: Phillippa Ndsi-Herrmann • Un Fils – Tunisia. Producer: Habib Attia, Director: Mehdi M. Barsaoui

CBN AFRICA / 41

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AN ANIMATION

THAT’S FUN FOR THE WHOLE FAMILY Join Chris, Joy and their robot friend Gizmo as they travel back to Bible times to relive the greatest stories ever told! Superbook® takes children, ages 6 and up, on an exciting journey to meet the heroes of the Bible while teaching valuable life lessons like honesty, courage and respect.

CLASSIC SUPERBOOK®- HOW IT ALL BEGAN

In 1981, The Christian Broadcasting Network created a children’s animated Bible series as part of an outreach to the nation of Japan. The English name for this series was “Superbook”.

Research performed during and after the outreach showed that this series was an unprecedented success. It is estimated that over four million people watched each weekly episode of Superbook® on television, resulting in the Bible becoming the best-selling book in Japan the same year.

From Japan, the classic Superbook® series went on to air throughout the world from Asia to North America. By 1989, in the midst of economic and political turmoil, classic Superbook® began broadcasting in the Soviet Union to astounding results.

When the series aired during primetime on the Soviet National Channel, CBN received over six million letters from children.

Since first airing in Japan, the classic Superbook® series has been broadcast in over 106 countries, translated into 43 languages and viewed by over 500 million people.

WHY SUPERBOOK® REIMAGINED

“It’s time to produce a new series that will honour the lifechanging legacy of the original animated series and re-introduce it to a new generation.”

–Gordon Robertson, Executive Producer

Superbook® Reimagined teaches children around the world timeless moral truths and life lessons through these captivating, Bible-based adventures. The familiar and the futuristic interact with ancient people, places and events to create a sense of wonder, anticipation, empowerment and personal breakthrough as the children witness God’s involvement with man.

Currently, there are 34 episodes produced and counting.

STUNNING 3D CGI

Superbook® is produced and created by a team of artists and storytellers whose credits include Mulan, Beauty and the Beast and The Lion King. The brand is fully interactive with curriculum, web, gaming and mobile applications.

The series has already aired on networks such as ABS-CBN (Philippines), RCTI (Indonesia), America TV (Peru), Azteca America (USA), and Planet Kids (Italy).

GLOBAL IMPACT

Since the first broadcast in 2013, Superbook® Reimagined has broadcast to over 252 million viewers in 90 nations across the globe. Reaching children on all platforms, the Superbook® app has over two million downloads to date.

CBN AFRICA PROGRAMMING

Superbook® is not the only programme that CBN AFRICA has to offer! Look for these other programmes in CBN AFRICA’s catalogue: 700 Club International and Turning Point.

Superbook ® : In the Beginning, Courtesy of CBN Africa

UPCOMING LAUNCH!

Don’t miss Superbook® coming soon to South Africa’s e.tv network. Launching September 18, Superbook® will air at 08:30 every Sunday.

CBN AFRICA: CAPE TOWN (HEAD OFFICE) Tel: +27-(0)21-7011-776/732 Email: info@cbnsa.org Website: www.cbnafrica.org

42 / FEATURE

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As I Open My Eyes

The JourneyMen – Beaufort West

A hot topic at the moment for filmmakers is the subject of Virtual Reality and how this will play out in the film space. Leading a workshop on this topic is Ingrid Kopp who is Director of Digital Initiatives at the Tribeca Film Institute in New York City where she overseas the TFI New Media Fund and leads the Institute’s digital and interactive programmes including TFI Interactive and

the national Tribeca Hacks hackathon programme.

Todd Brown, founder of the international film website TwitchFilm.com, and director of international programming at Fantastic Fest in Austin, Texas, USA, will present a masterclass on “Using Short Films to Build Brand and Audience”.

Other workshops and masterclasses include “Video on Demand - How Filmmakers can access this New Distribution

Stream”, “Where Social Media and Marketing Meet”, “New Strategies for Financing Independent Film”, “Presales Agreements: Creating value for your investors”, “Talking Through Completion Bonds with Film Finances SA”, “Building Relationships, Building Stories: What to expect and what you get in the editor/director collaboration” with SA Guild of Editors and “How to Pitch and Not Fall Flat on Your

Face” with Restless Talent.

Round-table discussions will include “Finding the Right Partner for Film” with industry professionals and “Window to the World” with international festivals and markets to enable delegates to grow and establish their networks across the continent and further afield.

The National Film and Video Foundation of South Africa, will present a number of sessions including “Financing

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FEATURE / 43

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I Shot Bi Kidude

Film through Distribution” day programme, networking, and “Marketing and Conegotiating and film loving!”

Production with Netherlands”.

Partners and supporters “We are really pleased with of this year’s DFM include the programme for this year’s AfriDocs, Berlin Talents DFM,” says Toni Monty, Head Campus, Business Model of the Durban Film Office which Canvas, The Callsheet, partners with the DIFF to CineMart, Documentary present the DFM. “The topics Filmmakers Association, DTI, and speakers are all on point in Durban Tourism, Dutch Film terms of what is happening in Fund, Film Finances SA, Film the industry on a global level and Publications Board, French and we look forward to hosting Embassy, German Embassy, FO Advert 203x136.fh11 1 delegates for an5/13/16 exciting3:39 fourPM Page Goethe-Institut, Hot docs Blue

Endless River © Dook Photo

Ice Fund, Institut Francais, International Documentary Film Festival Amsterdam, KUMISA, KZN Film Commission, Mnet, National Film and Video Foundation, Opdocs, OIF, Produire au Sud, Restless Talent Management, SABC, SAGE, Sonoton, Sørfond, Sundance Institute, Talents Durban, Tsogo Sun, Tribeca Institute, Versfeld & Associates, Variety and VideoVision Entertainment.

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WE ARE REALLY PLEASED WITH THE PROGRAMME FOR THIS YEAR’S DFM. THE TOPICS AND SPEAKERS ARE ALL ON POINT IN TERMS OF WHAT IS HAPPENING IN THE INDUSTRY ON A GLOBAL LEVEL.

44 / LOCATION SPOTLIGHT

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NAMIBIA

Mesmerising locales, by Imogen Campbell.

N

amibia is an incandescent jewel in the African landscape. Not only is it a major African diamond producer, endowed with shimmering sand dunes, but it also boasts an incredible 300 days of sunshine a year. It is more than six times the size of England and comparable to Pakistan and Mozambique in area. This southwestern African country of 825 418 km2 with its arid landscape is adjacent to Botswana, borders South Africa in the south, while Angola and Zambia border it to the north.

The UNESCO World Heritage

Site, The Namib Desert, runs along its entire Atlantic coastline.

Though rugged, it has so much to offer a discerning filmmaker.

Magnificent filming vistas of the desert, Africa’s largest canyon - the Fish River Canyon, Skeleton Coast and Swakopmund all boast unique merit.

Namibia Film Commission confirmed that since 2010 there has been a notable increase in film projects done in Namibia. Due to its aggressive international marketing strategies, the Namibia Film Commission (NFC) att racted 115 foreign film productions creating

© Namibian Tourism Board

employment for 544 Namibians.

South Africa, Germany, the United Kingdom, the United States, and France mostly use Namibia’s unique locations for their productions. Commercials have displayed the most growth, followed by documentaries. The latest big production to be shot

partly in Namibia is The Mummy.

This just shows that Namibia is ready for productions of any size.

Namibia is currently working on an incenti ves programme to draw foreign investment to the country. Besides providing local funding for short films, features, documentaries and low budget

Now also offering services in: Ethiopia, Namibia, Angola, Djibouti, South Sudan and Eritrea

LOCATION SPOTLIGHT / 45

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FLORIAN SCHOTT FILM DIRECTOR

Mad Max: Fury Road © Warner Bros Entertainment 2014

films, the Commission issues film and photography permits and assists with information on locally available talent, crew, production resources and facilities, visas, location scouting, aviation services, catering, security, transport, National Parks, accommodation,

Florian Schott , German-born fi lmmaker

telecommunications, and the use of indigenous communities.

Namibia delivered splendidly with Mad Max: Fury Road. It catapulted its locales into the hearts of a mesmerised audience and was lauded during Oscar acceptance speeches. This sundrenched locale has a population

density of about 2.6 people per km2 and guarantees seclusion.

It is also one of the more developed countries in Africa and therefore has infrastructure to support a production.

Currently it doesn’t have film studios or tax incenti ves for foreign films and commercials.

Florian Schott is a Germanborn filmmaker living in Namibia since 2009. He has worked in the filmbusiness since 2002 and as a First Assistant Director all over the world. In 2012 Florian wrote, produced and directed his self-financed Short Comedy Everything Happens For A Reason, which won the Afrinolly Short Film Competition in Nigeria in 2014 as well as the Awards for Best Director and Best Editor (Haiko Boldt) at the 2014 Namibian Theatre & Film Awards.

Florian directed and co-wrote his first feature film in 2014, Katutura, an Action Drama set in Namibia’s famous township, produced

by Tulinane Entertainment.

No matter what size your production, there is really only one choice in Namibia…

www.namibfilms.com

46 / LOCATION SPOTLIGHT

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CLIMATE It is mostly desert and therefore exhibits typical weather for such a climate. Rainfall is sparse; with the north-eastern areas of Namibia getting the most rain.

Average Min and Max Temperatures in Windhoek, Namibia 40°C 20°C 0°C

Jan

Feb

Mar Apr May Jun

Max temp

Jul

Aug Sep

Oct Nov Dec

Min temp

© Namibia Film Commission

© www.weather-and-climate.com

Average Monthly Hours Of Sunshine Over The Year 400mm 200mm 0mm

Jan

Feb

Mar Apr May Jun

Jul

Aug Sep

Oct Nov Dec

© www.weather-and-climate.com

GETTING THERE BY AIR Major Airport and airlines flying in: Hosea Kulako International Airport is the aerial hub for Windhoek.

International airlines include: Namib Sky Balloon Safaris

Namibia’s small film industry does not really receive much funding and Namibian stories have remained relatively untold, however, its first feature film Katutura was released in 2015.

Anke Stier at Crew-Hub says that foreign productions, that have shot there before, like to make use of the local

FEATURE FILMS SHOT IN NAMIBIA THAT CONTRIBUTED LARGELY TO THE COUNTRY’S ECONOMY: • • • • • • • • • •

Mad Max: Fury Road 10 000 BC The Prisoner Gallowalker The Cell Flight of the Phoenix Beyond Borders The Young Black Stallion Dhoom 2 Dust Devil

crew that they already have worked with, ranging from production assistants to local HODs. She said that firsttime foreign productions are usually a bit hesitant, but will obtain CVs and references for their own peace of mind, especially with regard to any HOD and technical crew positions. She said that the local drivers are very popular as they also double as tour guides. She added that some of their local crew had been mentioned during the recent Academy Awards with regard to Mad Max: Fury Road.

Guy Nockels of Namib Films and Desert Ace said that at the moment Namibia is flooded with fashion stills shoots, most of them focusing on the famous red Dunes of Deadvlei, but that they are also busy with a number of reality television shows, particularly in the survival genre.

• • • • • •

South African Airways British Airways Air Namibia Kulula.com Condor Lufthansa

POPULATION 2 212 307 (Estimate July 2015) Source: World Fact Book Namibia’s population comprises the demographic groups as follows; Black 87.5%, White 6% and Mixed 6.5%. This characterises the looks available to use on a shoot. Neighbouring South Africa has expertise and diversity that is easily accessible to crews shooting in Namibia.

CONTACTS Namibia Tourism Board Tel: +264 61 2906000 Email: info@namibiatourism.com.na Website: www.namibiatourism.com.na

FIXERS IN NAMIBIA Lemon Reel Film Services Tel. +264 81 122 7717 Email: bernd@lemonreel.com Website: www.lemonreel.com

48 / SPOTLIGHT

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FIXERS IN AFRICA Troubleshooters with a silver bullet, by Imogen Campbell.

A

frican fi xers have the know-how and connections to provide the silver bullet to defuse any problem encountered. The Callsheet compiled a list of Africa’s seasoned professionals with a special focus on Namibia’s Guy Nockels at Desert Ace and Bernd Curschmann at Lemon Reel Film Services cc.

Guy Nockels stated that

their group of companies have been fi xing/facilitating international productions since 2000. With an experienced staff and a CEO, who has been acti ve in the industry since 1973, they have tremendous local and industry knowledge.

The group has serviced over 300 various productions in Namibia, from Hollywood and Bollywood feature films to documentaries, reality television,

commercials and music videos.

Lemon Reel fi xed for clients in Indonesia, Qatar, Ethiopia, Kenya, Tanzania, Angola, Namibia, Ghana, Germany, Austria, Cuba, Burundi in the last year. Locations that are new, unseen or have a reputation are now in demand and that these areas are accessed through on the ground fi xers that can work without the backing of a big office crew. Lemon Reel has

built up stock of a variety of equipment to make the job easier and cheaper for the clients.

As fi xers they deal with logistics that take the worry out of language barriers, local and cultural customs and deal as quick as possible with bureaucracy and paperwork, sourcing all the elements that a film crew needs to work within its budget and deadlines to create an amazing product.

NAME

COMPANY NAME

REGION

TEL.

EMAIL

SPECIALITY

Helen Atty

Two Seas Tv

Western Cape, South Africa

+27 21 801 0986 +27 82 728 9818

helen@twoseas.cc

15 years’ experience in producti on of television series and commercials.

Karen Brooks

Freelance

Gauteng, South Africa

+27 83 259 6324

karenvbrooks@gmail.com

Line producer, wildlife fi xer and researcher

Margie McMahon

Freelance

Africa

+27 82 557 63 21

margie@margiemcmahon.co.za.

Line producing, locati ons, logisti cs, equipment

Jason Merle

Banana Boys

KwaZulu-Natal, Mauriti us

+27 73 747 9311

bananaboyz@mweb.co.za

Locati ons and Logisti cs

Derrick Kibisi

Talking fi lm PRODUCTION

Uganda & Rwanda

+25 6792 902 991

dkibisi@talkingfilmproduction.com

Locati on Scouti ng and fi xing.

Bernd Curschmann

Lemon Reel Film Services

Africa and abroad

+ 264 81 122 7717

info@lemonreel.com

Services such as locati on scouti ng; visa’s & permits, accommodati on, crew, transport/travel, casti ng, equipment and much more.

Tamer Abbas

Egypt producti ons LLC

Egypt

+20 2 2415 3830

info@egyptproduciotns.com

Comprehensive services including scouti ng, permissions and paperwork.

Janice Beatty

African Environments

Arusha, Tanzania

+255 784 506 600

janiceb@africanenvironments.com

Fixing services required for a shoot.

Experti se covers a range from blue chip wildlife to a BBC comedy series..

Jean Hartley

Viewfi nders EPZ Ltd

Kenya

+254 716 875 928

info@viewfindersltd.com

Facilitati on, documentary fi lm crews, permits.

Khalil Lougmani

Magic Pictures

Morocco

+212 37 29 67 86

info@magicpictures-morocco.com

Locati on scouti ng, equipment and other services.

Guy Nockels

Magic Touch Films

Namibia

+264 64 46 3371

info@magictouchfilms.com

Extensive local and fi lm industry knowledge.

FIXERS OF NAMIBIA: DESERT ACE Contact person: Stella Onesmus | Tel: +264 64 46 3371 | Fax: +264 64 46 1993 E-mail: stella@desertace.com.na | Website: www.desertace.com.na

EVENTS TO DIARISE / 49

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JUNE ENCOUNTERS SOUTH AFRICAN INTERNATIONAL DOCUMENTARY FESTIVAL 2 - 12 Cape Town, South Africa

JULY

MIDNIGHT SUN FILM FESTIVAL 15 - 19 Sodankyla, Finland

INDIE KAROO FILM FESTIVAL 1-3 Prince Albert, South Africa

AMERICAN BLACK FILM FESTIVAL 15 - 19 Miami, USA

TAIPEI FILM FESTIVAL 9 - 14 Taipei, Taiwan

DURBAN INTERNATIONAL FILM FESTIVAL (DIFF) 16 - 26 Durban, South Africa

BRUSSELS FILM FESTIVAL 17 - 24 Brussels, Belgium MUNICH FILM FESTIVAL 23 - 2 July Munich, Germany

ISCHIA FILM FESTIVAL 25 - 2 July Naples, Italy

ZANZIBAR INTERNATIONAL FILM FESTIVAL 9 - 17 Zanzibar City, Tanzania PLETT FOOD FILM FESTIVAL 11 - 13 Plettenberg Bay, South Africa

BERLIN SHORT FILM FESTIVAL 30 - 4 July Berlin, Germany

GIFFONI FILM FESTIVAL 15 - 26 Giffoni Valle Piana, Italy

PERIPHERY OF EMPIRE SHORT FILM FESTIVAL – 7TH EDITION 22 - 31 Sessa Aurunca, Italy

GRAHAMSTOWN NATIONAL ARTS FESTIVAL 30 - 10 July Grahamstown, South Africa

SAN FRANSISCO FROZEN FILM FESTIVAL 21 - 24 San Francisco, USA

JAPAN FILM FESTIVAL OF SAN FRANCISCO 23 - 31 San Francisco, USA

Large Format canvas posters banners plans wallpaper window vinyl Gardens Centre +27 21 461 9334 sales@wizardz.co.za

Digital Printing callsheets contact cards brochures booklets business cards graphic design

Constantia Village +27 21 794 1394 hellocv@wizardz.co.za

V&A Waterfront +27 21 419 7153 wft@wizardz.co.za

Flatbed ABS glass wood perspex chromadek foam board

Open late!

Tygervalley Centre Stellenbosch Eikestad +27 21 914 8527 +27 21 883 8515 tyger@wizardz.co.za hellosb@wizardz.co.za

Tell Me Sweet Something , Courtesy of UIP

DURBAN FILMMART 17 - 20 Durban, South Africa

EAST END FILM FESTIVAL 23 - 3 July East London, UK (various venues)

50 / OPPORTUNITIES

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OPPORTUNITIES: JUNE INSTIDOC: APPLICATIONS FOR FILM SUBMISSIONS

The third edition of the INSTIDOC – Ciclo do Documentário Institucional, a festival of institutional documentaries takes place in October 2016 at CCFM (Centro Cultural Franco-Moçambicano) in Maputo, Mozambique.

Applications for film submissions for INSTIDOC are now open and will close on July 15th, 2016.

The festival aims to promote a platform for the exhibition of national and international productions focusing on areas such as Human Rights, Health, Education, Religion, Politics and Society, Economics, Culture, Sports, Nature and Sustainability, among others.

Contributors include producers, independent filmmakers, governmental and non-governmental organisations, and other profit and non-profit organisations.

For more information, please follow Facebook or check the regulation and registration form on: instidoc. files.wordpress.com/2016/03/ instidoc_ficha-de-inscricao_ registration-form_2016.pdf OR instidoc.wordpress.com

© Instidoc 2015

2016 SOUTH AFRICA HORRORFEST SUBMISSIONS

The Horrorfest will celebrate its 12th edition in 2016!

The first round deadline is 1 July 2016. The late submission period is 2 July – 1 September 2016 All submitted Feature Films and Short Films will be viewed by the selection panel, and if chosen will be screened at the SA HORRORFEST. Official Selection status will be awarded and various winning categories selected where deemed fit.

Entrants are exhorted to read the submission requirements carefully.

Submission Formats: • DVD-PAL viewing copies (x2)* • Plus 1 data disc containing: - SD or HD QuickTime file (25fps)* / High Quality H2645 .mov file (mp3 audio, 25fps) or - SD or HD Windows AVI (25fps)* Please note: If the film’s spoken language is not in English, English subtitles must be hardcoded / burned into the film and not supplied as a separate track or file.

Short film running time should not exceed 30 mins.

For physical entry submission details and more information please see: www. horrorfest.info/subform.html

NATIONAL FILM AND VIDEO FOUNDATION (NFVF): 2016 PRODUCER PROJECT SUBMISSIONS / INDUSTRY REGISTRATIONS NOW OPEN!

Strategic Partners 2016 is one of the world’s most established Horrorfest Promo Trailer screengrab © Horrorfest

coproduction/ co-financing markets and scheduled to be held from 15–17 September.

It invites producers to submit projects and industry organisations to register. The deadline is 26 June 2016.

This year the focus is on dramatic feature film, television, and digital fiction series projects created for new and emerging platforms including projects in all stages of development.

It will include 50 producers worldwide, representing a ‘best in class’ roster of officially selected projects.

It offers a full agenda of 25 minute, pre-scheduled 1-21 meetings with investors, broadcasters, distributors and sales agents as well as participation in investor and coproduction focused roundtable sessions etc.

For more information about the Trans Atlantic Partners producers, go to www. coproduction-training.com For additional submission details please see: nfvf.co.za/home /index.php?ipkArticleID=447

ASSOCIATIONS NEWS / 51

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The SOS and MMA have lodged an appeal to the Competition Appeal Court with regard to the judgement as passed down by the Competition Tribunal on 11 February 2016. The appeal is due to the contractual agreement that arose between the SABC and Multichoice Africa (MCA) and the resultant use and transfer of control over the SABC’s archives.

The appellants believe that the SABC had handed over control of a considerable proportion of productive capacity and decisionmaking authority over significant policy positions to MCA. This constituted a notifiable merger between the national broadcaster and its direct competitor.

Their concern about this SABC- Multichoice relationship is about the public broadcaster entering into business arrangements that seem to edify a subscription broadcaster’s growing monopoly over content services. It also seems to assist it to profit from public institutions operating out of public resources.

As a matter of principle, they state that they cannot allow the capture of the national public broadcaster, the SABC by private interests.

The following were points of concern: • They cannot allow commodification, privatisation and monopolisation of South African airwaves and content archives by subscription broadcasters.

• This means that the public is expected to pay for the informative, educational and entertainment content that should be accessed openly and freely because they are in the public domain.

• Most importantly, they cannot allow the type of deal to happen seemingly in darkness under the guise of commercially sensitive information. Public resources managed by public institutions must be made open and transparent and be available for public scrutiny.

SOUTH AFRICAN GUILD OF EDITORS (SAGE) SAGE has released a contract framework for freelancers.

Compiled in partnership with their legal team, it was specifically drawn up for postproduction professionals acting as independent contractors and who are also provisional taxpayers. It therefore does not cover fixed-term or full-time employment.

SAGE advises members to familiarise themselves with the Labour Relations Act and Basic Conditions of Employment Act and Amendments so as to make the distinction as to whether a position is indeed a Contract of Work and not a contract of Employment. The contract is designed to protect both parties as much as possible.

SUPPORT PUBLIC BROADCASTER (SOS) Another Digital Terrestrial Television (DTT) victory for South Africa’s poor.

Minister of Communications, Faith Muthambi recently announced the de-linking of the TV licence requirement from the STB subsidy registration process. This effectively means that it will reduce the burden on South Africa’s poor. It will also accelerate and widen their ability to access set-top boxes so that no one is left behind in the digital migration project.

The minister also confirmed commitment that South Africa would only announce the analogue switch-off date once 80% of households have been migrated to DTT. This would be different to some other African jurisdictions where a switchover resulted in thousands of households left without access to television services.

Though good news, it does not solve problems relating to the migration which impacts dearly on the free-to-air market. Every day there is a delay in migration, it causes more viewers to cross-over to subscription packages and this could result in a two-tier system of broadcasting. The net result is that only those who can afford it have access to rich and diverse content services leaving the poor behind.

SASFED: SABC CANCELS REQUEST FOR PROPOSALS (RFP) BOOKS The SABC has stated that it has established in house production capabilities enabling it to produce more new local content for the SABC1, SABC2 and SABC3 platforms as well as some planned new “language based” TV channels for digital terrestrial television (DTT).

It will therefore scale back already reduced international content on its three entertainment channels favouring locally produced content. SABC‘s Hlaudi Motsoeneng explained that the SABC is getting rid of the Request for Proposals (RFP) book. This also means the reduction especially of American shows and movies on these stations.

Buying less international content means a reduction on content impairment costs on the SABC’s balance sheet in favour of local content commissioned by the public broadcaster. Effectively, this means that it can also repeat content it owns multiple times and sometimes also license to other broadcasters for residual income.

On the other hand, the move can endanger its existing relationship with various international content distributors. International TV content acquisition is also about business relationships alongside personal dealmaking.

Namib Sky Balloon Safaris © Cedric Jacquet

SOS, MMA TO CHALLENGE PRIVATISATION AND MONOPOLISATION OF PUBLIC AIRWAVES

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