The Callsheet Issue 2

ISSUE 02 | 2017

WN NAL E TO O CAP RNATI E N T O I IN T MA ANI IVAL T FES

+ SOUTH AFRICA’S SOUND STUDIOS Conjuring Worlds through Sound

+ CAPE TOWN INTERNATIONAL

ANIMATION FESTIVAL

There’s Something for Everyone at the 6th CTIAF

+ THE RECCE

Behind the Scenes with Jacques Van Tonder and Jacques Le Roux

CONTENTS / 01

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02. SA Welcomes

Outlander Season 3

08 10 20 24

04. DISCOP

ORCAS FROM THE AIR

Dean Engela from Darkwing Aerials chats to the Callsheet about filming orcas with drones.

Johannesburg Announces Germany as Guest Country

05. Giant Films’ New Campaign for NBC Universal

06. The Filmmaker’s

Guide to Africa 2017

SOUND STUDIOS IN SOUTH AFRICA

Kim Crowie explores the intricate world of sound, and showcases the country’s top sound studios.

07. MIPTV Explores New Storytelling Frontiers

08. Orcas from the Air 10. Conjuring Worlds through Sound

20. A Chat with The

Recce’s Jacques Van Tonder and Jacques Le Roux

22. Something for

FILMING THE RECCE

Cinematographer Jacques Van Tonder and Editor Jacques Le Roux talk shooting The Recce on the URSA Mini 4.6K.

Everyone at 6th Cape Town International Animation Festival

24. WESGRO: Cape

Town’s Growing Animation Industry

28. Opportunities

CAPE TOWN INTERNATIONAL FILM FESTIVAL

Taking place from the 2nd to the 5th of March, this prestigious event will showcase the best that the animation industry has to offer.

30. Mozambique: Rich

in Colours, Contrasts, and Film History

32. Events to Diarise 34. Associations News 36. Directory of Advertisers

02 / NEWS

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SA WELCOMES

OUTLANDER SEASON 3 Outlander has announced that Season 3 of the television series will be shot in South Africa.

S

tarz Entertainment, it seems, can’t get enough of South Africa’s production capabilities, with Outlander Season 3 set to film in the country in 2017. Until now the show has previously been shot on location in Scotland, but the story now requires it to move further afield. This marks the second time the show has ventured beyond its home base. A substantial amount of time was spent in Prague which doubled as France for many of the exterior scenes in Season 2.

Outlander tells the fantasy story of Claire Randall, played by Caitriona Balfe, a married nurse in 1945 who is mysteriously transported back in time to the highlands of 1743 Scotland where she falls in love with Jamie Fraser (Sam Heughan). The romance is based on a series of novels by Diana Gabaldon and adapted for screen by Ronald D Moore (Battlestar Galactica).

According to Balfe, South Africa will double as Jamaica, although they have yet to see the scripts. “The great thing about the show is that there’s so much that is new and it often feels like a completely different show. It keeps things really fresh for us and we’re constantly excited about what is coming around the corner. It’s a great place to be constantly rejuvenated by the newness of it all,” she told GoldDerby in December.

THE GREAT THING ABOUT THE SHOW IS THAT THERE’S SO MUCH THAT IS NEW AND IT OFTEN FEELS LIKE A COMPLETELY DIFFERENT SHOW. IT KEEPS THINGS REALLY FRESH FOR US AND WE’RE CONSTANTLY EXCITED ABOUT WHAT IS COMING AROUND THE CORNER. IT’S A GREAT PLACE TO BE CONSTANTLY REJUVENATED BY THE NEWNESS OF IT ALL.

Outlander Season 2 © Starz

Although successfully adapting a book for television can be difficult, Moore said Season 3 is already proving to be much easier than the previous one.

Adapting Voyager into Outlander Season 3 is easy in terms of storyline, but production is much more complex. Because it will be dealing with ships, they’ve opted to shoot the sea voyage in South Africa. Although production details are still under wraps, Film Afrika is attached.

2017

BE SEEN IN THE

PREMIER

AFRICAN FILM MARKETING TOOL

Distributed at the biggest film festivals and film markets in the world.

The Filmmaker’s Guide to Africa 2017.

CONTACT COLEEN TAPSON: coleen@filmeventmedia.co.za / Tel. 021 674 0646

04 / NEWS

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DISCOP JOHANNESBURG ANNOUNCES GERMANY AS GUEST COUNTRY AT AFRICA HUB AT THE EUROPEAN FILM MARKET 2017

© DISCOP Africa

A

s a way of celebrating the sustained and growing presence of German companies at DISCOP Johannesburg since its inception, as well as other major strides within the German film industry including co-productions with South African producers, Germany has been named as DISCOP Johannesburg’s 2017’s official Guest Country.

Alongside a three-day market set to welcome 2 500+ production, commissioning, programming and distribution executives from over 90 countries, a special focus will be placed on relationships between South Africa and Germany, as both countries have signed a treaty for the joint production of film and television works.

The “Germany Guest Country” programme will include:

• A special offer to potential delegates coming from Germany.

• The set-up of the Germany Pavilion in the main exhibiting floor will host a number of top German production houses.

• Keynote speakers from German captains of industry will take place during the opening conference and will bring together international experts invited to explore and analyze the radical changes Africa is experiencing. They will also share their vision and thoughts as new technologies, alternative-funding strategies, and consumers’ habits dramatically impact the entertainment business across the continent.

• A gala featuring a cocktail reception and seated dinner will honor the achievements and vision of a German

media or tech entrepreneur, innovator, content creator or investor who embodies the spirit and values of crosscultural collaborations in the entertainment sector.

• A special workshop track curated by experts will put under the spotlight Germany’s and South Africa’s elaborate and well-funded incentive and tax rebate programs, their excellent infrastructures, combined pool of renowned talent and highly skilled creative and technical crews.

This informative track will also encourage partnerships between producing, writing, and directing talent from both countries.

The “Germany, Guest Country” programme will also be marked by an initiative to pair compelling, future-proof, and cross-border television series ideas initiated in South Africa with German production companies and content distribution platforms seeking projects that can

captivate global audiences.

“With cable networks and streaming services expanding their international footprint and original programming at a dizzying rate, our ambition is to put commercially viable television series projects, co-developed by South Africans and Germans, in front of key creative, production and distribution executives scouting new projects at DISCOP Johannesburg.” says Patrick Zuchowicki, President of the Los Angeles and Johannesburg-based DISCOP Organisation.

The announcement will be made as part of the Africa Hub at the 2017 European Film Market where DISCOP’s Sidebar Programme Director, Gert Botes, will present “Destination Discop | The #1 Film & TV Marketplace In Africa,” a session that will share the various elements of Sub-Saharan Africa’s largest multi-platform marketplace in terms of number of broadcasters, satellite, cable, mobile and streaming services and other key elements.

A SPECIAL FOCUS WILL BE PLACED ON RELATIONSHIPS BETWEEN SOUTH AFRICA AND GERMANY, AS BOTH COUNTRIES HAVE SIGNED A TREATY FOR THE JOINT PRODUCTION OF FILM AND TELEVISION WORKS.

NEWS / 05

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GIANT FILMS’ NEW CAMPAIGN FOR

NBC UNIVERSAL

Giant Films’ award-winning Director Karien Cherry has topped her recent Grand Prix win at the Cristal Awards in France with a new campaign series for media giant, NBC Universal.

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tar director Karien Cherry has been chosen to head up NBC Universal’s new campaign series, 100% Character Uncovered.

The campaign brings to life the characters of extraordinary African heroes, and launches with celebrated open-water marathon swimmer Roger Finch’s incredible story. Despite suffering a stroke, he is the only South African to achieve Triple Crown status.

“This is the type of honest,

emotive storytelling that Karien loves, says Giant Films Executive Producer team, Cindy Gabriel and Emma Lundy. “Her natural ability to weave together personal narratives and cinematic scale has produced work that we are continually proud of.”

Cherry is no stranger to success, and is perhaps best known for her unique treatment of King James Group’s campaign for New Balance, Baby vs Dale Steyn, which brought home a Crystal

Festival Gold and Grand Prix in 2016, a Silver Loerie Award, a Gold Pixel Craft Award for Online Video Production as well as a Bronze Pixel Award at the IAB Bookmarks.

Karien’s body of work reflects her versatility and brings together her spontaneous, real-life sensibility with an eye for beautifully composed, cinematic visuals.

100% CHARACTER UNCOVERED CREDITS

Client: NBC Universal Channel

Production Company: Giant Films, Cape Town Producer: Laura Sampson & Leanne Sanders Executive Producers: Emma Lundy & Cindy Gabriel Director of Photography: Pierre De Villiers Editor: Willie Saayman, Upstairs Ludus Colourist: Terry Simpson, Black Ginger Sound Design: Stephen Webster, The Workroom

2014 / 2015 / 2016

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AquilaSafaris

RESERVATIONS: +27(0)21 4307260 II MOBILE: +27(0)833 019 222 II E: RES@AQUILASAFARI.COM

06 / SPOTLIGHT

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FILMMAKER’S GUIDE TO AFRICA 2017 THE

The ultimate resource for the South African film industry, and the only marketing resource needed for international producers.

T

he highly anticipated Filmmaker’s Guide to Africa (FMG) is currently in development, and will be ready to launch at the 2017 Cannes Film Festi val. Now in its 15th year, FMG is still the premier marketing publication for the African film service, commercial and TV industries.

It is delivered into the hands of local and international producers, ad agencies, government commissions and creati ve elites.

WHAT DOES IT CONTAIN?

The Filmmaker’s Guide to Africa contains ALL the information a producer might need when bringing a production to African shores. For the local industry, FMG provides a one-stop-shop for all filming requirements.

The Filmmaker’s Guide to Africa provides the all-important tipping point in decision making.

This information includes: • Up-to-date information on financial incenti ves and rebates • Details on South Africa’s coproduction treaties • A comprehensive directory of fi xers in Africa • A selection of the finest film, commercial and TV locations in South Africa • Production company profiles with contact details and essential information • An easy-to-understand breakdown of current crew rates • An overview of South Africa’s film history and success stories

Black Sails © Frank Ockenfels / 2014 Starz Entertainment, LLC

Max Irons as Howard Carter at Tutankhamun ’s Burial Chamber scraping off the pitch from the coffin in Tutankhamun © ITV; Film Afrika (Pty) Limited, Unit and Special Stills Photography by Joe Alblas | African Photo Productions

• Contact details for Africa’s film commissions and permit offices • A comprehensive editorial spread featuring relevant overviews of each sector • Profiles of South Africa’s leading creati ve companies and individuals • Film events to diarise in 2017 • Spotlights on emerging film destinations in Africa • A full directory of suppliers, specialist services, equipment rental companies, etc.

Don’t miss out on being featured in this prestigious and far-reaching print and digital publication.

Contact Coleen Tapson on coleen@filmeventmedia.co.za or Nassa Basadien on nassa@filmeventmedia.co.za or call 021 674 0646 for advertising options.

NEWS / 07

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MIPTV EXPLORES NEW STORYTELLING FRONTIERS

At this year’s MIPTV, from 3-6 April 2017, industry professionals can expect a few new things including a short-format series pitch and a focus on new avenues of storytelling.

M

IPTV is one of the biggest television and digital content events for professionals in the entertainment industry. Taking place from 3-6 April 2017, the show brings key players together for three days of distribution and co-production deal-making, screenings of the hottest new content, networking opportunities and relationship building, and of course to explore the latest industry trends.

This year sees the launch of the inaugural MIPTV Digital Short Form Series Pitch, a brand-new forum for creators and producers of digital native short-form series.

As the market expands into short formats online, the pitch sets out to find the best creative talent and provides a unique opportunity to meet international decisionmakers looking for innovative content. The pitch will have two categories: Drama (all genres) and Kids Content (animation and youth live action, ages 6-11), and submitted projects will be reviewed by an international jury

MIPTV 2016 - Conferences - Miptv Trending Topics © V. Desjardins - Image & Co

with representatives from Canal+, Vimeo, BBC, Super RTL and of course Disney, among others.

MIPTV will also explore new frontiers in storytelling with two of their keynote speakers: Adam Harter, Vice President of Marketing and Cultural Connections at PepsiCo, and David Shing, Digital Prophet at AOL. Hartner will discuss ‘A new Era of Brand Storytelling’ and will outline how Pepsi is breaking paradigms to connect with target

consumers in a more effective and meaningful way. Shing will explore ways of ‘Changing the Conversation’ as brands become the experience. Embracing a more humanised experience is becoming the new currency measured by dwell time and engagement – not just the quick interaction of a like, follow or click.

“This is definitely one of the most exciting and challenging times for storytellers. Big Data is informing creative decisions;

short-form series are watched on smartphones; inspiration comes from everywhere; and with virtual reality, audiences can participate as characters in the narratives they love. These are just some of the themes our keynotes set out to explore at MIPTV 2017,” says Laurine Garaude, Director of Television at Reed MIDEM, organisers of MIPTV. For more information on the event, or to register, visit www.miptv.com.

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08 / SPOTLIGHT

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ORCAS FROM THE AIR

Darkwing Aerial’s Dean Engela on the thrills and spills of capturing rare Orca footage in False Bay.

© Dave Hurwitz – Simon’s Town Boat Company

WHAT WAS THE CLIENT BRIEF?

The client brief for this project was to capture Orcas hunting dolphins in False Bay. This was thought to be a relatively new phenomenon. We were hoping to capture the migration of thousands of common dolphins through False Bay in Cape Town.

Orcas are attracted by the extreme activity of these super pods of dolphins. Over the years, Orcas have learnt to prey on the dolphins that congregate in False Bay. We were the aerial element to the shoot alongside a full camera crew.

Our role entailed using our remotely piloted aerial systems (RPAS) to capture the action from the air and to explore how to best utilize RPAS for a purely oceanic shoot. We learned a lot and discovered plenty of techniques that work well and some that don’t. We can safely say that

flying over the ocean is one of the more risky and stressful environments to fly in, but our favourite by far.

of two years. With the success of the Orca shoot we have had the opportunity to work on a number of other wildlife films.

WHEN WERE YOU CONTACTED?

WHAT EQUIPMENT DID YOU USE?

We were contacted for a demo shoot in 2013, and went out on the local whale watching boat into False Bay for a few flights to show the client what could be done.

We launched off the back of the boat and did a few shots of the boat travelling through the bay. The client was happy and a great working relationship started with a fantastic creative and scientific team.

HAVE YOU DONE THIS KIND OF WORK BEFORE?

This was the first Natural Environmental Documentary we have ever been part of. The time at sea exceeded five months of going on the boat, over a period

We used several different RPAS for this shoot. Most of the footage was shot with a DJI S1000 paired with the Panasonic GH4 camera, which would be our main rig for the duration of the shoot.

We also used a Phantom 3 Pro as a throw-up in the air and always on standby rig, as we’d rather get a moment on film than be setting up the S1000 and miss it.

We used a few different types of waterproof RPAS that were tricky to keep alive in the harsh environment, as salt water and electronics don’t mix. We were able to modify and build up the

Aquacopter that was lent to us.

This enabled us to get some amazing action shots. The Aquacopter allowed us the ability to land on water and hang a GoPro about a metre below it on a pole. We were able to fly the camera between dolphins’ dorsal fins and get shots that were impossible to get otherwise.

It was a great little machine.

We also used a hex H20 to improve on the other waterproof RPAS. The hex had a gimbal-stabilised GoPro inside and we could capture more scenic shots with seamless transitions into the water to get the action above and below in one shot.

WHAT WERE THE CHALLENGES?

One of the challenges (of which there were many) was how to fly off the back of a boat

SPOTLIGHT / 09

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© Dave Hurwitz – Simon’s Town Boat Company

© Dave Hurwitz – Simon’s Town Boat Company

for months without putting the crew at risk or dropping the RPAS in the water. We designed and built a landing platform for the back of the boat that went over the motors and consisted of two sheets of plywood with a catch net in case of a botched landing.

We had a few gnarly situations but the RPAS lasted for five months of filming and more than 500 flights. The weather was a huge challenge.

The wind and swell were

© Dave Hurwitz – Simon’s Town Boat Company

hindering factors. The boat rising and falling with the swell made take off and landing difficult. Our camera operator would often have to catch the RPAS by the landing gear if the boat was rocking too much. A calm day at sea was a luxury.

Another big challenge was the fact that nature does not have a script and you can not do multiple takes to get the shot. You’ve got to be ready.

Keeping batteries and electrics dry was a constant issue.

ANOTHER BIG CHALLENGE WAS THE FACT THAT NATURE DOES NOT HAVE A SCRIPT AND YOU CAN NOT DO MULTIPLE TAKES TO GET THE SHOT. YOU’VE GOT TO BE READY.

DID ANY MISHAPS OCCUR?

We were very happy that no real mishaps occurred. We were and continue to be very safety conscious and did everything possible to ensure not only the safety of the crew on board but also the safety of our equipment. We had one or two minor mishaps with signal loss on the Aquacopter. Being out at sea and the RPAS being waterproof was not a huge problem because we could easily just ditch it in the water and go retrieve it later.

WHAT WERE THE HIGHLIGHTS?

The shoot was filled with highlights, starting with the first whale breaches that we caught from the air, leading to the thousands of dolphins we saw from above. The shoot was exciting with new challenges and special moments caught on

camera every day. One highlight that stands out was one of the Great White shark breaches that we filmed from the air.

The filming of the bait balls was incredible. Hundreds of dolphins, whales, sharks, seals and birds all feeding on a giant ball of sardines. This is a spectacular sight. We learned so much about the nature that is on our doorstep.

WHAT ARE YOU WORKING ON THIS SEASON?

This season we are busy shooting TV commercials and movies with our recently purchased Red Raven and heavy-lift RPAS as well as the rest of the fleet. We have some very interesting documentaries in the pipeline for this season as well.

You can keep updated on our movements by following us on Instagram and Facebook.

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© Popsicle

CONJURING WORLDS THROUGH SOUND It comes as no surprise that without good quality sound and music, even the most visually beautiful of productions would fall flat. Kim Crowie explores the subject in depth with some of SA’s most intrepid sound studios.

R

evered director David Lynch once said, “Films are 50 percent visual and 50 percent sound.

Sometimes sound even overplays the visual.” This still rings true, and even more today as next generation audio takes over and immerses viewers completely in a story. In South Africa, we are arguably still discovering how to do incredible, quality sound – in broadcasting formats particularly – although there is the cream of the crop who are performing at a competitive, international level already;

spurring the rest of the industry on to new heights in filmmaking.

THE (RATHER SUCCESSFUL) YEAR THAT WAS

2016 may have seen political unrest, socio-economic issues, protests, and refugee crises across the world, but in the land of sound, it was a rather successful twelve months.

Refinery was involved in some impressive projects including Shepherds and Butchers, The Journey is the Destination, Noem My Skollie, The Whale Caller, and the Madiba television series

starring Lawrence Fishburne – all running back-to-back after relocating their Area 5.1 studio site, and building two new, state-of-the-art studios. The Madiba project in particular was a milestone for Refinery, says Managing Director, Tracey Williams. “This was probably one of the largest sound projects to happen in SA in recent years,” she explains, “We delivered three 90-minute versions, and six 1-hour versions of the series over four months.” Humdrum Studios’ Peter Cornell, currently based at Refinery, completed

Jou Romeo, Vir die Voels, Chemo Club and Vir Altyd.

The Workroom also saw some great projects through their doors last year, culminating in an Emmy for Outstanding Sound in a Series (Black Sails). They also took home a coveted Loerie Grand Prix for Ster Kinekor’s Open Eyes and a Cannes Lion for NUCOT Organ Donor.

Their repertoire for 2016 is, of course, incredible. They’ve been attached to international productions like Star Wars: Rogue One, Star Trek Beyond, Tarzan, and Game of Thrones,

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and have worked with renowned commercial directors like Keith Rose, Sam Coleman and Dave Meinert. According to Director Stephen Webster, 2016 also saw the commissioning of their Dolby Atmos cinema room at their main facility. “[This is] one of only two rooms in the country capable of mixing immersive as well as standard 5.1 and 7.1 mixing formats,” He says. They also celebrated the first anniversary of satellite studio Ludus Post, and recently purchased an additional 500 square metre premises in Woodstock, Cape Town for expansion in 2018.

Sound Surfers, too have been doing well for themselves, forging their way into the international market and providing quality audio to local filmmakers. They were nominated for a sixth SAFTA award for Best Achievement in Sound on Thina Sobabili, and also completed the Cannes Quinzaine short films screened at Cannes and Durban International Film Festival last year. “We completed the longawaited Mandela’s Gun, which was the opening film at the Joburg Film Festival, directed by the legendary John Irvin,” adds Jim Petrak, Head Audio Engineer at Sound Surfers. “This film took a long time to make and we faced many challenges which included a variation of cars from the late 50s to the early 60s. We had to seek worldwide to find the cars and get good quality recordings.

We also had to go out and record the DC3 airplane and source

recordings of the T6 fighter jet from the 80s. It was huge. The director, having done over 50 films globally, was an absolute pleasure to work with as he had a great ear for sound and was highly experienced with the post sound process – which gave us tonnes of creative freedom.”

Other productions at Sound Surfers included Modder en Bloed, Vlees van my Vlees, which won Best Film at Silwerskerm Fees, and Dora’s Peace, which won the Jozi Film Festival.

On the commercial front, Milestone Studios saw one of the toughest jobs to date – a music recording for an international Lexus campaign.

“In three days we recorded more than 250 musicians, including two choirs, a drumline, bagpipes, ukulele, recorder, grand piano, four drummers, a marimba group, a reggae group, a Zimbabwean mbira group, a solo jazz trumpeter, two indie bands, two rock bands, a folk band, a jazz band, a heavy metal band, a beatboxer, a rapper, a DJ scratching, some opera singers, a brass marching band, some solo vocalists, a solo violinist, and a full orchestra,” says Murray Anderson. “To coordinate all these people was a challenge to say the least.”

Also in the commercial realm, Produce Sound, Louis Enslin’s award-winning recording and audio post company, has picked up a number of awards including Loeries, coveted Cannes Lions, and most recently was named

I THINK THAT GOING FORWARD THE SOUND INDUSTRY NEEDS TO BE OPEN TO EXPLORING DIFFERENT DISCIPLINES AND HOW THEY FIT IN WITH WHAT THEY ARE ALREADY DOING.

Radio and Audio Company of the Year at the 2016 London International Awards and scooped the TMT Entertainment Awards’ Best Audio Production Company accolade. “I think everything is becoming more and more competitive and it becomes a ‘price war’,” Enslin says of the industry. “Although I understand that, I do feel that we need to retain a certain level of quality. We believe that quality trumps budgets and try and focus on that.” He adds that they are investing heavily in remote facilities and approval systems, allowing the company to stream realtime audio and video to clients anywhere with live feedback from them.

Sound and Motion Studios have also had success, having moved to a new Cape Town office in a converted church building. Projects in 2016 include From a House on Willow St, a horror that’s done well abroad, Accident, Serpent and Uga Carlini’s heart-wrenching Alison biopic. “Alison was one hell of a project to work on and a textbook case of what can

Production Music for Professionals representing over 60 international labels and African Planit, a South African Music Library.

Service is our first Priority.

happen if there is trust and open communication,” says Simon Ratcliffe, Supervising Sound Engineer and Score Mixer at Sound and Motion.

“Director Uga Carlini was excellent at balancing the really dark stuff with the fairytale and transformational aspects of the story…On the Foley and sound design side, we wanted to make sure that we were authentic, and I’m sure anyone who’s seen the film will agree that the first act is not easy to watch, and it shouldn’t be. I still struggle – and Richard West and I mixed the thing! Alison herself is one of the warmest and open people I’ve ever met and she sat down with our team to describe certain sound elements. Not easy, but the results speak for themselves.”

TRENDS AND INDUSTRY MOVES ON THE HORIZON

“It’s already a given that studios that want to be able to work at the highest level need to stay in touch with technological trends,” says Ryk Otto, Managing Director at

VISIT US: www.synchromusic.co.za

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realm across the board. SAE produced their first final-year films, with one screening at the Malawi Film Festival last year.

They are actively equipping their graduates to play in the world arena. “The idea of a local sector is rather foreign to me,” explains Dylan Ford, Head of Sound at SAE, “as we live in a global community and creative media is, in my opinion, at the forefront of broadening career opportunities by tapping into markets around the world.”

MUSIC LIBRARIES AND LICENCING

© Sound Surfers

Popsicle Studios. The company has had a year of growth and collaboration, working with a number of local and international artists and brands to create and collaborate in music and stunning visuals to match – a trend that continues to grow. “I think that going forward the sound industry needs to be open to exploring different disciplines and how they fit in with what they are already doing,” Ryk explains, “At the very least, studios and engineers need to be willing to use their facilities and skills to explore different types of work.”

A few years ago we were introduced to next-gen audio, and although not too much has changed technologically, this may well be the year of the immersive experience where the industry and consumers take it up. Already Nu Metro and Ster Kinekor have opened Dolby Atmos theatres in the Western Cape, Gauteng and KwaZuluNatal, with more to follow.

A number of local studios are already exploring virtual reality content, which is set to grow considerably. “We expect to see a vast increase in virtual reality content delivered this year as personal VR devices become mainstream, and industry VR workflows stabilize,” says The Workroom’s Stephen Webster.

“We started off a while ago with an early Oculus development (SDK),” adds Sound

and Motion’s Ratcliffe, “and there’s been a big push in this direction, especially for web.

We are currently working on a set of short films with Big World Cinema and Electric South.”

Another trend is the everapproaching death of ISDN. Now, for the first time, the internet is fast enough to be as reliable a connection as ISDN and this will mean an eventual increase in collaborations with filmmakers from across the world.

As more collaboration takes place, sometimes from further afield, Sound-Trax has given South Africans the answer to their on-set syncing problems.

According to Director Colin McFarlane, they now provide a hub for all metadata linking camera, sound and post in the most efficient workflow available. In 2017 they plan on developing their online streaming abilities even more.

SA has seen a number of music libraries launch, grow and expand across the country and the wider continent in the last few years.

Synchro Music Management, a twenty-year-old stalwart in the sector, plans on having a busy 2017 with some great releases lined up for their international production music libraries.

CAPASSO is the mechanical copyright collecting society involved in licensing for

WE EXPECT TO SEE A VAST INCREASE IN VIRTUAL REALITY CONTENT DELIVERED THIS YEAR AS PERSONAL VR DEVICES BECOME MAINSTREAM, AND INDUSTRY VR WORKFLOWS STABILIZE.

TEACHING THE NEXT GENERATION OF SOUND ENGINEERS

According to Refinery’s Tracey Williams, it is still difficult for professionals to find junior sound assistants who have been well-trained with “the correct attention to detail, with an understanding of what the international broadcast industry expects”. Having said that, there has been improvements, and growth in the education

productions, and they offer special rates on series of bumpers, stings or idents.

That said, the local industry is still fraught with challenges, particularly when it comes to collecting royalties and licensing music.

According to Synchro Music’s Louise Bulley, the SABC and others can be difficult to work with as they don’t receive cue sheets regularly – something needed for accurately reporting and monitoring music used in productions. “Currently, the final mix engineers are responsible for noting the music and filling out the cue sheet. This is time consuming and the reporting is not done accurately. We have a system that is web based and available in SA called Recue, which helps generate cue sheets direct from the edit of the production.” The company have just announced Mathambo Music is now available through their search engine, as well as African Planit and many others.

© Popsicle

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5 MINUTES WITH CHARLOTTE BUYS With 28 years of experience in the industry, Charlotte Buys truly is a pioneer in the soundscape of South Africa.

A woman with serious talent and passion for her job, she’s not only won awards and worked with some renowned international filmmakers, but she is also constantly growing and improving herself – and a great example of how successful a career in sound can be. In 2016 she worked with some major projects for Refinery, where she is currently based in their Area 5.1 studio space.

As someone who works closely with sound in film, what are some of the challenges you face,

particularly locals looking for good quality audio and post?

Every film or TV series has its own specific challenges, the budgets are usually very tight and that can impact on the amount of ADR we are able to do. Understanding that a good on-set sound recordist is needed, who understands the process of doing sound post, is very important. Sometimes producers and directors have listened to the audio off the editing system and think the sound is fine, but when you listen to it in a mixing studio, the space is very unforgiving and we only fix a certain amount. So a good sound recordist and a budget for ADR recorded in a proper studio is something to think about.

What was the best project to work on in 2016 and why?

I honestly can’t pick a

favourite! The Journey Is The Destination was incredibly challenging, there were huge crowd scenes set in Mogadishu and wider Somalia, and creating and getting that atmosphere to feel authentic with Nicky De Beer as the Sound Designer was very rewarding. Noem My Skollie was great fun to work on. Director Daryne Joshua, Producer David Max Brown and Composer Kyle Shepherd were incredibly excited and passionate about the film. Their insights and ideas were spot on, and it shows in the final product.

Madiba (TV series) was how I ended the year. It was three 80-minute episodes, and those were then expanded to three 90-minute episodes and then those were broken down into 6 episodes. The story spans the years from Nelson Mandela’s

childhood to him becoming president. Lynda McKenzie, Post Production Supervisor, came out from Canada. She has worked on a number of TV series, and getting the opportunity to have her in the studio for five weeks was a very pleasurable learning experience. These are just three of the various projects I did in 2016 and all the others were good experience as well.

What’s your favourite part of working on a film’s sound and why does it intrigue and excite you?

My favourite part of the process is when the director/ producer/sound supervisor and myself get into each other’s heads. And when a scene you have been struggling with finally falls into place. Making movies, that’s my favourite part.

+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 films, television, cinema and radio commercials. Our award-winning sound editors offer a depth of expertise in all aspects of audio post.

Emmy-Outstanding Sound In A Series 2016 | Loerie Grand Prix 2016 | Cannes Lion Bronze 2016.

Dolby Atmos™ | Dolby 7.1 | Dolby 5.1 | Dialogue Edit | Tracklay | Sound Design | Foley | ADR | ISDN | Source Connect

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SOUND STUDIOS AND SERVICES IN SOUTH AFRICA

© Sound and Motion Studios

STUDIO

LOCATION

SPECIALITIES

WEBSITE / CONTACTS

African Dope Publishing

Western Cape

Large, Cape music catalogue and music licensing experti se

www.africandopepublishing.co.za

Arcadia Sound

KwaZulu-Natal

Film and TV audio post producti on, sound design, editi ng, music producti on and fi eld recording

www.arcadiasound.com

Big Leap

Cape Town, Western Cape

Music producti on and post, original soundtracks for radio and tv, commercials, multi media, fi lm and video

www.bigleap.co.za

Cape Audio College

Cape Town, Western Cape

53 studios and digital audio workstati ons, recording, producing, engineering, mixing, mastering and programming for music, fi lm, TV and commercials

www.capeaudiocollege.co.za

Cape Town Sound

Cape Town, Western Cape

Music producti on, engineering, compositi on

www.capetownsound.com

I’m Ryan

Durban, KZN

Sound soluti ons for games, animati ons and pictures.

Specialising in sound design, compositi ons, editi ng and mixes.

www.ryanhall.co.za

Cut & Paste Generation

Bryanston, Gauteng

Music compositi on, sound design, fi nal mix studios, Dolby E encoding, Dolby Digital EX surround licensed studio

www.cutandpastegeneration.tv

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STUDIO

LOCATION

SPECIALITIES

WEBSITE / CONTACTS

Cape Town Audio Post

Cape Town, Western Cape

Award-winning studios with 7 Protools HD recording suites, Source-Connect certi fi ed, fi nal mix, full audio producti on for adverti sing, fi lm and music industries

www.capetownaudiopost.com

Fine Tune Studios

Johannesburg, Gauteng

Final mix for TV/radio, audio stripes, voice recording, jingles, sound design, tracking and audio for presentati ons, games and multi media

www.finetunestudios.com

Freq'ncy Audio and Music

Cape Town and Johannesburg, South Africa

High end post producti on, sound design, music compositi on

www.freqncy.co.za

Hey Papa Legend Sound Studios

Cape Town, Western Cape

Award-winning sound design, music compositi on, TVC fi nal mix, radio and voice producti on

www.heypapalegend.com

Kwazi Mojo Studios

Johannesburg, Gauteng

Dolby E 5.1 certi fi ed, full service audio post producti on, sound design, fi nal mix

www.kwazimojo.com

Lalela Music Library

South Africa

SA/USA producti on music library, licensing, compositi ons

www.lalela.com

Mama Dance! Music Solutions

Cape Town, Western Cape

Music soluti ons, libraries, searches, licensing and clearances, compositi on and sound design

www.mamadance.com

Mastermax Productions

Midrand and Western Cape

5.1 mixing studios, mastering faciliti es, locati on recording, live sound and lighti ng hire, soundproofi ng, overdubs

www.mastermax.co.za

Milestone Studios

Cape Town, Western Cape

Music recording studios, audio post producti on for Film & TV, ADR, ISDN, Source-Connect, language translati on, analogue and digital equipment, Protools HD, Logic Pro, Ableton Live, fi lm scoring

www.milestones.co.za

Mtommbo Audio Solutions

Randburg, Gauteng

6 Protools, 2 Nuendo fi nal mix suites, compositi on, score to picture, TV, radio, jingles and sound design

www.mtommbo.co.za

On-Key Sound Studios

Linden and Randburg, Gauteng

A studio with three 5.1 surround studios, and digital audio workstati ons which run the latest versions of Steinberg Nuendo 7. Post producti on services include ADR, Foleys, Sound Design, Final Mix and Dolby E encoding.

www.onkeysound.com

Phonographic

Cape Town, Western Cape

Music producti on, sound design, voice over, fi nal mix

www.phonographic.co.za

Popsicle Studios

Cape Town, Western Cape

Recording and producti on studio for live and electronic music, sound design, compositi on and multi media content producti on

www.popsiclestudios.co.za

Postmasters

Johannesburg, Gauteng

Voice Recordings, audio mix, sound design, 5.1 surround mix, Dolby E Conversion

www.postmasters.co.za

7.1 & 5.1 Surround Sound Cinema mixing: 5.1 Sound TV mix . Dialogue & SFX editing . ADR recording . 2 x 5.1 track-lay studios . Mastering . Deliveries info@refinery.co.za | www.refinery.co.za | +27 11 799 7800

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© Popsicle

© Refinery

STUDIO

LOCATION

SPECIALITIES

WEBSITE / CONTACTS

Pressure Cooker Studios

Cape Town, Western Cape

Music and sound design house with extensive commercial experience. Services focus on creative and technical aspects including recording, SFX, Foley, VO, mixing, ADR, orchestration, production and mastering

www.pressurecookerstudios.co.za

Produce Sound

Johannesburg, South Africa

Louis Enslin’s award-winning studio with four ProTools HDX and HD Native final mix studios, manned by top industry talent

www.producesound.co.za

Red Bull

Cape Town, Western Cape

Digital music technology, recording, production and multimedia content production

www.redbullstudios.com/capetown

Refinery Post Production

Johannesburg

Turnkey post-production studios with all sound editing, ADR, mixing, design, Foley and other audio solutions. New 5.1 studios and Dolby 7.1 studios

www.refinery.co.za

SABC Radio Broadcast Facilities (RBF)

South Africa

Largest broadcast and production house in Africa, music studios, outside broadcast, media libraries, sound restoration, radio archives, record library.

Currently upgrading facilities in Cape Town

www.sabc.co.za/wps/portal/rbf/home

Searle Street Post

Cape Town, Western Cape

Film, commercial and television post house with full post production audio facility including dialogue editing, Foley recording, SFX editing, ADR and final mix suites

www.sspp.co.za

Shaw Music Studios

Johannesburg, Gauteng

Recording studio offering recording, music production, post-production, scoring and song writing. A division of Ibilion Music

www.shawmusicstudios.co.za

Sonovision Studios

Rivonia, Gauteng

5 HD audio suites, ISDN and source connect links, composition, translations and SFX libraries

www.sonovisionstudios.com

Sound & Motion Studios

Cape Town, Johannesburg, Dar es Salaam and Lagos

Award-winning music, TV and film sound production studios offering services to Africa

www.soundandmotion.co.za

Sound Surfers

Bryanston, Gauteng

Award-winning studios with full design of big screen audio for film and TV; stereo and 5.1 mixing, Protools editing, Foley and ADR stage

www.soundsurfers.net

Sound Surgeon Studios

Cape Town, Western Cape

Award-winning recording and audio post facility servicing the video production and gaming industry for over 10 years

www.soundsurgeon.co.za

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STUDIO

LOCATION

SPECIALITIES

WEBSITE / CONTACTS

Sound-Trax

South Africa

A company off ering soluti ons to on-set synchronisati on, streaming, and workfl ow systems for fi lmmakers

soundttrx@icon.co.za

Stratosphere Sound

Western Cape

Over 18 years’ experience in locati on sound mixing and recording; sales and rental of sound equipment

www.stratosphere.co.za

Synchro Music Management (Sonoton)

Johannesburg, Gauteng

Internati onal music library representi ng hundreds of music companies and arti sts through Synchro and Sonofi nd music management systems

www.synchromusic.co.za

The Crayon Room

Paradise Beach, Eastern Cape

Digital producti on including photographic, editi ng and sound studios

www.thecrayonroom.com

The Work Room

Cape Town, Western Cape

Award-winning studios for audio post producti on including sound editi ng, ADR, Foley, mixing and Dolby encoding

www.theworkroom.co.za

Universal Music Group (South Africa)

Johannesburg, Gauteng

Global music leader in recorded music, music publishing and licensing

www.universalmusic.com

Waterfront Film Studios

Cape Town, Western Cape

Largest sound stages in Africa, full edit and audio post producti on suites for fi lm and TV

www.waterfrontfilmstudios.com www.ninedesign.co.za/wfs/wfs_site

Wired Sound Studios

Johannesburg, Gauteng

Recording studio, record label and Multi media House. Services all the audio needs of the Jozi music, multi media and fi lm community

www.wiredsoundstudios.co.za

Disclaimer: Unfortunately due to space constrictions in the Callsheet, we are unable to include every sound studio operati ng in South Africa, and have instead included the major ones involved with sound in motion pictures.

DELIVERING WORLD-CLASS AUDIO Established in 2005, Fine Tune Studios has built a reputation as a leader in the audio post-production market. Featuring full Pro tools, HD suites and an extensive sound effects and music library, Fine Tune Studios has the ability to deliver a full range of superlative creative services to the advertising, broadcast, and film industries.

OUR SERVICES Audio Final Mix Sound Design ADR (Automatic Dialogue Replacement) Voice casting Voice record & edit Source Connect Link Ups

With an all-star roster of award-winning mixers, sound designers and composers with 37 years of combined experience in the industry, Fine Tune Studios prides itself on delivering top notch creative audio in a relaxed and efficient clientcentric atmosphere - a seamless blend of worldclass technology and talent.

Radio commercial production & mix TV commercial sound design & mix stereo Theatrical spot design & mix 5.1 surround Track laying & Audio Cleaning Feature sound packages Jingle/Music Production

Audio for multimedia & presentations Audio stripes to all formats Language service & script writing in all 11 languages Translations Management of voice talent Material delivery worldwide

CONTACT FINETUNE STUDIOS NOW FOR YOUR NEXT TV OR RADIO PRODUCTION! LET US EXCEED YOUR EXPECTATIONS!

www.finetunestudios.com | 011 799 7979 Fine Tune Studios is a Level 1 BEE contributor

20 / SPOTLIGHT

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© All images courtesy of Man Makes A Picture

THE CALLSHEET CHATS TO

JACQUES VAN TONDER AND JACQUES LE ROUX

Cinematographer and Editor of The Recce, a film by Ferdinand Van Zyl and Man Makes a Picture

On shooting with the Blackmagic URSA Mini 4.6K Van Tonder: The budget of an independent film is always a major concern. If you compare what the Blackmagic URSA Mini 4.6K does in comparison to its cost, it really does punch above its weight. We tested it extensively because, as far as we know, this is the first time this camera has been used to shoot a feature film.

It was definitely its first feature outing in South African conditions.

The locations we filmed in were challenging, from forests to the Karoo, so there were huge

temperature variations and different environmental factors.

The cameras had to deal with all the enemies of electronics, but they didn’t skip a beat. In terms of picture quality, we were never worried because we were very impressed with what we saw during the testing phase.

Le Roux: We wouldn’t have been able to rent an ARRI camera for the amount we paid for two URSA Minis.

Van Tonder: The Resolution beats anything in the price range, and that of some much more expensive models. The exposure

latitude is great and comparable to some of the heavyweight cameras on the market. It’s unheard of to get the option of shooting RAW internally for the money. This camera is an anomaly in terms of what you get for the price. When we shot the film, the cameras were still on early firmware and the options were slightly limited for compressed formats. Being on a budget, the data rates of shooting RAW and the accompanying amount of storage we would need looked like it might be a stretch. But we were sold by the flexibility it offered

us in post using BlackMagic’s DaVinci Resolve Studio Software, which comes bundled with the camera purchase. Their software has been very popular for years and integrated very nicely with our dailies workflow.

I am used to working on big productions as a DIT, where there is much more scope for precise control of lighting and colour management given the large budgets and more liberal schedules. On an indie film like The Recce we knew that would not always be an option and the URSA Mini offered us the

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video and remote lens control.

This was easily overcome with a few custom cables.

chance to get all the information we wanted, unprocessed, that could be fine-tuned in post.

Through extensive testing, I knew where the hard limits of the camera were and I could make decisions in adverse lighting conditions with confidence.

Le Roux: I’ve not seen a single take on this film that isn’t useable.

Van Tonder: We were initially concerned with the limited power outputs for accessories since we were going to do a lot of handheld and gimbal work where we needed wireless

On interpreting Ferdinand’s vision, and the challenges of the shoot Van Tonder: We did extensive recces of the locations, and the script was changing and evolving.

Even with all the planning, our limited timeframe meant that we couldn’t always shoot things exactly as we’d envisioned it. We had to be fluid, and let things happen organically. Some scenes in the movie, we were fighting the “good” light to match an earlier scene, rather than waiting for the good light like we normally would!

We’d start shooting in the flat light of the day for a certain look, and then we’d have to carry it through even though the “better” light was available. So, that was a challenge.

We were focused on creating specific types of movement through the story arc. The camera movement is very controlled even in very chaotic scenes. That’s where my operator and my focus puller were worth their weight in gold. They performed way beyond what was expected. We were so pleased with what we were able to achieve because of the level of professionalism in our crew. We knew this was going to be a tough shoot, so we wanted to work with crew that

we knew had what it takes.

Le Roux: The production was six weeks, but if you consider the travel time, we ended up with five weeks of actual shooting time, which isn’t a lot for a feature film. Some locations had no vehicular access or radio signal.

Van Tonder: The locations really add to the authenticity of the film; we shot in locations in and around Cape Town, the Karoo and the Eastern Cape. On some locations it wasn’t possible to take along generators and lighting gear, so we had to use available light. With unpredictable weather conditions it got a bit tricky sometimes. The Revenant was one of our strong references, even though we didn’t want to copy anything that had been done before.

But The Revenant’s team had the luxury of being able to wait for the perfect light!

Le Roux: What we shot and

how they shot it really allows me to cut where it adds to the story, and not cut for the sake of it. We’re not afraid of holding a shot, or using just one take.

The Recce isn’t one of those films that you cut fast just for the sake of it. We want to linger on particular moments. Some moments we are cutting quicker to add to the sense of mania and frenzy; but stylistically both methods fit in the film.

Van Tonder: One of the things that Ferdinand said from the outset was that he wanted the option in post production to play an entire scene in a single take if we wanted to, and a lot of our shot design was based on that. Ferdinand didn’t want the cutting to determine the pace of the film, he wanted the camera movement and the performance of the actors to carry the story.

The Recce is currently in post production, and will be released countrywide on 16 June 2017.

WE KNEW THIS WAS GOING TO BE A TOUGH SHOOT, SO WE WANTED TO WORK WITH CREW THAT WE KNEW HAD WHAT IT TAKES.

THE RECCE Synopsis: After the SADF wrongfully declares young Recce Henk Viljoen dead behind enemy lines, it’s up to him alone to use every skill and tool in his arsenal to make it back to his grieving wife. With the enemy hot on his trail and a lethal gunshot wound in his gut, Henk’s chances for survival are looking slim as he navigates the treacherous war torn African landscape.

Studio: Man Makes A Picture

22 / CAPE TOWN INTERNATIONAL ANIMATION FESTIVAL

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SOMETHING FOR EVERYONE AT SIXTH CAPE TOWN INTERNATIONAL

ANIMATION FESTIVAL Offering something for all ages, the annual Festival brings South Africans the chance to catch some of the world’s best animated films as well as an exciting range of masterclasses and workshops with global industry leaders, providing a rare opportunity to engage with them.

A

n exciting feature of the industry events will be a talk by producer Ivan Rouveure from Les Armateurs whose work includes Oscar-nominated film The Secret of Kells, the TV series T’choupi à l’école and Kirikou et les Hommes et les Femmes which was nominated for a French César award.

Another incredible opportunity will be the talk by Veronique Encrenaz, to hear how to make your pitch and projects stand out from the crowd. With nearly thrity years’ experience in the industry, Encrenaz is Project Manager at MIFA (Marché International du Film d’Animation), which is associated with the Annecy Animation Film Festival.

“We are also delighted to announce that we will have producers from the Canada-based Breakthrough Entertainment Inc joining us. They are an award-winning producer and distributor of premium content for worldwide audiences,” says Festival Director Dianne Makings.

There will be screenings of My Life as a Courgette which recently won the Best Animated Feature Film at the European Film Awards, as well as Crystal and Public Awards at the Annecy International Film Festival and was Switzerland’s official entry for Best Foreign Language Film

at the Academy Awards.

“We are celebrating the depth of our internationally recognised South African talent while presenting the opportunity for industry players to gain access to global icons in the field,” says Makings. “We aim to promote and be a gateway for the African industry while connecting animation creators from around the world.”

“Nick Hall and Pippa Tshabalala are just two of the keynote speakers to address the gaming sector,” says Makings.

“A new addition this year is an exhibition space where animators can get feedback on their portfolios from industry experts.

The CTIAF’s Creative Partner this year is Tulips and Chimneys, who designed the 2017 branding. They work across books, film, character design, concept development, illustration, animation direction and production design and will soon be re-releasing their acclaimed fantasy book, The Tale of How. The Schools’ student competition has been extended to include high schools this year, with Nickelodeon once again sponsoring the phenomenal opportunity for one student to do an internship at Nickelodeon in the USA. The Outreach programme has also grown and will be

hosted at the Isivivana centre in Khayelitsha. There will be movies in the morning, drawing classes with Draw for Life, and various workshops to teach the fundamentals of animation.

“We are delighted to be involved with the Festival for the sixth year,” says Frédéric Chambon, Head of Film and Media, French Embassy/ Institute of South Africa. “The French and South African animation industries have a long history of collaboration and the Festival has over the years provided many fruitful opportunities for growth and collaboration in the sector.”

“The animation industry is rapidly growing and it has the potential to be one of our biggest creative export products,” says Monica Rorvik, Head of Film and Media Promotion at Wesgro, the official Tourism, Trade and Investment Promotion agency for Cape Town and the Western Cape.

“Our animators are among some of the best in the world and Wesgro strongly supports opportunities such as the Festival that create platforms for them to connect and to thrive.”

“We have been a long-time partner of the Cape Town International Animation Festival as part of our commitment to funding initiatives that nurture

our incredible South African talent, grow skills development opportunities and promote the industry as a unique driver of economic growth,” says Zama Mkosi, CEO of The National Film and Video Foundation.

“Canada’s film and TV industry is not just about great productions and actors. Canada is also a key player in the digital media industry.

From animation and gaming, to amazing special effects, Canada is leading the way. I am delighted to support the participation of Canadians in the Cape Town Animation Film Festival, especially this year. Canada celebrates its 150 th birthday in 2017 and I can’t think of a better way to celebrate than promoting CanadianSouth African collaboration in cultural industries.” says Sandra McCardell, High Commissioner of Canada to South Africa.

The Cape Town International Animation Festival takes place from 2 to 5 March 2017 at The River Club in Observatory, Cape Town.

Visit www.ctiaf.com for the full programme details. Bookings can be made at Webtickets www.webtickets.co.za

My Life as a Courgette © Rita Productions / Blue Spirit Productions / Gebeka Films / KNM / RTS SSR / France 3 Cinema / Rhones - Alpes Cinema / Helium Films 2016

CAPE TOWN’S GROWING ANIMATION INDUSTRY Cape Town is fast becoming recognised as the animation hub of Africa, with established leaders in animated feature films, shorts and service work.

T

riggerfish Animation Studio’s recently completed work on Revolting Rhymes, Roald Dahl’s macabre take on classic fairy-tales, which premiered on Christmas Day to worldwide acclaim, and will be shown to a rapturous audience at the Cape Town International Animation Festival this March.

This comes one year after Stick

Man, another Triggerfish/Magic Light Pictures collaboration, created a global stir and collected trophies at Annecy, BANFF, and the British Animation Awards, as well as a BAFTA nomination.

Other notable talents in the animation industry are Sunrise Productions, who produce the popular Jungle Beat series, and Sea Monster Animation,

who are doing pioneering work in gaming and augmented reality and have produced over 75 hours of international broadcast animated 2D series.

CAPE TOWN INTERNATIONAL ANIMATION FESTIVAL An incredible addition to CTIAF’s programme is the announcement of the headline

producer speaker for 2017, Ivan Rouveure from Les Armateurs.

Nickelodeon executives will again join the programme to host sessions with delegates.

Regarding local speakers: Storylab’s Vanessa Sinden will host a workshop on ‘How to prepare and present your pitch bible’ and there will be a variety of panel discussions

on skill-building initiatives and transformation in the industry. The industry section will also be bolstered by various presentations from regional and national film bodies on funding and other support opportunities.

CTIAF will once again host its popular networking sessions and will introduce a tabletop exhibition area which includes a portfolio reviewing table, where animators can get feedback on their portfolios from industry experts.

With films, workshops, dedicated business-to-business sessions and a brand-new popup-shop, CTIAF aims to provide a platform for consumers and trade to meet and engage with key players in this fastgrowing industry. CTIAF is made possible by Animation SA, Wesgro, Institut Francais, the NFVF, Nickelodeon as well as the High Commissioner of Canada to South Africa.

ANIMATE AFRICA

The Animate Africa initiative aims to discover and develop genius African animators to diversify global entertainment.

Africa’s animation industry is booming, but it is held back by capacity constraints. In a wildly creative continent of 1.2 billion, capacity should not be an issue, but while talent is everywhere, opportunity

is not. Animate Africa is a first step towards changing that.

By developing animation skills in Africa, we: • Meet a global demand for more animators • Support a key economic growth sector • Diversify the global entertainment industry • Build empathy for unfamiliar cultures from a young age • Help Africans picture a better Africa • Redefine what Africa looks like to the world • Help create content for an untapped market of over a billion • Create jobs and improve living standards In 2017, Animate Africa will launch a call for the most talented animators in Africa, with the goal to discover genius, develop it further, and deploy it in the workplace to diversify the global entertainment industry.

With the help of its media partners, Animate Africa is launching an intense, continentwide call for applications, combined with competitions for short animations and a rigorous selection process that is designed to discover truly outstanding talent.

Animate Africa will sponsor fully-funded bursaries to the highest ranked animation

school in Africa (three-year course), and will also organise internships, masterclasses and seminars with industry experts from around the world.

Students will receive career counselling, job placement and bridge employment in top animation studios. They’ll also have the benefit of a lifelong learning strategy comprising ongoing up-skilling of animators.

Stuart Forrest , CEO of Triggerfish Animation Studios says “Animate Africa is our new initiative that is a response to the fact that we have this continent of 1.2 billion people, but we often have a lack of capacity to create new work. It’s a long-term vision to stimulate the animation industry on the continent by discovering extraordinary new

IT’S A LONG-TERM VISION TO STIMULATE THE ANIMATION INDUSTRY ON THE CONTINENT

BY DISCOVERING EXTRAORDINARY NEW TALENT, HELPING TO DEVELOP IT, AND MOST IMPORTANTLY, GETTING IT TO BE PRODUCTIVE. Revolting Rhymes © Magic Light Pictures Limited 2016

talent, helping to develop it, and most importantly, getting it to be productive. What’s exciting right now is the discussions we’re having with the animation communities throughout the continent—we’ve been speaking to groups in Nigeria, Kenya, Uganda, Tanzania, Zimbabwe and Egypt, and I know of others in Zambia and Ghana.

There is a huge amount of talent and passion, and I think that together we can find a way to bring these networks together and build off each other’s experiences and vision.”

Contact Animate Africa to become a partner: www.animateafrica.org.za Visit www.ctiaf.com to find out more about the featured films, speakers, programme, or to buy CTIAF tickets.

26 / TULIPS AND CHIMNEYS

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TULIPS AND CHIMNEYS Meet the team at the Cape Town International Animation Festival 2017.

T

ulips and Chimneys is a Cape Town-based creati ve studio specialising in concept development and creating visuals for films, digital and print media. We dream up and construct unique, diverse aesthetics for environments, sets, props and costumes for all media.

We like to be involved in the early stages of conceptualising a project, overseeing its direction and development right through. We are highly skilled in character design – whether it’s a bohemian princess, a wacky vegetable or an outlandish pirate, we take

WE TAKE GREAT CARE TO ENSURE THAT THEIR STORIES AND UNIQUE PERSONALITIES ARE BEAUTIFULLY DEPICTED. great care to ensure that their stories and unique personalities are beautifully depicted.

Tulips and Chimneys was involved in Riot Games’ incredible short The Curse of the Sad Mummy © Tulips and Chimneys

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The Open Window (Pty) Ltd (company registration 1973/015860/07), trading as Open Window Institute, is registered as a Private Higher Education Institution by the Department of Higher Education and Training (DHET) with Registration Certificate Number: 2000/HE07/016. Open Window (Pty) Ltd courses are accredited by the Council on Higher Education (CHE) and registered with the South African Qualifications Authority (SAQA) under the Higher Education Act, 1997. Open Window (Pty) Ltd is a SETA provider with provisional accreditation with MICTSETA: Accreditation Number: ACC/2016/07/0012 until 31 March 2017. For more information, please contact Open Window on 012 648 9200.

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The Open Window (Pty) Ltd (company registration 1973/015860/07), trading as Open Window Institute, is registered as a Private Higher Education Institution by the Department of Higher Education and Training (DHET) with Registration Certificate Number: 2000/HE07/016. Open Window (Pty) Ltd courses are accredited by the Council on Higher Education (CHE) and registered with the South African Qualifications Authority (SAQA) under the Higher Education Act, 1997. Open Window (Pty) Ltd is a SETA provider with provisional accreditation with MICTSETA: Accreditation Number: ACC/2016/07/0012 until 31 March 2017. For more information, please contact Open Window on 012 648 9200.

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28 / OPPORTUNITIES

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OPPORTUNITIES ABOUND Submit to DIFF, Tribeca, the NFVF, Biennale and the Cannes Film

Virtual Reality was big at DIFF 2016 © Durban International Film Festival

SUBMIT YOUR FILM TO DIFF 2017

Submissions are open for the 2017 edition of the Durban International Film Festival.

Filmmakers from across the world are invited to send their short, documentary or feature films to screen in the festival from 13-23 July 2017. This year’s festival will focus on the growing cinematic trend highlighting refugee or immigrant stories with their Transit Tales.

DIFF is looking for features, shorts and documentaries that chronicle such stories, and only films completed in 2015, 2016 and 2017 will be considered.

Films can be submitted via an online screener, and all submissions must be entered through the DIFF Visitors Page online at https://vp.eventival. eu/cca/diff2017. In order to

submit, an account needs to be created if it has not been done in previous years. The deadline for all entries including delivery of screeners is 28 February 2017. For more information visit www.durbanfilmfest.co.za or email diff@ukzn.ac.za.

ENTER TRIBECA X AWARD AND SNAPCHAT SHORTS

Although Tribeca Film Festival’s official submissions have closed, those with flair for creativity can still submit in two unique categories. Tribeca Snapchat Shorts is back, and is now an official festival category. It’s the perfect opportunity for people who are passionate about Snapchat and narrative storytelling, and there is no fee required to submit.

Entries are limited to one per person/Snapchat account,

and projects must appear in Snapchat style. The category closes on 17 February 2017.

The Tribeca X Award is a juried award for storytelling supported by a brand, recognising the intersection of advertising and entertainment.

The award is open to all work produced between January 2016 and March 2017 funded with support of a brand in collaboration with artists or filmmakers. Eligible projects include scripted and documentary work for film, TV, digital, social and VR/AR, in both feature and short formats.

Projects must have a storytelling element, and the final deadline for submissions is 15 February.

Visit www.tribecafilm.com/ festival/submissions for more details or contact entries@ tribecafilmfestival.org.

BIENNALE CALLS FOR 9 VR TEAMS

The inaugural Biennale College Cinema – Virtual Reality kicks off this year. A programme developed by La Biennale di

Venezia, it invites filmmakers and creative professionals from a range of backgrounds to learn and prepare for a 360 degree, interactive, immersive future.

With the support of experts and international specialists in the field, the programme will help existing indie filmmakers and creatives to appropriate the medium of VR and adapt their knowledge to VR in a fluid, transitional way. Participants will acquire specific know-how around 360 degree immersive storytelling – redefining the relationship between story and audience.

Nine director and producer teams will be selected to work on the development of VR projects of between 10-20 minutes’ duration. The Biennale aims to financially support up to three of these projects with €30 000 each, and will premiere at the 74th Venice International Film Festival in early September.

The Biennale will present the other developed projects at the Venice Production Bridge as part of the Gap Financing

A PROGRAMME DEVELOPED BY LA BIENNALE DI VENEZIA, IT INVITES FILMMAKERS AND CREATIVE PROFESSIONALS FROM A RANGE OF BACKGROUNDS TO LEARN AND PREPARE FOR A 360 DEGREE, INTERACTIVE, IMMERSIVE FUTURE.

OPPORTUNITIES / 29

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Market activities. The deadline for applications is 8 February 2017, and the nine teams will be announced on 28 February.

Visit www.labiennale.org/en/ cinema/ for more details.

THE NFVF CYCLE 3 APPLICATIONS NOW OPEN

The National Film and Video Foundation (NFVF), an agency of the Department of Arts and Culture is pleased to announce the call for Cycle 3 applications is now open.

The NFVF calls for applicants for the following areas of funding: • Training Provider • Production and Development Opening date for submission - 9 January 2017 Closing date for submission - 6 February 2017 Please note: • Funds for tier 1 fiction production and tier 2 fiction development and production have been depleted.

• Funds for marketing and distribution have been depleted for this financial year.

• Funds for market and festival attendance have been depleted for this financial year.

• Funds for festival grants have been depleted for this financial year.

No e-mail submissions will be accepted. Closing date for applications is 6 February 2017.

Please note: • Failure to provide all requested information will lead to automatic disqualification of the application.

• No late applications will be considered.

• Should there be a change of contact details the onus is on the applicant to notify NFVF. • Applicants will be advised of the decision in writing following funding approval meetings.

• Approved applicants will be published on the NFVF website.

• No applications shall be returned to the applicant.

• Do not submit any extra material, e.g. videos, photographs, etc (unless requested).

• Applicant can insert a link to his/her project.

• Should the applicant or recipient not be contactable for two months at the given address or contact number from the date of receipt of a grant. The grant will be cancelled.

For any queries, please contact Thandekile Hlatshwayo thandekiles@nfvf.co.za or Manti Sekwakwa mantis@nfvf.co.za, Tel: 011 483 0880.

70 TH CANNES INTERNATIONAL FILM FESTIVAL – CALL FOR PROJECT SUBMISSIONS TO THE NFVF

The National Film and Video Foundation (NFVF) will embark on a trip to the 70 th Cannes International Film Festival being held from the 17th to the 28th of May 2017. The festival, which is internationally recognised as the premier film festival and marketing event,

THE FESTIVAL, WHICH IS INTERNATIONALLY RECOGNISED AS THE PREMIER FILM FESTIVAL AND MARKETING EVENT, BRINGING TOGETHER FILMMAKERS AND KEY DECISION MAKERS FROM ACROSS THE GLOBE.

bringing together filmmakers and key decision makers from across the globe to conduct the business of film.

The NFVF will publish a catalogue of projects from the 2016/17 period seeking either completion finance or sales agents. Amongst other activities, the NFVF will also host a Sales Event with the purpose of presenting completed projects to international buyers and agents.

Independent filmmakers with projects that have completed development (final polish scripts) or have completed projects that are ready for sale are requested to submit synopses of projects they would like the NFVF to consider for inclusion in the catalogue and or pitch at the sales event.

Applicants are requested to email the following information:

A screenshot of last year’s DIFF 360 VR promo video © Durban International Film Festival

• • • •

Full synopsis of the project Details of Key Creative Team Tagline High resolution poster (300dpi) • Trailer/Promo (where available) • High resolution production stills (where available) • Requirements (Funding/ Sales Agent/Distribution) Filmmakers should bear in mind that the NFVF reserves the right to select the films to be presented at the event and included in the NFVF catalogue.

Deadline for submissions is Friday, 24th February 2017. No late entries will be considered.

For project submissions and queries, kindly email Ntuthuko Mageba on ntuthukom@nfvf.co.za or call 011 483 0880.

30 / LOCATION SPOTLIGHT

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MOZAMBIQUE A country rich in colour and contrasts, Mozambique’s forgotten cinematic history is rediscovered as it blossoms into a viable film location.

based on true facts revealed such fascinating complexities of the human lot and mixed with a dose of magic realism; the director has managed to capture the imagination of audiences to provide us with a riveting story that engages and fascinates.”

FILMING ON LOCATION

Ideal for those seeking idyllic coastal imagery with tropical islands and coral reefs, Mozambique’s archipelagos

Pemba, Mozambique © Rosino (via Flickr)

M

ozambique has a long yet forgotten film history that spans over forty years.

The country, whose stake as a Portugese colony came to a close with independence in 1975, had its first Institution of National Cinema, a film production unit, portable cinemas, and a successful Guerrilla Cinema model thanks to Marxist revolutionary Samora Machel. In the mid-80s civil war erupted, bringing an end to national filmmaking as a pastime, and in the 90s private production companies began springing up after the new constitution allowed for press freedom. 2006 saw Mozambique hold its first documentary film festival, Dockanema.

FILMS SHOT IN THE COUNTRY

Although not a well-known film destination, Mozambique has

been a great location in previous years. In 2006, the country doubled as Sierra Leone in Blood Diamond, and the biopic Ali starring Will Smith was also shot partly in Mozambique. It doubled as the Congo for the story of Lumumba, their first prime minister, and in 2014 Yvone Kane was shot in Mozambique, too.

Most recently Train of Salt and Sugar, a film directed by Licínio Azevedo, is on the rise.

It is set in the civil-war-torn northern Mozambique of the late 80s and has been hailed by critics as the first “great African Western”. In late 2016, it won Best Film at Joburg Film Festival and also scooped the Independent Italian Critics Award (Boccalini d’Ouro) for Best Film at the Locarno Film Festival.

“This movie has been an incredible labour of love for all of us,” Co-Producer Elias Ribeiro of Urucu Media said recently. “This harrowing story

offer untouched sandy beaches, while wildlife parks such as the Gorongosa National Park, Maputo Railway Station and the Zambezi River are also popular. Mozambique provides some impressive underwater photography looks, and locations, talent and support crew are inexpensive. Key crew and equipment will need to be brought in from abroad – South Africa is closest – as the country offers little to no film infrastructure.

IDEAL FOR THOSE SEEKING IDYLLIC COASTAL IMAGERY WITH TROPICAL ISLANDS AND CORAL REEFS, MOZAMBIQUE’S ARCHIPELAGOS OFFER UNTOUCHED SANDY BEACHES.

© Blood Diamond

LOCATION SPOTLIGHT / 31

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CLIMATE Mozambique has a climate that varies by region, however the southern parts are generally drier and less tropical than the north.

November to May is the hot, wet season, June to October is the warm, dry season.

Average Annual Temperatures in Beira, Mozambique 400C 30 0C 20 0C 10 0C 0 0C

Jan Feb Mar Apr May Jun Max temp

Jul

Aug Sep Oct

Nov Dec

Min temp www.weather-and-climate.com

Children watch a football game in Nivali, Mozambique © Stig Nygaard

Annual Average Sunlight Hours in Beira, Mozambique 300 hrs 250 hrs 200 hrs 150 hrs 100 hrs 0 hrs

Jan

Feb

Mar Apr May Jun

Jul

Aug Sep

Oct Nov Dec

www.weather-and-climate.com

ACCESS Mozambique has three major airports servicing the country: Vilanculos in the north, Inhambane, located centrally, and Maputo International Airport. Airlines flying to Mozambique include: • • • • Durban dancing shrimp with a moray eel at Ponta do Ouro, Mozambique © Derek Keats

Ethiopian Airlines Kenya Airways Qatar Airways South African Airways

• TAAG Angola Airlines • TAP Portugal • Turkish Airlines

POPULATION 25,930,150 (July 2016 est., CIA World Factbook)

FIXERS AND PRODUCTION SERVICES Fixer: Nigma Pictures Tel: +258 20 031 409 / +258 845 448 348 Email: info@nigmamz.com | Web: www.nigmamz.com Fixer/Production Services: Ellnette Pearson Tel: +264 (0) 64 463 371 | Email: info@magictouchfilms.com Web: www.magictouchfilms.com Fixer/Production Services: Gavin McJannet Tel: +27 (0) 21 424 7714 | Email: gavin@farmafrica.tv Web: www.farmafrica.tv

Island of Mozambique, Cabo Delgado Province, Mozambique © Rosino (via Flickr)

Fixer: Antonio Forjaz / Mickey Fonseca Tel: +258 843 172 010 / +258 827 116 080 Email: pipasforjaz@gmail.com / friedmozkitos@gmail.com Web: www.mahlafilmes.com

32 / EVENTS TO DIARISE

FEBRUARY

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MARCH

SANTA BARBARA INTERNATIONAL FILM FESTIVAL 1 – 11 Santa Barbara, USA CLERMONT-FERRAND INTERNATIONAL SHORT FILM FESTIVAL 3 – 11 Clermont-Ferrand, France

CAPE TOWN INTERNATIONAL ANIMATION FESTIVAL 2–5 Cape Town, South Africa

ANN ARBOR FILM FESTIVAL 21 – 26 Michigan, USA

MIAMI FILM FESTIVAL 3 – 12 Miami, USA

SA ECO FILM FESTIVAL 22 – 26 Cape Town, South Africa

RIO CONTENT MARKET 8 – 10 Rio de Janeiro, Brazil

ATLANTA FILM FESTIVAL 24 March – 2 April Atlanta, USA

TAMPERE FILM FESTIVAL 8 – 12 Tampere, Finland

PALM BEACH INTERNATIONAL FILM FESTIVAL 29 – 2 April Palm Beach, USA

BERLINALE 9 – 19 Berlin, Germany

BEAUFORT INTERNATIONAL FILM FESTIVAL 15 – 19 Beaufort, USA

PAN AFRICAN FILM FESTIVAL 9 – 20 Los Angeles, USA

SEDONA INTERNATIONAL FILM FESTIVAL 18 – 26 Arizona, USA

PORTLAND INTERNATIONAL FILM FESTIVAL 9 – 25 Portland, USA

CHENNAI INTERNATIONAL SHORT FILM FESTIVAL 2016 19 – 25 Chennai, India

WGSA MUSE AWARDS 11 Johannesburg, South Africa

FESTIVAL ANIMA 24 – 5 March Brussels, Belgium

RAPIDLION: THE SOUTH AFRICAN INTERNATIONAL FILM FESTIVAL 11 – 18 Johannesburg, South Africa

EE BRITISH ACADEMY FILM AWARDS (BAFTAS) 12 London, United Kingdom

ANNUAL ACADEMY AWARDS (OSCARS) 26 Los Angeles, USA

LUXOR AFRICAN FILM FESTIVAL 16 – 22 Luxor, Egypt

SOUTH BY SOUTHWEST FILM FESTIVAL 10 – 18 Austin, USA

RIVERRUN INTERNATIONAL FILM FESTIVAL 30 – 9 April Winston-Salem, USA SARASOTA FILM FESTIVAL 31 – 9 April Sarasota, USA DAKOTA DIGITAL FILM FESTIVAL 31 Bismarck, USA

EVENTS TO DIARISE / 33

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APRIL STOCKHOLM FILM FESTIVAL JUNIOR 3–8 Stockholm, Sweden INTERNATIONAL SHORT FILM FESTIVAL NIJMEGEN 5–9 Nijmegen, Netherlands TCM CLASSIC FILM FESTIVAL 6–9 Los Angeles, USA AFRICAN FILM FESTIVAL NEW ZEALAND 6 – 12 Auckland, New Zealand BOKEH SOUTH AFRICAN FASHION FILM FESTIVAL 7–8 Cape Town, South Africa

BOSTON INTERNATIONAL FILM FESTIVAL 13 – 17 Boston, USA INTERNATIONAL WILDLIFE FILM FESTIVAL 15 – 22 Missoula, USA MADEIRA FILM FESTIVAL 17 – 23 Madeira, Portugal TRIBECA FILM FESTIVAL 19 – 30 New York, USA NASHVILLE FILM FESTIVAL 20 – 29 Nashville, USA FLORIDA FILM FESTIVAL 21 – 30 Winter Park and Maitland, USA

HONG KONG INTERNATIONAL FILM FESTIVAL 11 – 25 April Hong Kong, China

SETTING SUN SHORT FILM FESTIVAL 27 – 30 Melbourne, Australia

IMAGINE FILM FESTIVAL 12 – 22 Amsterdam, Netherlands

HOT DOCS 27 – 7 May Toronto, Canada

© Sweet Ice Cream Photography

MIPTV 3–6 Cannes, France

34 / ASSOCIATIONS NEWS

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NFVF UPDATE ON INDUSTRY STUDY

SOS COALITION TESTIFIES IN PARLIAMENT

SAGE RELEASES YEAR-END REPORT

The National Film and Video Foundation commissioned the Urban Econ Development Economists to conduct research on the economic impact of the South African film industry on the nation’s GDP over a three-year period from 2013 to 2015. The scope of the new study, similar to that of the 2013 study, includes a full value chain analysis of the film sector, definitions of film formats, looks at films produced as well as distribution across traditional and new platforms, local and co-productions, and of course, economic indicators such as the size of the industry, the number of companies doing business, the number of people employed, taxes paid and economic multipliers.

CEO Zama Mkosi believes the research will help create an understanding of the business of film in SA, and prove the industry is a lucrative GDP contributor. “The NFVF aims to give a true reflection of the film and audio visual industry through the Economic Impact of the South African Film Industry Research, and to ensure strategies and programmes that are responsive and effective as well as to identify audience trends with a specific focus on local content,” she said in a recent statement. The research results will be published in 2017.

For more information on the project, please email Tsietsi Themane on tsietsit@nfvf.co.za.

On Wednesday, 14 December 2016, the SOS Coalition and Media Monitoring Africa (MMA) testified to Parliament’s ad hoc committee, currently looking into the fitness of the SABC Board. Duduetsang Makuse and Sekoetlane Phamodi represented SOS, and William Bird and Thandi Smith represented MMA. Although the outcome of these hearings has yet to be released, Makuse, SOS Coalition Coordinator, did issue this statement: “Exciting times if this enables so much of our important work over the past eight years to be placed in front of Parliament in this very high-profile process. There are sure to be follow-up inquiries into different aspects of the SABC once the full gravity of the situation can no longer be ignored by Parliament and we, the people. And well done to so many who have fought so hard for so long, to ensure the public broadcaster really does belong to us, the people who live in South Africa.

Viva public broadcasting!”

The SOS Coalition has condemned the behaviour of senior officers at the SABC in the past, and continues to do so. Last year the organisation was an integral part of campaign supporting the ‘SABC 8’.

The South African Guild of Editors has released its State of SAGE 2016 report. Overall the organisation has 150 members, 19 of which are new. They introduced the first Best Editing Award at DIFF this year, and are planning to launch a mentorship programme in 2017, as well as focus on transformation and royalties for editors contributing to the creative process. SAGE aims to develop a registered course for assistant editors and hopes to host more social events and screenings.

The new Executive Committee for 2017 is: • Marina du Toit (Chair) • Melissa Parry (Vice Chair) • Nikki Comninos (Treasurer) • Athena Argyrakis (Events) • Carol Howell (Membership) • Catherine Meyburgh (Membership) • Gugu Sibandze (Events and Mentorship) • Jenine Lindeque (General Support) • Kerryn Assaizky (Events) • Khalid Shamis (Events) • Rowan Cloete (Marketing) • Stephen Abbott (Website) • Stephen Horn (Mentorship) • Taryn Calverey (Marketing & Website)

ASSOCIATIONS NEWS / 35

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IPO FOUNDER FRIEDRICH STARK PASSES

WGSA MUSE AWARDS SET FOR FEBRUARY

The Association of Film Commissioners International (AFCI) released its 2015 Member Profile survey results in December. The survey analyses a sample size of 127 global film commission offices from Africa, Asia, Australia, Europe, South and North America.

Notable findings include: • 34% have been in existence for over 26 years • 66% report being part of a government agency such as Economic Development, Tourism, Culture, etc.

• 28% of film commissions report 1,001 – 10,000 actual number of shooting days in 2014 • 52% of film commissions offer community education / training such as Grip Safety, Electrical Safety, Drone, Crowd Funding, Camera Training, etc.

62-year-old producer Friedrich Stark, a founding member of the Independent Producers Organisation, passed on Christmas day last year. In a statement, the IPO said it was “very saddened” by his death.

“We affectionately remember him as one of this organisation’s founding fathers.

Our chairperson, Akin Omotoso also has fond memories of Friederich from his acting days on Generations. The local film and TV industry has been dealt a serious blow in the past couple of months, with the passing of Junaid Ahmed and now Friederich Stark and Elsabè Roux. We send our condolences to all family members, loved ones and colleagues, during this difficult time.”

Stark was a well-known actor in his youth and went on to work for the SABC in the 70s. He and his wife Elsje went on to start Stark Films, a production company best known for producing Binnelanders for M-Net and co-producing Generations for SABC 1 since 1994.

The Writers’ Guild of South Africa’s annual MUSE Awards take place on 11 February 2017 and is the only award in the country that exclusively honours and celebrates the local performance writer.

This prestigious event will take place at the Market Theatre in Johannesburg.

The WGSA recently announced finalists for the 2017 awards in the categories of Animation (including shorts, feature and series), Documentary (short film, feature film, series), TV Comedy/Sitcom, TV Drama, TV Drama Spec Script, TV Soaps, Stage Play, Radio Drama, Short Film, and Feature Film Spec Script. This year the Gauteng Film Commission has also sponsored an award for Best Gauteng Writer. Some of the finalists include Nick Cloete, Fidel Namisi, Rous House, and a spec script by the late Paul Ian Johnson called In the Garden of the King.

The fourth annual WGSA Muse Awards are sponsored

by M-Net, the GFC, and for the first time, the KwaZuluNatal Film Commission, with Veronica Stewart as one of their prize sponsors.

More information on the survey can be found at www.afci.org/news.

Print in a hurry.

Callsheets, contact cards, booklets, posters, signage, banners and a whole lot more.

25 YEARS

IN DIGITAL PRINT

Gardens +27 21 461 9334 sales@wizardz.co.za

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

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

Stellenbosch +27 21 883 8515 hellosb@wizardz.co.za

© Jonathan Bean / Unsplash

AFCI RELEASES FILM COMMISSION RESEARCH

36 / DIRECTORY

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DIRECTORY OF ADVERTISERS COMPANY

TELEPHONE

EMAIL

WEBSITE

PAGE

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