The Callsheet Issue 9

ISSUE 09 | 2016

+ MUSIC IN FILM

The Importance of Film’s Subtlest Notes

+ POST PRODUCTION SUCCESSES SA’s Skills Sought Worldwide

CONTENTS / 01

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02. Kim Geldenhuys on

08 12 14 22

Producing VW’s On the Road.

04. Filming on

MUSIC IN FILM

Why music matters in film, and where to find the perfect track or score.

Cape Beaches

06. Exchange Control and the Movie Industry

08. Music Matters 12. It’s Open Season

for Film and Commercial Service

14. Post Production

Trends and Successes

IT’S OPEN SEASON!

It’s that time of year when international producers flock to SA’s shores.

18. The Journey is the Destination: A Case Study

20. A Snapshot Look at Production Accounting

POST PRODUCTION TRENDS AND SUCCESSES

Kim Crowie finds out what’s new in the world of post production, from film and TV to animation.

22. Loeries 2016 Roundup

30. The Future of Lighting

31. Opportunities 32. Wesgro: Cape

Town, a Stellar Film Location

34. Mauritius: Tropical Melting Pot For Filmmakers

LOERIES ROUNDUP

The Callsheet brings you the low down from the Loeries® Creative WeekTM Durban 2016.

36. Events to Diarise 38. Associations News 40. Directory of Advertisers

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KIM GELDENHUYS

ON PRODUCING VW’S CLASSIC IN-THEMAKING, ON THE ROAD.

0307 and Ogilvy Cape Town collaborated on VW South Africa’s On the Road, which captures the story of two families connecting on their road trip from Johannesburg to Buffelsbaai.

How did you interpret what VW had in mind? The commercial gives a real feeling of nostalgia, going on road-trips with family...

That is exactly right. That was pretty important in the brief, we wanted to revisit some of the old values. VW have made some iconic SA films in the past and they really wanted to get back to that territory. I think that was paramount for them – to reconnect with their audience on an emotional, human truth level, something VW was so famous for in the old days.

The use of colour and sound were the two things that really stuck out for me.

The colour was muted but it was also rich, so it had that early morning feel.

It was great to be involved in all those decisions. From a music perspective the rule when we embark on a project like this is to speak to the musical

director early on in the process to identify the right tone. Marc Algrante, with whom we work with on most of our projects, was briefed to find a track that talked to the nostalgia of a road trip/family holiday. We were looking for something a little more contemporary, a little unexpected and of course, timeless. Marc found the track early on in the process which held throughout the shooting, casting, and finally through the editing process, which is rare.

We constantly tried different tracks, however the final track just felt unique and tonally on point. It was modern and just had the right balance of depth and lightness, which was critical - the right balance of emotion and good times.

The children’s performances were excellent. They were incredibly cast.

Yeah, it was like the planets aligned. I have to be honest:

they weren’t the expected choices in many ways. They were a brave choice and that is why they were so strong.

I don’t think Tao (the young girl) has ever done anything like this in her life before. She hadn’t even done a casting before. I was told that she wasn’t that interested initially.

I don’t think she had any intention or desire to actually be in the film, but she was such a unique, strong character – just herself – she was amazing. And then Lonwabo, was also a really remarkable find. Stoic, he caught you unawares – he didn’t have the physical attributes that one comes to expect from ads with kids in. His charisma and presence lay a lot deeper.

He is very mature for his age with a fantastic work ethic.

He got the subtleties of the performance that we were looking for. Whenever you do something like this, you’re

always looking for range for the edits – you want your actor to play it different ways – and he understood that and delivered.

Both of them did. They were incredibly professional – it was unbelievable. Normally children of that age get tired and despondent — but these two were so gracious in their performance and delivery. They would do it again and again and again and in different ways, they understood and got it right from the start, interpreted the piece in their own way and nailed it.

It’s one of the Callsheet ’s favourite commercials of the year.

It was a lot of fun to make.

Which is rare – to be honest with you – considering what we do. Often our job is stressful, and although this wasn’t easy, it was a real feel-good experience for everyone involved. We could have carried on for another couple of days!

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FILMING ON

CAPE BEACHES

Every month, the Callsheet will provide updates on filming guidelines and regulations pertaining to SA’s most popular shooting locations. This month, we focus on the beaches of the Western Cape.

GENERAL LIMITATIONS:

As a general rule filming during the summer months on a weekend or public holiday on any of the beaches is discouraged, applications for weekend or public holiday shoots on beaches will only be considered on merit.

BLUE FLAG BEACHES:

Filming and events on Blue Flag beaches are encouraged. Closer scrutiny regarding the specific applications will however be exercised to ensure the City does not lose its Blue Flag status due to filming/event acti vity.

The following City beaches were awarded full Blue Flag status for the 2016/17 summer season which runs from 1 December 2015 to 31 March 2016: • Bikini Beach (1 December to 31 January) • Mnandi Beach • Strandfontein Beach • Llandudno Beach (1 December to 31 January) • Camps Bay Beach • Clifton 4th Beach • Silwerstroomstrand (15 December to 15 January) • Fish Hoek Beach (1 December to 31 January) • Melkbosstrand (1 December to 31 January)

SILWERSTROOMSTRAND:

From 16 December until the end of school holidays in January, there will be no film shoot/events acti vities allowed to take place.

Clifton 4 th Beach aerial view © SkyPixels (via Wikimedia Commons)

CLIFTON 4TH BEACH:

From 16 December until the end of school holidays in January, there will be no film shoot/events acti vities allowed to take place.

MAIDEN’S COVE:

From 16 December until the end of February, only micro shoots will be film shoot/events acti vities allowed to take place.

ALL TIDAL POOLS:

From 16 December until the end of school holidays in January only micro shoots may take place, 14 Jan to end February applications for larger shoots will only be done on merit.

FISH HOEK BEACH:

From the 16th December until 13th January, there will be no film shoot/event acti vities allowed to take place in the shark exclusion area.

FISHERMAN’S BEACH, FRANK’S BAY (FROGGIE POND), WINDMILL BEACH AND SEAFORTH BEACH:

From 16 December until the end of school holidays in January, there will be no film shoot/events acti vities allowed to take place.

There after film shoots will be permitted on a case by case basis.

MISTY CLIFFS:

The parking space is problematic as it is limited, therefore all parking must be towards the entrance of Soetwater and the use of a shutt le is required if shoots larger than micro shoots are allowed. However should a larger shoot apply, the parking space is problematic as it is limited, therefore all parking must be towards the entrance of Soetwater and the use of a shutt le is required. Larger shoots would need proper consultation

and management and will only be accepted on merit.

WATER’S EDGE:

As a general rule no shoots larger than micro shoots will be allowed. Larger shoots would need proper consultation and management and will only be accepted on merit.

The parking area at Seaforth Beach must be used.

BIKINI BEACH:

As a general rule no shoots larger than micro shoots will be allowed. Larger shoots would need proper consultation and management and will only be accepted on merit.

Include a parking diagram with film/event applications.

LLANDUDNO BEACH:

Only small (Tier 1) film shoots are allowed on Llandudno beach

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during the period 16th December to 15th January, should a larger shoot want to film in this period it would need wider consultation, more extensive planning and a longer timeframe for approval.

Any activity taking place outside of these hours or on Public Holidays and weekends must timeously be arranged (minimum of five working days) through the CTFPO. • The CTFPO must be consulted first before any weekend/Sunday shoots are planned and will advise on the necessary process.

Please note there is a specific guideline document pertaining to filming in Llandudno, please consult the Film Office.

KOGEL BAY RESORT:

From 16 December until the end of school holidays in January, only micro shoots will be allowed to take place.

BEACHES UNDER THE CONTROL OF BLAAUWBERG CONSERVATION:

Eerste Steen, Derde Steen Kreeftebaai, Haakgat and Holbaai No commercials, feature films or documentaries are allowed over weekends and public holidays or during peak season (16th December to 13th January).

• Still shoots will be allowed over weekends but only for applications received in advance.

BAKOVEN BEACH:

• Micro shoots (Less than nine crew and cast no props, lights etc) • Small shoots (Less than 15 cast and crew, small portable generators and light as well as props allowed)

Information provided at the locations workshop by the City of Cape Town, in partnership with WESGRO, the CPA, and SAASP.

Llandudno beach (via Wikimedia Commons)

* Disclaimer: Amendments happen regularly, therefore it is advisable to check with the relevant permit office

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06 / SPOTLIGHT

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EXCHANGE CONTROL AND THE MOVIE INDUSTRY

On the 12th of August, WESGRO Film and Media Promotion held a Film Industry Finance workshop with leading foreign exchange experts Rand Merchant Bank.

With a specific focus on Exchange Control with Blanket Authorities, CFC Accounts and Foreign payments; their in-house Exchange Control Regional Manager together with the Treasury Team, provided insight from a regulatory perspective.

EXCHANGE CONTROL

South Africa has had Exchange Control in place since 1939, however the foundation thereof is the Currency and Exchanges Act, 1933 as well as the Exchange Control Regulations promulgated there under in terms of Section 9(1) of the Act. Authorised Dealers therefore take their guidance from these Regulations to best execute your transactions and to ensure that it complies with the letter of the law.

There are various factors of Exchange Control which needs to be considered when you are a Film Production Company incorporated in South Africa.

These include: Blanket Authorities for the remittance abroad of: • Expenses/Payments relating to the production costs of the movie • Surplus Funds • DTI Rebates and the incorporation of the SPV Account

RESERVE BANK APPLICATIONS THE CFC ACCOUNT

As a film production company you are geared to attract the best possible business and investment opportunities to our beautiful country. In doing so, you are assured of Foreign Investment

Film Industry Finance workshop, with the WESGRO Film and Media Promotion, and RMB team.

flows into South Africa by means of currency deposits.

These deposits can, on application to the Reserve Bank be held in a currency account otherwise known as the CFC Account.

The benefits of this CFC account are: • It minimizes your currency risk • The use of the currency to settle offshore, related expenses • Surplus Funds can be returned without delay or risk of currency losses

RESERVE BANK APPLICATIONS BLANKET AUTHORITIES

Following on from the CFC Account, the application submitted to operate a CFC account can incorporate what is referred to as a blanket authority request.

In this request we are able to request special permission for your company to: • Remit Surplus Funds abroad • Settle your foreign commitments against the currency balances held • Remit abroad DTI Rebates

FOREIGN RELATED EXPENSES

There may also be costs relating to the production of the movie which need to be settled. For example, hiring of props, accommodation facilities, transport, arranging of film locations etc.

If the aforementioned blanket authority is in place, these costs could be settled by presentation of an invoice or suitable documentary proof confirming the amount to be paid away.

Please note that should formal agreements be entered into, these need to be reviewed by

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the Authorised Dealer and may require Reserve Bank approval.

SURPLUS FUNDS

When the project is complete, unutilised funds may need to be returned to the investors. This is a standard practice within the movie industry however requires the permission from the Reserve Bank. If the authority is put in place at the outset of the project, there would be no delays in returning the unutilised portion of the funds offshore.

What needs to be kept in mind however is that documentary proof would be required to validate that the return of funds is in accordance with the funds received as well as the budgeted project.

Examples of the documentary proof required would be: 1. Confirmation of all foreign funds received 2. Cost Report Summary reflecting the total SA

spending portion 3. Copy of Auditors letter confirming the amount introduced, total cost of production, as well as the DTI Rebates 4. Documentary proof of the DTI Rebates

DTI REBATES AND THE SPCV ACCOUNT

The Department of Trade and Industry (DTI) has developed incentives to attract international investment and production to South Africa.

In this regard the DTI Website holds much information regarding the various rebates that could be applied for as well as the qualifying criteria.

With regards to the Exchange Control requirements for the Rebates, the DTI would insist on the fact that each production needs to be managed by means of a individual SPCV Account.

The SPCV account is better known as the Special Purpose Corporate Vehicle account and is set up with the sole purpose of the production and/or post-production of the film or television project.

VISITING ARTISTS, ENTERTAINERS AND SIMILAR PROFESSIONALS

When employing foreign artistes in the movie industry, their net earnings may on departure from South Africa be paid to them provided that they produce documentary evidence from SARS to confirm that all tax commitments have been met. These payments would relate to the Artist in their private capacity.

Should it be necessary for the payment to be effected to the artist’s agent, an application would need to be submitted to the Reserve Bank for sanctioning.

THE DTI WEBSITE HOLDS MUCH INFORMATION REGARDING THE VARIOUS REBATES THAT COULD BE APPLIED FOR AS WELL AS THE QUALIFYING CRITERIA.

CONTACT DETAILS: Mrs Barbara Turner Tel. 087 335 6197 Email: Barbara.turner@rmb.co.za Ms Mandy Turner Tel: 087 335 6195 Email: mandy.turner@rmb.co.za Mrs Karen Damon Tel: 087 335 6196 Email. karen.damon@rmb.co.za

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MUSIC MATTERS

Music is an oft-forgotten, yet extremely important part of the production process.

Kim Crowie explores the fascinating world of sound in film, from international music libraries to award-winning composers.

A

© Marius Arnesen / NRK

© Marius Arnesen / NRK

s an audience member it’s easy to take for granted that a film was good or bad based on the actors’ performances, the storyline, or even the production quality.

What many don’t comment on is the score, the music that creates the atmosphere, giving you a warm and fuzzy feeling – or leaving you terrified, if horror’s your cup of tea. One of the main reasons this is such an integral part of any production is because the brain experiences sound in a very distinct way. Information from these sensory organs actually travel faster than visual organs thanks to our basic fight-or-flight instincts. As a result, we are able to capture emotions most effectively through this medium, creating a subconscious sense of empathy and understanding for those on screen, whether it’s a 30 second spot on TV or a gruelling, three-hour feature film.

These days, most film projects are delivered with an accompanying temporary reference track or tracks. These have been researched by the client, director, producers or agency, says Alun Richards, Award-winning Composer and Founder of Cut & Paste Generation. “That generally informs a pretty in-depth and structured brief, outlining what is liked, what is not and what is missing,” he explains.

“The genre is determined conceptually and strategically.

The music score needs to appeal to the target market as well as support the visual narrative. In

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SOME PRODUCTION MUSIC LIBRARIES OF THEM HAVE REALLY GOOD MUSIC. BUT THE COMPETITION IN OUR DAYS IS NOT BETWEEN MUSIC ONLY, IT IS ALSO BETWEEN MUSIC SEARCH PROGRAMMES. THE BEST AND FASTEST MUSIC SEARCH PROGRAMME HAS THE BEST CHANCES TO ATTRACT CLIENTS. © Marius Arnesen / NRK

terms of how much leeway I get as a composer, that differs from project to project, but the more freedom I get to flex my composing muscles, the better the end result.”

In South Africa, licensing music for film is relatively easy. If a client or producer wants to use a specific track they’ve found on a music library for instance, all they have to do is get a license from the Composers Authors and Publishers Association (CAPASSO) or the South African Music Rights Organisation (SAMRO). CAPASSO issues mechanical rights licenses, allowing the respective bodies to collect and distribute royalties if

a production is aired. According to Synchro Music Management’s Louise Bulley, the organisation also puts out an annual rate card for production music rates for film and advertisings, and they hold blanket licenses with South African broadcasters for music usage.

SEARCHING FOR THE PERFECT TRACK

South Africa offers filmmakers a number of reputable music libraries that aid the production process, most notably SONOTON, the largest independent production music library in the world. Founded in 1965 by Heidi and Gerhard

Narholtz, the company represents hundreds of composers and music producers from around the world, and adds over 100 new albums to their immense and diverse catalogue every year. They were also the first company to create a music search programme – SONOfind – which was initially on floppy disc in 1992, and have since developed to include an online search engine and corresponding app. In 2016 they relaunched SONOfind with the latest technology for faster, more efficient music search and download. In South Africa, SONOTON is represented by Synchro Music Management’s Louise Bulley.

Gerhard says one of the biggest challenges in the industry is market saturation and competition. “There are many production music libraries who try to get their music used in all media. Some of them have really good music. But the competition in our days is not between music only, it is also between music search programmes.

The best and fastest music search programme has the best chances to attract clients.”

Louise adds that one of the threats they face are with buy-out libraries, since business models and licensing procedures and agreements

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differ. “We also have problems with the national broadcaster, SABC, here in South Africa, not paying the said blanket licence with CAPASSO and so our music gets used on programs with no licensing to cover the usage, which is a huge problem and an infringement on copyright.”

SO YOU WANT TO SCORE A FILM?

© Kwazi Mojo - Cut & Paste Generation

MUSIC IN FILM 101 In the 21st century there are more opportunities than ever before for musicians and artists to have their music heard in films or on TV. There’s a constant need for new, exciting content, and sound is part and parcel of that. Here are a few things to get artists going in the motion picture industry.

Where Does The Music Come From?

A tremendous amount of background music in TV and films is derived from songwriters’ demos and from artists’ independent releases, although depending on the production budget, these can come from libraries, or be specially composed or recorded for the project in question.

Source Music Source music is any music in a production that seems to be emanating from a tangible, physical source

within the scene, for instance, a song playing in a disco, or when a character switches their radio on. This is one of the easiest ways to break into the industry.

Tempo, Style, Lyrics There’s a huge misconception about the types of lyrics and tempos that tend to be best suited to placement.

Mournful, slow ballads are the hardest songs to place for TV or film, while songs that invoke the same feeling as popular hits or classics are in constant demand.

Popular lyric themes are those that express universal concepts and emotions such as love, enjoying life, new beginnings, and of course anything that feels good.

Quality over Quantity In most cases, the actual recording you submit will be used on the film or TV show, so songwriters beware – your ‘demo tape’ will not be re-recorded. This is why musicianship, vocal and

overall sonic timbre needs to be of broadcast quality.

Music Supervisors The music supervisor works with the director to identify where songs augment and underscore emotion in various scenes, as well as identifying the source music that is needed. They find tracks that express the director’s vision, compiling enormous amounts of music from artists, writers and publishers.

Know Your Rights Two different rights must be granted for a song to be included in a production. A synchronisation license is issued to grant permission to use the underlying song and is issued by the publisher, while a master use license is issued by the owner of the recording, granting the rights to use the specific recording of the song. In many instances these are combined into an all-in license.

As a composer you might know how to string notes together to create sonic wonderlands – but beware, many aren’t cut out for a career in the film industry. Because film music is incredibly specialised, not every good composer is qualified to write production music says Narholtz. “We carefully select our composers and make sure that we use the right ones for every genre,” he explains, “So we produce Blues in the USA, Dance in the UK and Kwaito in South Africa.

Right now over 2 500 composers have composed 120 000 music tracks for SONOTON.” One of the trends Louise has noticed is that clients enjoy the epic cinematic tracks that are done with full orchestras. Without a doubt, this brings stories to life, igniting the auditory senses in a way that is sometimes lost in today’s digitally-oriented world.

“There has also been a trend over the past few years to use more vocal or indie songs in series and TV productions to help set the scenes, we have seen these come into the production music space too,” she adds.

Perhaps no one understands the importance of orchestral music in film better than the South African Film Orchestra.

The company’s founders – Matthijs van Dijk, Simon Ratcliffe, Daniel Caleb, and James Matthes – have garnered some impressive accolades and awards in the international industry. The SA Film Orchestra offers world-class live recordings, from intimate quartets to full scale ensembles, with all the musicians experienced not only in film and album performance, but in full scale symphonic performances as well.

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ALUN RICHARDS ON COMPOSING FOR FILM

Renowned Composer and Sound Designer Alun Richards established Cut & Paste Generation in 1994. Since then, it’s grown into one of the most sought-after music composition facilities in South Africa. In 2005, he launched the sound postproduction arm of the company – Kwazi Mojo Media and Studios, where a dedicated team of sound engineers work collaboratively on craft award-winning soundtracks for features, television, interactive, online, gaming, advertising and radio commercials. Both companies have launched brand new websites, with Cut & Paste celebrating its 20th birthday recently by taking a look at some of Alun’s biggest and best music scores over the last two decades.

He shares his insights on the world of music and sound in a conversation with the Callsheet.

What is the importance of music in film, particularly in influencing emotions and moving a visual piece of work forward?

One hundred percent! Music is the emotional narrative of a film.

In most cases, pictures tell the viewer what to think and impart information on a conscious and logical level. Music operates on a subconscious and emotional level; the score guides the viewer to feel. As quoted by Hans Zimmer, “I want to go and write music that announces to you that you can feel something. I don’t want to tell you what to feel, but I just want you to have the possibility of feeling something.”

What are the main elements of a great score for a film or commercial? What’s your ‘secret sauce’ that gets you winning Grand Prix et al?

There’s no secret sauce and the elements are everything that makes the film or commercial.

Everything has to work cohesively, has to be at their best. When the elements – the story, directing, lighting, photography, edit,

© Kwazi Mojo - Cut & Paste Generation

and our preconceptions out of the way and do the work in the time allotted.” – John Williams

Alun Richards in Studio © Kwazi Mojo - Cut & Paste Generation

music, etc. – are individually outstanding, they support each other and the sum is better than the individual parts. That’s the art. Humans are very good at identifying formulas, bad copies and a lack of authenticity.

What was your best memory of composing something for an award-winning ad?

What about it has stuck with you and why?

“Any working composer or painter or sculptor will tell you that inspiration comes at the eighth hour of labour rather than as a bolt out of the blue.

We have to get our vanities

This is so true and I have many memories of projects like this.

One in particular, early on in my career when instrument samples were not what they are now, I had scored a part for solo violin.

I knew it was good (maybe even great!). My clients wanted to hear a synthesised demo, which did not do any justice to the violin in particular. I stuck to my guns and booked the orchestra.

Everyone turned up for the live recording and the music was even better than even I had imagined it. The virtuoso violinist found emotion and feel in the notes I had composed that I didn’t even know were there. What I took away from this experience was to believe in myself, my talent and even more importantly, collaborate with passionate professionals.

They will always make the world of difference. Incidentally, the piece was great! It won many awards worldwide and was used for over ten years in follow-up ads.

Visit their new websites on www. cutandpaste-generation.com and www.kwazimojostudios.com.

THERE’S NO SECRET SAUCE AND THE ELEMENTS ARE EVERYTHING THAT MAKES THE FILM OR COMMERCIAL. EVERYTHING HAS TO WORK COHESIVELY, HAS TO BE AT THEIR BEST. WHEN THE ELEMENTS – THE STORY, DIRECTING, LIGHTING, PHOTOGRAPHY, EDIT, MUSIC, ETC. – ARE INDIVIDUALLY OUTSTANDING, THEY SUPPORT EACH OTHER AND THE SUM IS BETTER THAN THE INDIVIDUAL PARTS. THAT’S THE ART.

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IT’S OPEN SEASON

FOR FILM AND COMMERCIAL SERVICE South Africa has long had a reputation for delivering high-quality production services to the international film and television industry.

FOR INSTANCE, FILM AFRIKA RECENTLY SHOT THE ITV MINISERIES TUTANKHAMUN IN SOUTH AFRICA – UNUSUAL WHEN A FILM OF THIS NATURE OFTEN FILMS ON LOCATION IN MOROCCO OR EGYPT. NOT TO MENTION THE TOURISM ASPECT OF THESE SHOOTS. Tutankhamun © ITV; Film Afrika (Pty) Limited, Unit and Special Stills Photography by Joe Alblas | African Photo Production

S

un, sea and sandy beaches – we have these and so much more in this exquisite country. South Africa has doubled as over fifty locations across the world already, making it a go-to place in the international industry.

Added to this are attractive tax incentives and worldclass crew combined with top notch expertise in every area of the production process.

The Western Cape is its commercial and feature film capital, while Gauteng is the country’s main broadcast production hub, with KwaZuluNatal garnering more and more interest and investment as it consistently grows.

Examples of this are Anant Singh’s planned studio complex currently under construction,

as well as the annual Durban International Film Festival.

“The film industry has grown because of the dti incentives, which are globally competitive and fair. It was wonderful to get reassurance that the proposed changes to the incentive will continue in that vein, but take into account the new circumstances of the fiscus,” says Monica Rorvik, Head: Film and Media Promotion, a division of WESGRO. According to Rorvik, the Western Cape, and Cape Town in particular, provide “a variety of desirable locations and landscapes within close proximity from the city centre. It boasts world-class infrastructures, including the Cape Town Film Studios which has been a draw card to big

international productions since its inception.” She adds that the local industry offers highlight competitive production costs and experienced local crew. As a result, international companies like the BBC, Al Jazeera, ABC Studios and Disney have a vested interest in developing South Africa’s film industry.

SA’S COMMERCIAL SUCCESS Much has taken place in South Africa’s commercial realm of late. In addition to winning multiple local and global awards and accolades, production companies continue pushing the envelope in engaging ways. We are also seeing the industry’s service and craft skills mature.

For example, Juice Film shot commercials with a range of different countries – the United

Kingdom, France, USA, Norway, Israel, Indonesia, Germany, Sweden, India, Switzerland and Australia, to be precise. Says Executive Producer Carmen Amos: “Our highlights for the season, were once again working with some top international directors such as Bart Timmer, Martin Werner, Jason Smith and Romain Gavras to name but a few. We had a number of special jobs, but I think one to shout out about would be Blu – produced with the fabulous team from Iconoclast London. Not many can claim steer wrangling or mustering a chopper shot from a chopper! Some seriously fancy flying from our aerial team!”

Renowned service company Moonlighting Commercials has also seen some rewarding projects says Beccy Kellond,

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Marketing Manager and Partner.

“We worked with several clients for whom it made financial sense to shoot major global campaigns here, staying for around a month and flying in agency and client from all over the world for the relevant days of the project.” She believes we are “still one of the leading, most popular, useful production destinations in the world, with a range of major production benefits that combine with the tourist or comfort benefits for international visitors.”

Our locations are, of course one of the main reasons internationals shoot here. Not only are we able to replicate pretty much anywhere in the world, but our cast, crew and suppliers are reliable and offer a strong track record of experience and quality performance. For instance, Film Afrika recently shot the iTV miniseries Tutankhamun in South Africa – unusual when a film of this nature often films on location in Morocco or Egypt.

Not to mention the tourism aspect of these shoots.

OPPORTUNITIES IN POST PRODUCTION AND ANIMATION

Much has taken place in SA’s animation sector in the last year, with France eyeing opportunities to invest and develop South African animators. The Animation School and the prestigious Emile Cohl School of Art in Lyon have formed a partnership involving a teacher exchange programme, while the former also partnered with Gobelins L’Ecole de l’Image in Paris. Triggerfish Animation Studios’ partnership with Disney on the Story Lab initiative has seen immense success. The local studio is now developing four feature films and four TV series as a result.

Another roaring success was the shooting and post-production of The Journey Is The Destination in South Africa. Johannesburgbased Refinery worked on the intricate post process, bringing

stories and imagery from Reuters Photojournalist Dan Eldon’s mixed media journals to life on screen.

Annecy 2016 also saw South Africa’s Bugbox Animation and France’s Folimage partner to coproduce preschool series property, Musi & Cuckoo. Animation SA has received strong government support, with both the dti and the NFVF collaborate closely by send delegations to international markets and increasingly, bringing them here. “South African animation is truly evolving,” says Peter Kwele, Head of Communications and Marketing for the NFVF. “We have the potential to be a hub for the global industry, and we are working towards realising that vision.”

INCENTIVES AND REBATES South Africa has attractive tax rebates as well as a number of co-production treaties. The Foreign Film and Television Production and Post-Production Incentive is designed for internationals who shoot on location and do post in the country.

It includes the following: • When shooting on location, the incentive is calculated as 20% of the Qualifying South African Production Expenditure (QSAPE) and a cap of R50-million is applicable • When shooting on location and conducting post-production in SA with a Qualifying South African PostProduction Expenditure (QSAPPE) of R1.5million, the incentive is calculated at 22.5% of QSAPE and QSAPPE

© Juice Film

• When shooting on location with a QSAPPE of R3-million and above, the incentive is calculated at 25% of QSAPE and QSAPPE • Foreign postproduction with QSAPPE of R1.5-million is calculated at 22.5% • Foreign post-production with QSAPPE of R3million and above is calculated at 25% Internationals with the following are eligible for the rebate: • QSAPE of R12-million and above, provided that at least 50% of the principal photography schedule is filmed in South Africa, for a minimum of four weeks • QSAPPE of R1.5million and above, provided that 100% of the post-production is conducted in South Africa, for a minimum of two weeks

South Africa has co-production treaties and memoranda with the following countries: • Canada | co-production - since 1997 • Italy | co-production - since 2003 • Germany | co-production - since 2004 • United Kingdom | coproduction; film and TV - since 2007 • France | co-production - since 2010 • Australia | co-production - since 2010 • New Zealand | coproduction - since 2011 • Ireland | co-production - since 2012 • Kenya | memorandum of understanding - since 2013 • The Netherlands | coproduction - since 2015 • India | memorandum of understanding - since 2015 • Sweden | memorandum of understanding • Algeria | memorandum of understanding - since 2015 • Namibia | memorandum of understanding - since 2016

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Refinery handled all the post work for The Journey is the Destination , a film about renowned photojournalist Dan Eldon.

POST PRODUCTION TRENDS AND SUCCESSES

The world of post production becomes more and more intricate, developed and exciting with each passing year. Kim Crowie takes a look at some of the organisations excelling in South Africa’s growing post realm.

A

s South Africa’s film, television and commercials industries have grown from strength to strength, so has its post production. Not only are many post companies involved in award-winning work across the board, but internationals have testified time and again to the high calibre of work done in this country.

FEATURES ROUNDUP

Both international and local feature films have had success is Shepherds and Butchers, directed

by Oliver Schmidt and edited

by Megan Gill – set for release in October. Searle Street Post Production completed the full digital intermediate on the production, as well as on action suspense thriller Accident. This

saw a collaboration with French production company Superbe Films, directed by Dan Tandowski and cut by Richard Starkey.

“Each project births its own set of unique challenges,” says Lauren van Rensburg, GMSupervisor at Searl Street Post.

“The VFX on both films was handled by independent vendors, which made the establishment

of correct colour workflows mission-critical from the outset.

The very nature of post dictates that not everything in the pipeline will sail as smoothly as one might wish, yet it is the manner in which communication happens and conjunctive resolutions are founded that will ultimately see any tiny hiccups appropriately dealt with.”

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The Workroom was also involved in Shepherds and Butchers from an audio post perspective, as well as productions like The Last Face, Resident Evil: The Final Chapter, Star Trek Beyond, and Eye in the Sky. The company was recently nominated for a Cinema Audio Society award, and won Best Sound in the 48 Hour Film Project, among others.

Refinery has also grown from strength to strength, and in 2016 handled all the post work for The Journey is the Destination, a film about renowned photojournalist Dan Eldon. “I really do believe it is one of the best films to come out of SA and certainly the biggest post-production project,” says Tracey Williams, MD at Refinery. “Charlotte Buys was the dialogue editor and final mix engineer. She did a masterful job crafting this film.

It was also the first film to mix in Refinery’s new 5.1 Sound Studio.”

Priest Post Production has

continues to focus their attention South African features, with their Senior Editor Matt Swanepoel winning a SAFTA for Best Editing in 2015. They’ve also branched into the art world, hosting a very successful exhibition in their Joburg office, which doubles as an exhibition space. “Success is all about finding the sweet spot between seeing what your competitors are doing but also not paying too much attention to it,” says Jess Cash, Content Producer at Priest. “Priest has always been good at att racting good staff and working with their strengths to create a great team. Technologically we increasingly become more digitally focused; both in terms of our infrastructure and more of our clients are digitally minded.

We are very interested in VR technology and when or how that is going to affect South Africa.”

Another company focused on local productions is Kwazi

Mojo Studios. Their most recent work was on Kagiso Lediga’s riotous Wonder Boy for President, directed by John Barker. “We have also worked on fundraising promo’s for Ananzi, an animation feature in development by Diprente and Making a Killing, an action war drama by A Breed Apart Pictures. Kwazi Mojo is very excited to have signed an audio post production deal with Phoenix Films (Andre & Samuel Frauenstein) to handle full audio post and music score for their roster of upcoming film productions, directed by Darrel Roodt amongst others,” says Kwazi Mojo’s Alun Richards.

TV SERIES HIGHLIGHTS

Refinery has been pushing the boundaries in the television department, working on a strenuous project called Gogglebox for Picture Tree and Sony Pictures. “We took 100 hours into one hour of television

for broadcast every week. We were approving the picture across three continents – SA, UK and USA. To achieve this we set up a pipeline that works efficiently from set,” Tracey explains. “It is a different challenge when working against Texas time as opposed to a delivery deadline.”

In television, Searle Street has also done well. The everburgeoning TV market has seen a return of the BBC series Jamillah and Aladdin, which was recently greenlit for a second season. The company completed a further 26 episodes in conjunction with Out of Africa and Kindle Entertainment.

The Workroom, too, has seen success in TV. The company has worked on the likes of Black Sails, Of Kings and Prophets, and even mega HBO series Game of Thrones. Stephen Webster, Director at The Workroom says it’s their world-class facilities that bring the internationals in.

+27 (0) 11 361 3020 dios.c om ww w.k wa zimojostu neration.com -ge ste pa nd uta ww w.c

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TRENDS AND TECHNOLOGY UPDATE

Searle Street Post Production completed the full digital intermediate on Shepherds and Butchers . The Workroom was also involved from an audio post perspective. © Videovision Entertainment

“Having recently expanded to establish a fourth studio inside a post facility allows clients to monitor the audio session while simultaneously working on the other steps in the post production chain,” he explains, adding that despite this, there is a growing trend to work remotely with clients. “We work with an increasing number of clients on a remote basis. This is made possible by many factors including, reliable fibre, and several real time connectivity options as well as trusted long term relationships. This facilitates reduced costs, reduction in travel time and simpler scheduling.”

CUT TO COMMERCIALS

As always, South African advertising agencies, production companies and post-production organisations have taken the commercial sector to new heights.

A number of incredibly talented post-production houses have bagged Cannes Lions, Loeries and many other prestigious brand communication awards. Black Ginger received a Craft Certificate at the Loeries 2016 for Allan Gray The Letter, while Deliverance, Left, Nova, Deepend Post, The Mill, Factory 15, The Upstairs Ludus, Sinister, and Black Envelope Films among others were part of some incredible, award-winning projects.

Kwazi Mojo has seen considerable success in commercials. “Notable work on the commercial side was full audio post and score for the Miway Freedom Campaign and CI Mnemonic, the epic Anime inspired launch of the Mazda CX3 (Black

River FC) and Pick n’ Pay’s Christmas brand commercial (Y&R) featuring a re-imagined score of Catch a Falling Star performed by Freshly Ground’s Zolani Mahola,” says Richards. The company produced 3D VR sound design for one of the first Virtual Reality productions to come out of SA – the Mercedes Benz C Class Coupe VR Showroom and Drive Experience. “We are mixing 3D sound in our state of the art Dolby Digital mix stage and authoring the resultant mix files with proprietary head tracking software that adds metadata to the final sound files which allow embedding in final VR product.”

The Workroom, too, saw success in the commercial realm. Says Stephen: “Recent commercials include Scouts Learn It Young, with over four million views in four months, which highlighted the importance of the skills learnt while working through the Scouts programme.

The second was The First Kiss, the Western Cape Government’s seat belt awareness campaign, which post flighting showed a 27.5% increase in overall seatbelt compliance with passenger fatalities down by 30%.”

“The film rebates and incentives structures have brought both productions and talent to South Africa unfortunately a large amount of the audio post still leaves SA for a few key reasons one being the lack of suitable audio post facilities. By providing the necessary facilities locally we hope to break the current trend and retain the full audio post requirement,” Stephen explains.

The Workroom has recently installed the first Dolby Atmos capable mixing environment in SA and over the last several months have been producing content and enjoying the added creative freedom of the format. “Dolby Atmos is the industry standard in immersive (3D) sound from Dolby Laboratories, with over 500 films being mixed in Dolby Atmos to date. This new format is one of the most significant developments in the history of cinema sound and gives content creators unprecedented freedom of the placement and movement of sound within the movie theatre,” Webster says. “Speakers completely envelop your audience on the sides and overhead to give new dimensions to the soundtrack, which in turn gives the audience the most immersive, and exciting sonic experience possible.”

He adds that one of the main challenges they face in audio post production is tighter budgets, weakening Rand and, as a result, an increase in the cost of industry standard equipment.

Despite setbacks, he’s confident that SA’s film industry is still in a very healthy position. “The film industry should continue on a steady incline as the direct flow of international investment aides an increase in additional industry specific infrastructure allowing for further expansion.”

SSPP’s Lauren van Rensburg seconds this, saying that they are constantly faced with the “vexing task of keeping equipment up to date”. “This period now lasts no longer than eighteen months, as technological advancement is unending and constant reinvestment is a prerequisite.

We have the invariable battle against a diminishing Rand and are lucky to offer solutions that other facilities simply cannot afford. Television workflows are particularly data intensive and there are simple options that can drastically reduce storage needs.

As a supervisor I have seen the wrong advice triple the storage

The First Kiss - A success for The Workroom

requirements and unforeseen costs that need to be funnelled from elsewhere in the budget.”

Jessica Cash of Priest says that one of the many tech trends is the drastic change in workflows.

“Because one person is editing, grading and onlining, this drastically changes the life cycle of a project,” she says. “Due to technological advancement, it is making it a lot easier for the Average Joe to do high-end finishes. Programmes like After Effects, Premier and Resolve has made it a lot easier for anyone with a computer to teach themselves how to do finishes in a relatively small space of time.” But, as with Stephen, she’s confident in SA’s post-production market. “The shrinking economy unfortunately doesn’t allow for a buoyant market. The ride has been quite bumpy for a few years now but that does foster a need for innovation and tenacity.

All in all, the SA film industry is booming which means post production is still in a good space.”

Virtual Reality and Augmented Reality will of course play a much larger role in post-production in the next few years, with production companies in South Africa already gearing up to cater to the needs of local and international businesses that are interested in investing in this tech. Says Lauren. “There have been extensive developments in these fields that in my opinion are still very much in their infancy.

While I have seen some very interesting pieces put together, what excites me most is the R&D taking place and the potential of the new mediums. 4K is another

FEATURE / 17

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requires you to have your wits about you for the variety of circumstances that crop up daily.”

ANIMATION OVERVIEW

avenue that is increasingly becoming a demand more than a luxury. With international houses broadcasting in UHD it is no longer merely theatrical releases requesting high resolutions.

Furthermore we are seeing Dolby Atmos on the forefront of the audio world and it is an extremely exciting development for future productions. Post-production is a highly competitive business that is neither healthy, nor unhealthy.

It is an ever evolving animal that

SA’s animation industry has enjoyed a period of rapid growth over the last decade, and particularly in the last few years, have seen a surge in world-class, original content offerings. In terms of series, Strika Entertainment and Sunrise Productions have seen their animated series Super Strikas and Jungle Beat licensed in over 170 territories. Pixcomm’s Jabu’s Jungle has also found international success, as has Flying Circus’ Silly Seasons and satirical 2D show My Child.

On the features from, Triggerfish Animation has made waves partnering with Disney to produce Story Lab, an incubation programme for the next great TV and Film animation creators.

Through the continent-wide search, they have already yielded a production deal with

Mike Scott’s A Dogshow With Cat

Disney XD for Mike Scott’s A Dogshow With Cat. In the gaming and burgeoning app market, Seamonster remains king, pushing boundaries and pioneering in the edutainment space.

Animators have also brought home wins from Annecy this year, the world’s most prestigious animation festival. Arid, a student film from The Animation School, was the first student film from Africa to be accepted into the Official Selection, while Stick Man,

a TV special created by Triggerfish and Magic Light UK won the Cristal for Best TV Production, and ‘n Gewone Blou Maandagoggend

by Naomi van Niekerk won the Jean-Luc Xiberras Award for Best First Film. Annecy 2016 also yielded our first ever French/ South African coproduction – the preschool series property, Musi and Cuckoo, which will be produced

by Johannesburg-based creators Bugbox Animation in collaboration with Folimage in France.

+27 21 426 5497 production@theworkroom.co.za www.theworkroom.co.za THEWORKROOM › AUDIO POST PRODUCTION › CAPE TOWN We are a passionate and dedicated team of sound engineers who work collaboratively to craft soundtracks for feature film, television, cinema and radio commercials. Our award-winning sound editors offer a depth of expertise in all aspects of audio post.

Dolby AtmosTM | Dolby 5.1 | Sound Design | Dialogue Edit | ADR | ISDN | Source Connect | Foley | Voice Casting | Voice Directing

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THE JOURNEY IS THE DESTINATION The Callsheet brings you an exclusive post-production case study on The Journey is the Destination, a film with post done entirely by Refinery.

The Journey Is The Destination - before and after post production by Refinery

Shooting on location © Refinery

The Journey Is The Destination - before and after post production by Refinery

A

moving film about Dan Eldon, renowned photojournalist, artist and acti vist, The Journey is the Destination recently wrapped post production in South Africa, and is set for release sometime in 2016. The biographical film is directed by Bronwen Hughes with the screenplay written by Jan Sardi, with Ben Schnetzer as Dan Eldon. After filming on location in Kenya with Out of Africa, Hughes brought the post-production

work to Refinery to complete.

Managing Director Tracey Williams explains the process: “I really do believe it is one of the best films to come out of SA and certainly the biggest post-production project… Dan Eldon’s journals and work, speaks to any designer and motion graphics artist. For me, I related to the style, as it happened at a time before Photoshop and was relevant when I was at art school.”

“There were so many moment,

ups and downs on this project.

Bronwen was with us for the final two months of post. It was great to work with a director who had a clear vision of this film, but at the same time invited in input and collaboration. The motion graphics sequences, was a great opportunity to create something new. We had the guide of Dan Eldon’s journals as a starting point, but then needed to make them contemporary and relevant to the film as well as animate them. Neil Simpson came on

board as lead artist, with Ray Brown working with him.”

On the VFX side, they had matte paintings, set extensions, crowd duplication, explosions, helicopters, and ultimately, six VFX artists working for six months – plus additional crew working for shorter periods.

“Sound on a film like this is critical,” says Tracey. “There were scenes that we really needed to fill in crowds. We had ‘crowd ADR’ days. These were quite strange to attend,

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ON THE VFX SIDE, THEY HAD MATTE PAINTINGS, SET EXTENSIONS, CROWD DUPLICATION, EXPLOSIONS, HELICOPTERS, AND ULTIMATELY, SIX VFX ARTISTS WORKING FOR SIX MONTHS – PLUS ADDITIONAL CREW WORKING FOR SHORTER PERIODS.

The Journey Is The Destination - before and after post production by Refinery

as it is prett y much a ‘shoot’ day, except with no camera.”

The entire team enjoyed the job, with Charlotte Buys saying that working with Bronwen was an “amazing experience”. She cites Bronwen running around in flip flops to record foley, or when almost everyone in the building went into the ADR suite to record clapping for a club scene. “It was a hard, hectic, fast mix but in all the atmosphere was amazing and Bronwen’s thoughts and wants on the mix were spot on for the film.”

Hughes had this to say of the experience: “I did Stander in Joburg in 2002, and since then the industry has exploded. For me, arriving a decade later and seeing the depth of the crew and talent is mind-blowing. The film was 100% South African production crew and it was extraordinary... there were people really pulling out the stops to go beyond the usual, with real passion behind it.”

The Journey is the Destination will have its world premiere at the Toronto International Film Festival in September.

FAST FACTS • Refinery first quoted this project for Out of Africa in 2010 – a testament to how long it can take an independent film to raise funds.

• Refinery handled all the post from beginning to final delivery to Voltage Pictures • Bronwen Hughes is attached as Director of the film, with Nicky De Beer as SFX Editor, Neil Simpson as Lead

info@refinery.co.za | www.refinery.co.za | +27 11 799 7800 VFX . Animation/Motion graphics . Colour Grading . Sound Post Production Digital Dailies . Editing Rooms . Deliveries & Mastering . DCP theatrical Lab

Artist, Eugene Olsen as VFX Supervisor, Ancilla Berry as VFX Producer, and Charlotte Buys as Dialogue Editor and Final Mix Engineer.

• Post begaun on August 2015, with final masters shipped on 28 June 2016. Bronwen worked with them for the final two months of post.

• A small studio was set up in Refinery’s basement to capture certain live action elements and use then in a stop-motion style.

20 / SPOTLIGHT

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A SNAPSHOT LOOK AT

PRODUCTION ACCOUNTING With industry specific insights from Kagisho Bapela of Thekgo Chartered Accountants.

production. Also, all the costs of producing the film as per the production budget have to be recorded. As an accountant you also do the reporting to investors/ bonders on the progress made in terms of the budgeted costs. You also handle all other statutory reporting requirements.

Image designed by Pressfoto ©Freepik.com

WHAT DOES A PRODUCTION ACCOUNTANT DO?

According to Creative Skillset, the skills body for the creative industries: “Production Accountants calculate finances, work out the cost of a production, communicate with financiers (companies or individuals who provide the funding) and control the cash flow, or spending”.

They must make sure that payments are made on time and correspond with agreements and approved budgets. They must also make sure the production meets all legal requirements and that the company is a legal trading entity.

In pre-production, Production Accountants help the Producers and Production Managers to prepare budgets and Estimated Final Cost Reports.

During production, they oversee all payments, manage

payroll, pett y cash and foreign currency and keep accurate financial records. They help monitor budgets, analyse spending and provide daily or weekly cost reports. They also produce cost forecasts to evaluate the impact of any production changes.

What does production accounting for the fi lm industry entail?

Kagisho Bapela, Chief Creative at Thekgo Chartered Accountants: Production accounting in the film industry entails providing accounting support for the production to ensure that the money spent in the production of the film can be well accounted for. Basically all money received by the film from funders/ investors has to be recorded in the financial records of the

What are industry specific challenges that you face in doing production accounting for the fi lm industry?

Kagisho Bapela: There is a gap between accounting practice and players in the film industry. Sometimes creatives do not appreciate certain basic accounting or record-keeping principles. This is not really ignorance but lack of exposure to a more strict and defined way of doing things like accountants are bred to be. It takes patience and understanding to overcome some of the differences in approach.

I think the industry is also very specialised and most accounting packages are not geared for the kind of record keeping and reporting requirements that the industry requires.

What are the practical steps in doing production accounting in terms of the tranches of the DTI rebate?

Kagisho Bapela: The rebate is paid out on defined terms and the completion bonder plays a role in

managing the reporting process with DTI. Production accounting’s role is to provide timely cost reports so that the bonder can advise the DTI on the progress the film has made in terms of the tranches. The 20% split is really just a mechanism to make sure the spending is managed. The only time a tranche is measured against your spending, as far as I understand, is when the last tranche is paid. This is mainly because the film has to be audited to the DTI to establish the final “rebatable” costs. So only the last 20% could be lower.

The first 4 tranches should be equal. The only weakness of the 20% split is that the last two tranches usually have to be replaced by other temporary funding as they come through much later in the process, after principal photography has been completed.

THE LOWDOWN • Managing finances and keeping records up-to-date during film productions • Preparing schedules and budgets with the production team • Handling everyday accounting and checking spending against the budget

MEREDITH HARINGTON / 21

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WITH THEIR PERSONAL ATTENTION AND CAREFUL APPROACH, MEREDITH HARINGTON HAVE ANCHORED OUR FINANCIAL MATTERS FOR THE PAST 16 YEARS, LEAVING US WITH PEACE OF MIND IN THIS REGARD. WE HIGHLY VALUE OUR WORKING RELATIONSHIP OVER THE YEARS, BASED ON COMPLETE SECURITY AND TRUST. ~ VIVIAN ESTERHUYSE, PRODUCER, ORANGE FILMS

TO BOLDLY GO

WHERE NO ACCOUNTANT HAS GONE BEFORE...

by Glen Bresler, Director at Meredith Harington

W

hen it comes to filming, we wouldn’t presume to tell you the best angle from which to shoot, or make suggestions regarding lighting or the best camera to use. Clearly, that is your area of expertise.

But when it comes to getting your finances straight we certainly know what we’re talking about. We also know how important it is for film and production companies to be up to speed with your accounts and financial planning.

Here’s what we think you’ve got to get right and what we are really good at:

GETTING SOME BUCKS BACK

We’ve been involved with the Film Incentive Scheme since its inception over a decade ago. We enjoy (and share) the benefits of a long relationship with the dti.

Our understanding of the rebate process and our experience in this field enables us to deliver a cost effective, knowledgeable service that is unmatched. We can do it all from initial claims to audit of the cost report and preparation of annual financial statements and tax returns.

Call us on 021 713 8700

MANAGEMENT ACCOUNTS, WHO NEEDS THEM?

You do! They’re a bit like vegetables. You have to have them, no matter what. You’ve got to know where you are on costs in relation to budget and that all the tricky compliance matters are dealt with properly. Numbers aren’t always the easiest thing to get your mind around so having someone on hand to explain the nitty gritty and provide assistance is helpful. Management accounts are there to aid decision-making and as a tool for catching early warning signs. After all, you are protecting your life savings.

GETTING YOUR TAXES WRONG IS RISKY

Taxes are never fun to talk about, but along with death, they are one of the sure things in life. Whether you are a production company, in the production service industry, or the commercials industry, VAT is a massive part of your life and costly if not done right.

Industry VAT issues are especially complex and taking advice makes good sense. We are also here to support the needs of the people behind the company. We offer you, the film entrepreneur

proactive advice for the optimal structuring of your own affairs.

PRODUCTION AND PRODUCTION SERVICE COMPANIES We understand the business models in the industry and we appreciate the issues that challenge you. We work closely with lawyers in the industry and have a strong grasp of the contractual issues surrounding the different models. Hence we are able to offer appropriate and sound business and accounting advice. We even know a few tricks that can keep down the costs of holding Special Purpose Corporate Vehicles (SPCVs).

Think of us as a one-stop shop for the film industry’s financial needs. We offer support to filmmakers, special effects firms, post production companies, actors and film entrepreneurs and can even offer introductions and advice relating to film financing.

We’ve got connections abroad so we can support you in many countries across the globe.

In a nutshell: • We are the value add.

• We’re a progressive, professional firm that

•

•

•

•

•

offers way more than bean-counting.

We apply commitment, creativity, innovation and insight to everything we do.

We have the foresight to anticipate change and the insight to prepare for it.

We have the courage and expertise to be your competitive advantage.

We’ve helped many successful SA companies and the men and women behind them to maximise their profits, grow and manage their wealth.

We don’t just present a historical set of financial statements to gather dust; we provide valuable and relevant suggestions for improvement and expansion.

There is nothing average about Meredith Harington. Please visit our website for more information about what drives us, our philosophies, our commitments to our profession, our people, our clients, the community and the environment. Our website also contains expanded explanations of our services, useful tools and links and many interesting business articles and fact sheets.

22 / LOERIE AWARDS 2016

www.thecallsheet.co.za

LOERIES

GOLD AND GRAND PRIX WINNERS Congratulations to all the fantastic, innovative award winners of the 2016 Loerie Awards!

PRIZE

RECORDING STUDIO/POST/ PRODUCTION COMPANY

BRAND

TITLE

AGENCY

Nando’s SmartLife Iziko Museums of South Africa Nestle Professional Iziko Museums of South Africa

Nando’s Global Visual Identity System Project Akshar (Alphabets) The Slave Calendar

Sunshinegun FP7/DXB (Part of McCann Worldgroup) Geometry Global Cape Town and Ogilvy & Mather Cape Town Mullen Lowe Geometry Global Cape Town and Ogilvy & Mather Cape Town

MINT -

Diageo Go Sport CANSA

Team Kenya Champion’s Hijack Testi-Monials

NetworkBBDO TBWA\RAAD FCB Cape Town & Hellocomputer

Bioscope Films, We Love Jam, Hellomotion

Shakin’ Shakin’ Testi-Monials Shakin’ Shakin’

Ogilvy & Mather Johannesburg FCB Cape Town & Hellocomputer Ogilvy & Mather Johannesburg

Bioscope Films, We Love Jam, Hellomotion -

Global Transfer Connect - Magnetism

J. Walter Thompson Dubai Mullen Lowe Johannesburg

-

Youth Day

Black River FC

-

Symbiosis - Plover, Cleaner Shrimp, Wrasse Crumple Zones - School Boy, Ballerina, Soccer Star French/Portuguese/Japanese Samsung Noise Cancellation Print Ads - Pop, Tarab, Classical Giraffe Champion’s Hijack Symbiosis - Plover, Wrasse, Cleaner Shrimp Frozen At Their Best - Lifeguard, Vigilante, Rugby Player Breaking A Fatal Pattern - Shams, Maataha, Nujoom IKEA. It’s that affordable. - chair, bed, lamp, table, bookcase

DDB Ogilvy & Mather Cape Town DDB Cheil Worldwide - Dubai

-

J.Walter Thompson Beirut TBWA\RAAD DDB Joe Public Pty Ltd Memac Ogilvy Memac Ogilvy Dubai

-

Nando’s “Chicken Run” & “Heartfelt Celebration of South African Design” Feel good about life insurance

Nando’s Chickenland

-

Different Life (Pty) Ltd

-

Mweb Lefty University of Pretoria Casper Schutte

Mweb - Destination Dale, Nathan, Susan Seven Deadly Sins The Secret Society of Liars Ja Oom Nee Oom

-

Gold

Kotex

Kotex

Craft Gold

Lefty

Seven Deadly Sins

AAA School of Advertising Cape Town AAA School of Advertising Cape Town University of Pretoria Stellenbosch Academy of Design and Photography Stellenbosch Academy of Design and Photography AAA School of Advertising Cape Town

Design Grand Prix Campaign Gold Gold Gold Craft Gold Digital & Interactive Grand Prix Gold Gold

Gold KFC Craft Gold CANSA Craft Gold KFC Outdoor & Out Of Home Gold HSBC Gold Nestle Professional Print Grand Prix Electronic Media Network Campaign Gold Wrigley Campaign Gold Audi SA Campaign Gold Wrigley Campaign Gold Samsung Gold Gold Campaign Craft Gold Campaign Craft Gold Campaign Craft Gold Campaign Craft Gold

Coca-Cola Go Sport Wrigley McCain Qatar Islamic Bank IKEA

Shared Value Grand Prix

Nando’s

Gold Student Campaign Gold Gold Gold Gold

Different Life (Pty) Ltd

MSCC Buhle Bethu Travel & Tours Integrated Marketing Solutions The Times Sunday Times WEjoburg

Connect 2016 - Magnetism The Slave Calendar

FlySafair Shareable apps Media update Brand media network

MAHLE Eskom neX media BIZCommunity

-

-

LOERIE AWARDS 2016 / 23

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Grand Prix Winner, Brand: Diego (Tusker Lager), Title: Team Kenya , Category: Digital & Interactive - Mobile Advertising, Agency: Net#workBBDO /

PRIZE

BRAND

PR Communication Campaign Gold Ster-Kinekor Live Events, Activations & Sponsorships Gold BMW Media Innovation Gold PASSOP Gold MTV Africa Radio Grand Prix KFC Campaign Gold

Vodacom

Campaign Gold Campaign Craft Gold

BBC Lifestyle Flight Centre

Campaign Craft Gold

Vodacom

Campaign Craft Gold

KFC

Campaign Craft Gold

KFC

TV, Film & Video Grand Prix

Grand Prix Winner, Brand: Electronic Media Network, Title: Youth Day, Category: Print (Newspaper Advertising), Agency: Black River FC

TITLE

AGENCY

RECORDING STUDIO/POST/ PRODUCTION COMPANY

#OpenEyes

FoxP2

-

All-new BMW 7 Series Launch

Mela Events

-

Twitter Refugees #LetsTalkColour

NATIVE VML Ogilvy & Mather Johannesburg

Visual Content Gang

The Everyman Meal - Coloured Weights, Claw Thing, Cherry Lip Balm You Should Have Called - Email, Double Blue Tick, Meme Zone 3 Judges - Wholenut Fish, Custard and Sweets Travel before it’s not fun anymore - Skiing Trip, Spiritual Festival, Spring Break You Should Have Called - Email, Meme, Double Blue Tick The Everyman Meal - Coloured Weights, Claw Thing, Cherry Lip Balm The Everyman Meal - Coloured Weights, Claw Thing, Cherry Lip Balm

Ogilvy & Mather Johannesburg

Produce Sound, The O

Ogilvy & Mather Johannesburg

Produce Sound

The Odd Number TBWA\Hunt\Lascaris Johannesburg Ogilvy & Mather Johannesburg

Aquanote Studios Produce Sound

Ogilvy & Mather Johannesburg

Produce Sound, The O

Ogilvy & Mather Johannesburg

Produce Sound, The O

-

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24 / LOERIE AWARDS 2016

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UNILEVER BRUNCH

The Unilever Brunch took place at California Dreaming on 20 August 2016, with a range of creatives, celebrities and media in attendance.

© Katie Reynolds-Da Silva

The Callsheet team with Andrew Human(centre), Loeries CEO © Katie Reynolds-Da Silva

WE AT UNILEVER FEEL SO PRIVILEGED TO BE ASSOCIATED WITH THE LOERIES, PARTICULARLY HERE IN OUR HOME BASE OF DURBAN. IT’S ALL ABOUT WORKING TOGETHER AND CONNECTING THE WORLD, AND CREATING A BRIGHTER FUTURE FOR SOUTH AFRICA!

Images (above, middle and right ) © Photo by Roy Esterhuysen/2016 Loerie Awards ©Gallo Images

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LOERIE AWARDS 2016 / 25

EGG FILMS SOCIAL

The Egg Films Social took place on Saturday, 20 August at moyo, with a fantastic view of the ocean, and plenty of good tunes and great people in attendance.

A MESSAGE FROM SUNU, DIRECTOR AT EGG FILMS

I’ve just come from ten days shooting in Ghana and I feel like in South Africa, we’ve got to become braver. Last week, I was a judge on the Craft section, and I said this to people because what we’re doing is, we’re allowing everyone else internationally to look at what we do and they come and shoot some of our stuff, but it’s always from the outside looking in. My passion is for us to take our stuff and show it to the rest of the world. To become braver, it starts with the client being brave. And if the client is brave, the agency has permission to be brave, and the director has permission to be brave. That’s my big cry at the moment: for us to really become brave as Africans and really create bold work that is not ashamed, that speaks of who we are. We need a lot more courage, because I feel like a lot of the work is quite safe. It meets the brief, but I don’t think it speaks to what’s happening on the streets.

I’m from this continent and then I went to LA for eight years. And I honestly feel, after eight years in LA – I came back three years ago – I’ve found my heartbeat being back in Africa

again. I’ve just been to Ghana, I have a few more jobs in Africa soon, and I keep saying, ‘why do we have to copy America and Europe when we’ve got enough?’

We are enough. Let’s take our stuff and show it to the rest of the world – without apologies.

We should stop apologizing and stop trying to make it comfortable.

This is who we are. And when we start doing that, I really believe we’ll start making a mark on the industry. I am not arrogant, but I am proud of being African. I want the world to see who we are because we’ve got a unique fabric.

Whether you’re white or black or Coloured or Indian, what’s amazing about Africa is that there’s a touch of everyone and it’s unique, it’s beautiful. And I don’t want to use the word ‘rainbow’ but even when I’m talking to my white friends, I can feel the other colours coming in, when I talk to my black friends I can feel the other colours. I come from a family where my wife is white and my kids are mixed race and this is why I keep saying, this is you, you can touch every heart and it’s okay, don’t be ashamed. You don’t have to be defined by your colour. You can be defined by your experiences.

TO BECOME BRAVER, IT STARTS WITH THE CLIENT BEING BRAVE. AND IF THE CLIENT IS BRAVE, THE AGENCY HAS PERMISSION TO BE BRAVE, AND THE DIRECTOR HAS PERMISSION TO BE BRAVE. THAT’S MY BIG CRY AT THE MOMENT. Egg Films Social at Moyo. Photo by Simphiwe Mkhwanazi/2016 Loerie Awards ©Gallo Images

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LOERIES MASTERCLASSES ROUNDUP For the first time ever, the Loeries introduced MasterClasses at Loeries® Creative Week™ Durban.

Donovan Goliath speaking during the Donovan Goliath Loeries Master Classes. Photo by Jethro Snyders/2016 Loerie Awards ©Gallo Images

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ed by key doers of the brand communications industry, the MasterClasses took place for the first time during Loeries® Creative Week™ Durban on Thursday, 18 August at the Elangeni Hotel. Loeries Creative Voice and Comedian Donovan

The Accenture Loeries Master Classes. Photo by Jethro Snyders/2016 Loerie Awards ©Gallo Images

Goliath opened the classes with ‘Turning Ideas into Currency’, Accenture presented ‘Design and Innovation’, Google gave a talk about ‘YouTube as a Creative Tool’ and industry heavyweight Mike Schalit from IAS spoke on ‘Creativity vs Strategy’.

The Google Loeries Master Classes. Photo by Jethro Snyders/2016 Loerie Awards ©Gallo Images

FACEBOOK JUDGES WRAP

After a week of judging the best entries to the 2016 Loerie Awards, the Facebook Judges Wrap tool place at the Tsogo Sun Elangeni Hotel.

The Facebook Judges Wrap at the Tsogo Sun Elangeni Hotel on August 18, 2016 in Durban, South Africa. Photo by Simphiwe Mkhwanazi/2016 Loerie Awards ©Gallo Images

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LOERIES AFTERPARTY HIGHLIGHTS

As with every award show, there are plenty of networking opportunities. The Loeries did not disappoint in this department, with a range of after parties and functions created to meet your next best friend, client or agency.

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he Loeries® Creative Week™ saw a number of exciting after parties and socials take place, from the YFM Chairman’s Welcome at Joe Cools on the Durban beachfront, to the DStv Beach Café, a great new hub for meals and drinks, the IAB Saturday Night Party, with took place at California Dreaming on Saturday, 20 August, and of course the mother of all parties, the Channel O Party at Egagasini on Sunday, 21 August.

The Chairman’s Welcome, brought to you by YFM, at Joe Cools on August 19, 2016 in Durban, South Africa. Photo by Simphiwe Mkhwanazi/2016 Loerie Awards ©Gallo Images

The IAB Digital Party at California Dreaming on August 20, 2016 in Durban, South Africa. Photo by Roy Esterhuysen/2016 Loerie Awards ©Gallo Images

The Channel O Afterparty at eGagasini on August 21, 2016 in Durban, South Africa. Photo by Simphiwe Mkhwanazi/2016 Loerie Awards ©Gallo Images

Lance Gibbons and Nazeera Hartley Roach of Film & Event Media on target at the Loerie Awards

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Sarah Personette, VP Global Business Marketing, Facebook. Photo by Alistair Nicoll/2016 Loerie Awards © Gallo Images

Debra Mallowah, VP Personal Care, Unilever, Nairobi. Photo by Alistair Nicoll/2016 Loerie Awards. © Gallo Images

Susan Credle, Global Chief Creative Officer, FCB 2. Photo by Alistair Nicoll/2016 Loerie Awards © Gallo Images

Andrew Human, Loeries CEO with Jimmy Smith, Chairman, CEO/COO Amusement Park, LA. Photo by Alistair Nicoll/2016 Loerie Awards © Gallo Images

DSTV SEMINAR OF CREATIVITY This year’s DStv Seminar of Creativity saw some incredible speakers on the line-up.

Here’s a roundup of their presentations.

SARAH PERSONETTE

We have a collective commitment to creativity, says Sarah Personette, Global Business Manager for Facebook, and it is Africa that will lead the creative revolution. “The future is impossible to predict.

Who would have said that the world would become mobile?

It took 38 years for radio to hit 50 million users, but only two years for mobile. The younger generation has leapfrogged the

desktop straight to mobile. We’ve been through a seismic shift, and Africa is a mobile-first continent.”

There is no doubt that connectivity is transforming Africa. Connectivity inspires creativity, and connectivity causes disruption. Sarah illustrated this sentiment by drawing on the success of African creative innovations, such as Afrinolly, Tuluntulu and FunKidz, which have harnessed the global

connectivity shift and made homegrown successes. “We need to think and create and design differently. What matters most on mobile is Personalisation, having Empathy and Customisation.”

DEBRA MALLOWAH

It’s time to #Unstereotype, says Debra Mallowah, Vice President: Personal Care for Unilever. “Does advertising perpetuate gender stereotypes?” The answer from

the audience was a profound and ringing YES. “3% of ads show women in managerial positions, and one in two ads show some form of sexualisation. Only 20% of voiceovers are done by women.

Women are almost always shown in domestic situations, with no aspiration or achievement.

Look at beer! Beer is never marketed to women. Do brands think that if more women start drinking beer, men will stop?”

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AS THE GAP BETWEEN SCI-FI AND REALITY BECOMES NARROWER, IDEAS HAVE NEVER BEEN MORE IMPORTANT. Laura Jordan-Bambach, Creative Partner, Mr President, London. Photo by Alistair Nicoll/2016 Loerie Awards © Gallo Images

Marco Cremona, Google Creative Lab - Lead, Moscow, Russia. Photo by Alistair Nicoll/2016 Loerie Awards © Gallo Images

Bridget Jung - Digital Creative Director of Marcel Sydney. Photo by Alistair Nicoll/2016 Loerie Awards © Gallo Images

Kid’s toys today are more divided by gender than 50 years ago. Gender identity has changed, yet advertising still features outdated stereotypes, and consumers are not happy about it, says Debra. Stereotypes have a negative impact on brands. 40% of women say that they do not identify at all with the women they see in advertising, and 42% of women say that advertising shows merely a fragment of who they are.

Says Debra, “Unilever is moving away from these stereotypes; we have a commitment to a progressive portrayal of women.”

of teaming up – “collaboration is queen” – as well as breathing, allowing ourselves room for expectation, and empathy, one of the most important skills for any creatives in today’s world. Ending the session on a high note she asked, “What’s the one thing you’re going to start making tomorrow?”

BRIDGET JUNG

LAURA JORDAN-BAMBACH

It’s incredibly difficult not to be inspired by a woman who won’t hire anyone who doesn’t do something creative in their spare time. In this session, Laura Jordan-Bambach of Mr President demonstrated the importance of playing and allowing said creativity to flourish in the right environment. She spoke specifically about being a ‘maker’ – an explorer who creates new ideas in culture – and a ‘doer’ – a craftsperson who plays in a defined space. “To do different you need to be different,” she said, adding that the spirit of creativity is the most powerful thing to harness.

“If you think what you do is advertising, you’re playing in a really narrow space. Creativity is so powerful. We can create products, we can create services, we can influence businesses, we can improve their platforms,” she said.

She underscored the importance

MARCO CREMONA

Marco Cremona, Creative Lead at Google in Moscow, Russia, kicked off the DStv Seminar of Creativity’s afternoon sessions with a riveting talk about the impact technology can have on the advertising world. His opening line – technology is exponential; our ability to learn incremental – set the tone for the presentation where he took delegates through a fascinating look at staying innovative, why a big ego doesn’t work, and the ever-shrinking attention span of the average human (hint: it’s less than that of a goldfish).

Taking the 8-second attention span into account, Cremona encouraged attendees to explore each new digital platform their audiences are interested in.

Understanding a platform like Snapchat or Pokemon Go, for instance, allows one to communicate s message more creatively and effectively.

He stressed the importance of local insight and tone of voice, saying that “niche is the new mainstream”, adding that doing something to affect change in people’s lives is more important than simply telling your story.

Bridget Jung, Digital Creative Director at Marcel Sydney, shared how advertising is pushing boundaries – but not just how we’re innovating in today’s world, but how science fiction has influenced the way in which the digital world has evolved over the last few decades. In a presentation called ‘The Science Fiction of Advertising’, she took delegates through a history of sci-fi stories and films that have come to pass, from HG Wells’ World Brain (now known as Wikipedia) all the way to Her starring Joaquin Phoenix, who falls in love with his OS (artificial intelligence).

As the gap between sci-fi and reality becomes narrower, ideas have never been more important. “We’re on the verge of a major breakthrough in design and engineering,” Jung said, citing Elon Musk currently experimenting with the same holographic technology portrayed in Iron Man 2. She stressed that tech needs to work for the idea and not vice versa, because ideas are unlimited, and technology can help us attain these ideas.

SUSAN CREDLE

A woman with a world of advertising knowledge under her belt, Susan Credle, Global Chief Creative Officer at FBC, shared why traditional advertising is still one of the best forms of communication – and why.

Basing her presentation on the wise words of Howard Luck Gossage (1917-1969), she

explained why his musings have as much pertinence today as they did seventy years ago.

To drive one of her points home, she shared how, when growing up in segregated South Carolina, she saw the iconic 1971 Coca-Cola Hilltop ad on TV. “If you noticed, the first shot starts off with three or four whitelooking people,” she explained, “Then I started seeing all these different people of colour, and in that moment, I was like, that’s a cool world. That’s awesome.

I want to be a part of that. And it changed the way I looked at the world in one 60-second piece of communication…

It’s our responsibility to use advertising for good, to show progress, to push things.”

JIMMY SMITH

Speaking on the importance of ownership in advertising, and how diversity can change the workplace, Jimmy Smith of Amusement Park Entertainment shared his incredible journey through advertising and the life lessons he’s learned along the way.

“When you have all these cultures that smash together and collide with their ideas, magic happens,” he said, adding that when you work in one place with the same group of people, you begin to stagnate – and that’s not good for business. Another important point he made was that hard times are good for you, they’re like the ‘stress wood’ a tree develops to protects itself against the elements as it grows upwards.

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Images © Visual Impact

THE FUTURE OF LIGHTING Stefan Nell of Visual Impact shares his insights on LED lighting technology and how it will impact film in the future.

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ighting technology has finally entered the time of change. For years the HMI enclosed metal arc lamp introduced in the late 60s and the xenon gas-discharge arc introduced in the 80s were the only real changes in lightemitting technology. In the past two years a vast array of new LED lighting technologies have stormed into the film lighting market. Those little light-emitting diodes have finally grown up and today, LED lighting is one of the preferred sorts of film lighting equipment. So here is my list of advantages to using LED lighting over older existing technologies.

Since LEDs are available in a plethora of colour temperatures, there are LED lights like the

Dracast Range and The Light’s Velvet Range of LED Panels that replicate the warm glow of tungsten, the natural clarity of daylight, or anything in between.

Want something more colourful? LEDs are unique in using additive colour mixing- this means that you can have over 16 million colours from one light, without needing gels. This quality and versatility makes it simple to get the right desired light.

This is evident in the runaway success of the Digital Sputnik Range of lights with their RGBM colour mixing via a Wi-Fi App. We’ve all heard about the energy efficiency of LED lights, but what’s the real story?

Compared with fluorescent and metal halide, well-designed LED

lights will typically use between half and one quarter of the power to achieve the same light output. Compared to halogen or tungsten, the savings are even greater and can be as low as 10% of the equivalent intensity output. Whilst it’s true that light emitting diodes are fantastically efficient light sources, the light fixtures need to be properly designed to maximise this efficiency without damaging the LED itself and degrading its light output over time, this can be seen in the way the Velvet Power lights LED have huge reflectors built into them to maximise the efficiency and output.

Another advantage of LED lights that isn’t brought up so often, LEDs only give out light

in one direction, rather than the omnidirectional light output of most lamp types. This means that light isn’t lost into the back of the fixture, which further increases the performance of LED lights compared to traditional tech. It also makes a very fine degree of control possible over the spread of light, which means that well designed LED fixtures can direct light to exactly where it is needed.

LED lighting technology is barely in its infancy and yet is the future of film set lighting.

With major manufacturers dropping products such as the Dracast 5K LED Fresnel’s and the DS6 range almost monthly, the onslaught of LED lighting technology has begun.

WANT SOMETHING MORE COLOURFUL? LEDS ARE UNIQUE IN USING ADDITIVE COLOUR MIXING- THIS MEANS THAT YOU CAN HAVE OVER 16 MILLION COLOURS FROM ONE LIGHT, WITHOUT NEEDING GELS. THIS QUALITY AND VERSATILITY MAKES IT SIMPLE TO GET THE RIGHT DESIRED LIGHT. THIS IS EVIDENT IN THE RUNAWAY SUCCESS OF THE DIGITAL SPUTNIK RANGE OF LIGHTS WITH THEIR RGBM COLOUR MIXING VIA A WI-FI APP.

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OPPORTUNITIES: SEPTEMBER WGSA MUSE AWARDS CALL FOR ENTRIES The Writer’s Guild of South Africa’s annual Muse Awards has called for submissions for their 2017 award ceremony.

The Writer’s Guild of South Africa has once again called for entries to their third annual Muse Awards. This is the only award in the country that honours the South African Performance Writer exclusively based on their scripts, and allows the local content production industry to celebrate and promote the creativity, quality and writing excellence of local writers.

Produced and unproduced scripts will be accepted for the 2016 WGSA Muse Awards in eight different script categories: • Screen (Feature Film, Short Film) • Television (Drama, Soap Opera, Sitcom/Comedy) • Documentary (Feature, Series, Short) • Stage Play • Radio Drama • Animation (Feature, Series, Short) • Games • Web Series Submissions close on 30 September 2016, and judging takes place from October to December 2016, with finalists announced in January 2017.

The awards ceremony will take place on 11 February 2016 at the Roodepoort Theatre.

One of the requirements for entering is that one must be a WGSA member; however members of either Documentary Filmmakers Association (DFA) or Animation South Africa (ASA) may submit their entries without being a WGSA member.

The Market Theatre © SA Tourism

JIFF CALLS FOR SUBMISSIONS

Jaipur International Film Festival takes place from 7-11 January 2017.

Jaipur International Film Festival, which takes place from 7-11 January 2017, is one of the fastest-growing film festivals in the world. As an emerging film capital of India, the festival will showcase films from across the globe to locals and internationals in South East Asia.

You are invited to submit your film, documentary, animation, screenplay, music, song, album, dialogue, film poster and live performance to the festival, and connect with the Indian and global industry at the festival and corresponding film market.

The initial deadline for submissions is 20 September 2016, while late entry deadlines are between 15 October and 15 November 2016. All genres and formats are accepted, while the newly created music/ song/album/dialogue category encourages any musician, singer, dialogue writer, or related company or studio to send in submissions. For more

information or to submit your work, visit www.jiffindia.org.

MARKET THEATRE LABORATORY SEEKS YOUNG ACTORS

The Market Theatre Laboratory is currently recruiting the next generation of young actors.

Are you an actor or actress just entering the industry? Then this one will be right up your alley.

The Market Theatre Laboratory is looking for young actors for their renowned Performance and Theatre Skills Training Programme. Applications for this full-time course are open from 1 August to 30 September 2016 for study in 2017.

Founded by Dr John Kani and Barney Simon in 1988, the Market Lab is the educational arm of the world-famous Market Theatre. it has trained exceptional performers and theatre makers including published playwright and Zabalaza winner Paul Noko, Emerging Theatre Director Bursary winner Mahlatsi Mokgonyana, and SAFTA award-winners Harriet Manamela, Warren Masemola,

and Lindiwe Ndlovu.

This year, Lab students have presented work at Pop Art Theatre, the Market Theatre, the Sanaa Festival and the Krekvars Kopanang Festival, including Shakespeare texts, South African plays, and workshopped theatre.

Many students have also had the opportunity to perform in professional productions at the Market Theatre. Classes include acting, movement, physical theatre, voice, singing, writing and theatre design, and are facilitated by highly skilled, active industry professionals and visiting artists, including international theatre-makers from Holland, England, and Italy. Local teachers include Dorothy Ann Gould, Omphile Molusi and Jaques De Silva.

Application forms are available on the Market Theatre website at www.markettheatre. co.za, or can be fetched from the Market Theatre Laboratory offices at The Bus Factory, 3 Helen Joseph Street, Newtown. For queries, please contact Thandeka Nheke at the Market Theatre Laboratory on 011 838 7498 or thandeka@marketlab.co.za.

CAPE TOWN

This vibrant city offers a plethora of excellent filming locations, coupled with established on-the-ground support services, and a vibrant lifestyle for cast and crew.

Black Sails © 2016 Starz Entertainment, LLC, Photographer: James Minchin

Camps Bay © SA Tourism

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Stick Man - animated by Triggerfish Studios, Courtesy of Magic Light Pictures and Triggerfish. © Orange Eyes Limited 2015

ne of the key reasons for Cape Town’s success as a film hub, is the fact that the region can double for almost anywhere in the world. Such is the versatility of its location offerings. Season Four of Homeland was shot in and around Cape Town, which doubled for Pakistan, Washington DC, and a plethora of other diverse regions, while other major international productions include The Last Face, Dredd, Black Sails (Seasons 1 to 4), Resident Evil: The Final Chapter, Saints and Strangers, The Dark Tower and Eye in the Sky, among many others. Seasoned filmmakers and commercial producers and directors flock to Cape Town’s shores to reap the rewards of the city’s excellent weather, incredible depth of technical skill, diverse talent pool and the country’s enviable exchange rate and rebates.

While Cape Town initially gained popularity as a commercial service destination, the city is now being recognised for its homegrown film, commercial, TV and stills success. Triggerfish Animation Studios, which was founded in the city and still operates from the leafy suburbs of the Constantia winelands, is internationally lauded as a leader in the global animation sector, producing hits such as Khumba and Adventures in Zambezia, as well as the awardwinning Stick Man and the upcoming Revolting Rhymes.

LOCATIONS

From the Castle of Good Hope with its imposing ramparts, to the sun-soaked and pristine beaches of Camps Bay, to the gritty realism of the Khayalitsha township, and the splendour of the City Centre’s sleek architecture; Cape Town is a location scout’s ideal

Boulders Beach © SA Tourism

Cape Town City Centre © SA Tourism

SEASONED FILMMAKERS AND COMMERCIAL PRODUCERS AND DIRECTORS FLOCK TO CAPE TOWN’S SHORES TO REAP THE REWARDS OF THE CITY’S EXCELLENT WEATHER, INCREDIBLE DEPTH OF TECHNICAL SKILL, DIVERSE TALENT POOL AND THE COUNTRY’S ENVIABLE EXCHANGE RATE AND REBATES. city. Cape Town’s public sector has support bodies in place to assist with permits for any of the location on its asset register, and producers are consistently wowed by the can-do attitude of the film sector in Cape Town, and South Africa as a whole.

Cape Town Film Studios is a major player in the global studios roster, and is in high demand for television series and feature films alike. Atlantic Studios and Salt

River Studios are among dozens of established and emerging studios that are dominating the sector in all realms, including music videos, stills shoots, web series, commercials, and local TV series and films.

CAPE TOWN INTERNATIONAL ANIMATION FESTIVAL

is a popular annual festival celebrating the burgeoning

animation industry with film screenings, workshops, dedicated business-to-business sessions and pop-up-shops. The CTIAF aims to provide a platform for consumers and trade to meet and engage with key players in this fast-growing industry. The 2017 edition of this well-attended event will be held from the 2nd to the 5th of March. Key sponsors include Wesgro Film and Media Promotion, Animation SA, Institut Francais, the NVFV and Nickelodeon. Other festivals in the Cape include, shnit International Shortfilmfestival, Horrorfest, Encounters Documentary Festival and Wavescape Surf Film Festival.

GETTING TO CAPE TOWN

Cape Town International Airport is the epitome of a modern aerotropolis, but with the convenience of direct highway access and a slick and modern

design. There are abundant car hire options, as well as taxis and Ubers to hail. Most international airlines fly directly to and from Cape Town, such as Emirates, SAA, Etihad, Turkish Air, British Airways, Lufthansa, Qatar Airways and Ethiopian Airways. Travel between South Africa’s regional hubs, such as Johannesburg, Durban, George, Nelspruit, East London and Port Elizabeth are easily accessed by a comprehensive flight schedule.

CONTACT DETAILS:

Wesgro Monica Rorvik, Head: Film and Media Promotion Email: monica@wesgro.co.za Phone: +27 21 487 8600 Cape Town Film Permit Office Economic and Human Development Department Tel: +27 21 417 4025 Fax: 086 576 1933 Email: film.permit@capetown.gov.za

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Trou aux Biches, Pamplemousses, Mauritius © Mark Fischer.

MAURITIUS:

TROPICAL MELTING POT A veritable paradise, Mauritius offers the discerning filmmaker a myriad tropical and beach locations for your next shoot – not to mention attractive incentives.

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ocated about 1100km east of Madagascar, Mauritius forms part of the Mascarene Islands. This fascinating, tropical island nation is about twice the size of Berlin; its capital, Port Louis. It offers attractive film incentives, as well as a variety of incredible natural and modern, architectural locations.

Some of its beautiful natural locations are the Black River Gorges, Seven Coloured Earth at Chamarel, the Grand Bassin and Grande Riviere Sud Est, while the SSR Botanical Garden holds over 650 plant species and is one of the most-visited places in Mauritius. Thanks to its rich cultural background and European ties, the island also offers some historic visual icons including the

secluded fishing village of Albion, Eureka, a unique Creole house built in 1830, and The Citadel of Mauritius overlooking Port Louis.

Its cityscapes include palmfronded beachfronts, modern hotels and infrastructure with contemporary architecture, and state-of-the-art shopping malls.

FILMS SHOT IN MAURITIUS

Mauritius is a haven for Bollywood films, and the Indian film industry has always had a comfortable relationship with the island nation. A few hundred Indian films, commercials and television series have been shot in Mauritius since 1977, and the country also has a strong Bollywood following thanks to its many similarities

and people groups – giving it the nickname of ‘Mini India’.

Some of the popular Indian films shot in Mauritius include Josh, 36 China Town, Go Goa Gone, Mujhse Shaadi Karogi, and Kidnap. French production My Father the Hero (1991) featuring Gérard Depardieu was filmed here, as well as the UK’s Jane and the Lost City (1987) and China’s The Breakup Guru (2014) were some of the international releases that shot in Mauritius.

FILMING ON LOCATION

As with the planning of all shoot days, it’s important to make the necessary applications for film location permits well in advance. Mauritius offers a Film Rebate Scheme which was

introduced in 2012, making it even more attractive for international producers. The rebate applies to a variety of projects including feature films, television dramas, documentaries and high-end commercials.

The Mauritius Board of Investment (BOI) implements the Film Rebate Scheme, and provides assistance and advice to filmmakers seeking to take advantage of all the island has to offer. The Mauritius Film Development Corporation (MFDC) offer further support and is responsible for issuing permits and production licenses to those who wish to produce their films in Mauritius. They also offer help with location scouting and sourcing other facilities.

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Le Canonnier, Grande Baie, Riviere du Rempart, Mauritius © rMaX (via Flickr)

CLIMATE

CONTACTS

Mauritius has a microclimate, meaning that in one area it could rain cats and dogs, while only a few kilometres away the sun would be shining with no clouds in sight. As a result of its tropical climate, it is a very green place, with an annual average of up to eight hours of bright sunshine per day.

Mauritius Film Development Corporation: Set up in 1986, the Mauritius Film Development Corporation operates under the aegis of the Ministry of Arts and Culture.

It offers a one-stop-shop services which include support of both foreign and location filmmakers, as well as all shooting clearances and necessary documentation.

Average Min and Max Temperatures in Mauritius 40°C 20°C 0°C

Jan

Feb

Mar Apr May Jun

Max temp

Jul

Aug Sep

Oct Nov Dec

Min temp All graph info courtesy of www.info-mauritius.com.

POPULATION 1,339,827 (July 2015 est., CIA World Factbook)

AIRLINES FLYING TO MAURITIUS Mauritius has two airports, with Sir Seewoosagur Ramgoolam International Airport operating as a main commercial airline hub, located on Plaine Magnien in the southeast. The major airlines are as follows: • British Airways • Air Mauritius • Thomson Airways • Emirates • South African Airways • Air France • Turkish Airlines • Air India • Kenya Airways

General Queries Web: www.mauritiusfilm.mu Email: mauritiusfilm@intnet.mu Tel: +230 696 3137 / +230 698 6013 Mr Dick Ng Sui Wa, MFDC Chairman Email: dico@orange.mu / mauritiusfilm@intnet.mu Mobile: +230 5250 1936 Mauritius Board of Investment: Established in 2001, the Board of Investment is a national agency that promotes Mauritius as an attractive film production location. It offers a range of services including the new Film Rebate Scheme.

General Queries Web: www.investmauritius.com / www.filminmauritius.com Email: contact@investmauritius.com / filmdevelopment@investmauritius.com Tel: +230 203 3800

FIXERS IN MAURITIUS Emerge Film Solutions Web: www.emergefilmsolutions.com Email: wheretoshoot@mac.com

36 / EVENTS TO DIARISE

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SEPTEMBER LONDON SCREENWRITERS FESTIVAL 2–4 London, United Kingdom TELLURIDE FILM FESTIVAL 2–5 Tulleride, USA CALIFORNIA INDEPENDENT FILM FESTIVAL 8 – 14 California, USA

GLOBAL PEACE FILM FESTIVAL 19 – 25 Orlando, USA

TORONTO INTERNATIONAL FILM FESTIVAL 8 – 18 Toronto, Canada

OTTAWA INTERNATIONAL ANIMATION FESTIVAL 21 - 25 Ott awa, Canada

HARLEM INTERNATIONAL FILM FESTIVAL 14 - 18 New York, USA

RAINDANCE FILM FESTIVAL 21 – 2 October London, United Kingdom

7TH DOCKANEMA 14 – 23 Mozambique ATLANTA INTERNATIONAL DOCUMENTARY FILM FESTIVAL 15 – 17 Atlanta, USA CAMDEN INTERNATIONAL 15 – 18 Camden, USA ROME INTERNATIONAL FILM FESTIVAL 15 – 18 Rome, USA

ZURICH FILM FESTIVAL 22 – 2 October Zurich, Switzerland MANHATTAN SHORT FILM FESTIVAL 23 – 2 October New York, USA SAN DIEGO INTERNATIONAL FILM FESTIVAL 28 – 2 October San Diego, USA MARBELLA INTERNATIONAL FILM FESTIVAL 28 – 2 October Malaga, Spain

JOZI FILM FESTIVAL 15 – 18 Johannesburg, South Africa

REYKJAVIK INTERNATIONAL FILM FESTIVAL 29 – 9 October Reykjavik, Iceland

PYONGYANG INTERNATIONAL FILM FESTIVAL 16 – 23 Pyongyang, DPR Korea

VANCOUVER INTERNATIONAL FILM FESTIVAL 29 – 14 October Vancouver, Canada

OCTOBER ZIMBABWE INTERNATIONAL FILM FESTIVAL 1–8 Harare, Zimbabwe BFI LONDON FILM FESTIVAL 5 – 16 London, United Kingdom SHNIT INTERNATIONAL SHORTFILMFESTIVAL 5 – 16 Cape Town, South Africa HAMPTONS INTERNATIONAL FILM FESTIVAL 6 – 10 New York, USA

SITGES FESTIVAL INTERNACIONAL DE CINEMA FANTASTIC DE CATALUNYA 7 – 16 Barcelona, Spain FISAHARA INTERNATIONAL FILM FESTIVAL 11 – 16 Western Sahara IRIS PRIZE FILM FESTIVAL 12 – 16 Cardiff, Wales TALLGRASS FILM FESTIVAL 12 – 16 Kansas, USA

EVENTS TO DIARISE / 37

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DISCOP AFRICA, JOHANNESBURG 2–4 Johannesburg, South Africa NEW ORLEANS FILM FESTIVAL 12 – 21 New Orleans, USA AUSTIN FILM FESTIVAL 13 – 20 Austin, USA CHICAGO INTERNATIONAL FILM FESTIVAL 13 – 27 Chicago, USA SAN JOSE INTERNATIONAL SHORT FILM FESTIVAL 20 – 23 San Jose, USA

HEARTLAND FILM FESTIVAL 20 – 30 Indianapolis, USA PHILADELPHIA FILM FESTIVAL 20 – 30 Philadelphia, USA SAVANNAH FILM FESTIVAL 22 – 29 Savannah, USA MOSTRA SAO PAOLO INTERNATIONAL FILM FESTIVAL 22 – 4 November Sao Paolo, Brazil

NAPA VALLEY FILM FESTIVAL 9 – 13 Napa, USA TOKYO INTERNATIONAL FILM FESTIVAL 25 – 3 November Tokyo, Japan SOUTH AFRICAN HORRORFEST 26 – 4 November Cape Town, South Africa CARTHAGE FILM FESTIVAL 28 – 5 November Carthage, Tunisia

LONESTAR FILM FESTIVAL 10 – 13 Fort Worth, USA AFRICAN INTERNATIONAL FILM FESTIVAL 13 – 20 Tinapa, Nigeria CAIRO INTERNATIONAL FILM FESTIVAL 15 – 24 Cairo, Egypt

The Huntsman © Universal Pictures

NOVEMBER

38 / ASSOCIATIONS NEWS

WGSA’S MARKET READINESS WORKSHOPS

SOS COALITION ADDRESS SABC CRISIS

The Writers’ Guild of South Africa recently presented a two-day Market Readiness Workshop in preparation for the London Screenwriters Festival. This prestigious event takes place from 2-4 September 2016 in the United Kingdom and is the world’s biggest professional screenwriting event with 150 speakers and over 1 000 delegates.

The Market Readiness Workshop was for all local LSF delegates and any writers who want to learn more about the international scene and perfect their pitching skills.

Clea Mallinson shared info on market logistics and what to expect from the market and how to optimise your experience. Richard Harry Nosworthy shared info on perfecting your pitch, and ran a day-long practice pitch session on the second day of the event.

Over the last few months the SOS Coalition has been very vocal about the SABC and its misuse of its position as a public broadcaster. Following the turmoil brought on by Acting CEO Hlaudi Motsoeneng’s rash decision-making, the SABC’s illegal changes in editorial policies and their unfair dismissals of journalists opposed to their directives, immense pressure was placed on the broadcaster to rectify its errors.

The SOS Coalition and Right2Know Campaign hosted an open stakeholder meeting on 27 July to discuss the SABC, and on the day prior, the Labour Court was found in favour of five of the eight unlawfully dismissed SABC journalists.

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The court orders that • The application to hear the matter on an urgent basis is upheld, • The SABC’s summary dismissal of four of the five applicants are unlawful and void • The Summarily dismissed four of the eight are entitled to return to work and continue with their respective duties • The SABC is interdicted from proceeding with disciplinary proceedings initiated against four of the eight prior to their dismissal • The SABC, and in particular the GM: Radio News and Current Affairs, and Acting Group Executive: News and Current Affairs, must show cause as to why they should not be held personally liable for the costs of this case

The SOS Coalition is “thrilled” with the outcome, according to a statement, and has marked it as “a cornerstone judgement for the escalating national campaign to rescue the SABC from the corrosive atmosphere of selfcensorship.” Legal proceedings for the additional three of the SABC 8 are expected to continue until a verdict is reached. The SOS Coalition has also made it known that their victories for the SABC 8 should be extended to all media workers. “We note with grave concern the emergence of similar patterns of censorship, unfair labour practices as well as racism in the privately owned media. Amidst the frenzy of the current manifestation of the decade-long SABC crisis, we cannot forget workers in the privately owned media,” they said in a release on 28 July.

ASSOCIATIONS NEWS / 39

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This July, the Independent Producers Organisation held their IPO Presents session with producer duo Rolie Nikiwe and Khobi Ledwaba of Branded Soul Productions. The two are behind hit TV shows like Heist, Umshato and eTV’s Matatiele.

This free-to-attend event is a place where filmmakers can frankly engage with industry heavyweights over the state of South Africa’s film industry. The event took place on Wednesday, 27 July at Atlas Studios and was hosted by renowned producer and director Akin Otomoso.

SAASP AND CPASA HOST LOCATIONS WORKSHOP

ACA LAUNCHES B-BBEE MASTERCLASSES

The South African Association of Stills Producers, in partnership with the Commercial Producers Association, Wesgro and the City of Cape Town, held a locations workshop and preseason briefing on Wednesday, 17 August and Thursday, 18 August 2016. The event saw interested parties converge on Cape Town Stadium for the briefing sessions.

The Association for Communication and Advertising has launched masterclasses to drive transformation and compliance to the new MAC SA Sector Code. As a signatory of the MAC SA Sector Code, ACA will be offering two-day masterclasses in Johannesburg, Durban and Cape Town during August and September 3016 to deliver in-depth knowledge of each element of the code, answer questions, and provide companies with the information needed to reach compliance under Section 9 (1) of the Broadbased Economic Empowerment Amendment Act (Act No 53 of 2003) as amended by the B-BBEE Amendment Act No 46 of 2013. ACA members may send a maximum of two delegates to each of the sessions free of charge, while IAB and PRISA members enjoy discounted prices to attend the masterclasses.

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The masterclasses will be presented by Julia Nzimande, former Deputy Director Creative Industries at the Department of Trade and Industry. She will address all six elements of the MAC Sector Code in detail by unpacking all the technical details of each element during each two day session. For more information on when the classes will take place, please visit www.acasa.co.za or email masterclass@acasa.co.za.

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© Nastasia (Pexels)

IPO PRESENTS…

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40 / DIRECTORY

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DIRECTORY OF ADVERTISERS COMPANY

TELEPHONE

EMAIL

WEBSITE

PAGE

Kwazi Mojo

+27 11 361 3020

production@kwazimojo.tv

www.cutandpaste-generation.com www.kwazimojostudios.com

15

Media Film Service

+27 21 511 3300

info@mediafilmservice.com

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03

Meredith Harington

+27 21 713 8700

advice@meredithharington.co.za

www.meredithharington.co.za

21

On-Key Sound Studios

+27 11 782 4179

janno@onkeysound.com

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09

Refinery

+27 11 799 7800

info@refinery.co.za

www.refinery.co.za

19

Sonoton

+27 11 462 8094

louise@synchromusic.biz

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Prisa

+27 11 326 1262

deborah@prisa.co.za

www.prisa.co.za

22

The WorkRoom

+27 21 426 5497

production@theworkroom.co.za

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17

Thekgo Chartered Accountants

+27 84 806 7595

kagishob@thekgo.co.za

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23

Value

+27 83 289 6321

margiew@value.co.za

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07

Visual Impact

+27 21 468 6000

marius@visuals.tv

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05

WESGRO

+27 21 487 4868

monica@wegro.co.za

www.wesgro.co.za/film

Inside Front Cover, 32, 33

Wizardz

+27 21 461 9334

copy@wizardz.co.za

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39

CONTACT US Cover Image: Courtesy of Sonoton - The best production music catalog

Writer: Kim Crowie kim@filmeventmedia.co.za

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Production and Traffic Manager: Natasha O’Connor natasha@filmeventmedia.co.za

Executive Editor: Katie Reynolds-Da Silva katie@filmeventmedia.co.za

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