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ISSUE 07 | 2017

BAN DURMART FILM CH IATE MEDFRICA A

+ AERIAL FILMING Shooting from the Skies

+ DURBAN FILMMART 2017

Stimulating Production and Opening Doors. Includes DFM Programme and Kenya Spotlight


CONTENTS / 01

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02. AFDA Boosted

14 16 24 26

to Meet Challenges of Creative Economy

04. Qubeka Sci-Fi

Heads to China

AERIAL FILMING

Susan Reynard reports on the challenges and successes of this burgeoning sector.

07. Egg Films Rakes in Awards at Cannes Lions

08. Hlaudi Motsoeneng Dismissed

09. Central Castings

Announces New Owner

10. NFVF Releases SA

Film Industry Report

FILM EDUCATION

Generalists and specialists are ďŹ nding their niche.

12. SA Party at

Cannes Lions

14. Aerial Filming:

On the Up and Up

16. Film Education:

Generalists and Specialists Find Their Niche

FOCUS ON FILM CAMERAS

Local technicians test the latest cameras and explore their specialities.

22. Vlokkie Gordon on Why She Loves SA Film

24. Focus on

Film Cameras

26. Exciting Lineup of Speakers for DFM 2017

28. DFM 2017:

Full Programme

31. Kenya: Growing Film Destination in East Africa

DURBAN FILMMART

An exciting lineup of speakers set to shine at the 8th Durban FilmMart in mid-July.

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


02 / NEWS

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AFDA BOOSTED TO MEET THE CHALLENGES OF THE

CREATIVE ECONOMY T

he AFDA board of directors and co-founders, Garth Holmes and Bata Passchier, are proud to announce that AFDA has been incorporated into the CURRO Holdings’ wholly-owned tertiary education subsidiary, Tadio Investments. The institution has grown from six students, a broken TV and rented VCR to over 3 500 alumni, 2 000 fulltime students, five campuses and nine fully accredited degrees. This year, AFDA alumni scooped 20 SAFTA awards out of 46 nominations,

including Best Actress, Best Film, Best Director, Best Screenplay, Best Cinematographer, Best Editing, Best Sound Design, Best Costume, Make Up and Styling as well as the Youth Achievement Award. “In 1994, we had a vision to create world-class film, television and drama schools across the country that would produce graduates with the skills and attitude to develop a new democratic cultural voice and sustainable local entertainment industry,” says Holmes.

In the last 23 years AFDA graduates continue to make a significant impact on the film, television and performance industries, with their powerful network of skilled and creative alumni, producing top-class theatre, television series and record breaking box office films. “AFDA believe that with Stadio, we will have the necessary resources to ramp up our existing degree and certificate offers. Similarly, we will have the backing to make significant strides to meet the

challenges and opportunities of the ever-expanding creative economy,” says Passchier. In so doing, they are realizing the new AFDA vision to optimize the vocational opportunities of content creation and business and technological innovations. AFDA looks forward to the mutual benefits that the current and prospective staff and students will receive from the incorporation with Stadio, as it looks to the re-imagining of South Africa’s creative economy and its attendant workforce.

SA ACTOR LANDS ROLE IN NEW FILM FRANCHISE AST

South African-born actor and Black Sails alum Sean Cameron Michael has joined new film franchise AST.

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ean Cameron Michael joins cast members Jesper Christensen (Spectre, Casino Royale, Quantum of Solace), Luna Rioumina (Spartacus), Robert Maillet (Sherlock Holmes, 300) and Jemma Dallender (I Spit on Your Grave 2) in Director Joël Colburn’s (Aspects of Evil, Danger Close, Lethal Exposure) new film franchise AST. Written by Colburn, the

action-adventure spy thriller follows femme fatale Alexandra Duval (Rioumina), a skilled and seductive heroine operative getting up close and personal with her targets. AST hopes to be a fresh take on the female assassin storyline. Michael will play Gideon, the powerful leader of a black bag operation for the CIA, made up of skilled operatives from around the world. The franchise,

in development with Kristrún Entertainment, is being produced by Colburn, Art Anthony, Rúna Fridriksson and Neil Ravan, with the first instalment expected to start shooting early next year in Toronto, Canada. Sean Cameron Michael recently performed in USA drama Shooter for which he is an Emmy Award contender this year. The series is screened locally on Netflix. Michael also

has a cameo in Tom Cruise’s The Mummy, and plays a lead role in the locally-filmed indie Last Broken Darkness. He won Best Performance by an Actor for this role at the Boston SciFi Film Festival earlier this year. Michael will next be seen recurring internationally as Old Man Heart in the grind houseinspired Blood Drive which premiered this week on the SyFy channel to rave reviews.


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2017 Commercials: Lexus, Porsche, BMW, Isuzu, VW, Toyota, Nissan, Nike, Nivea, MTN, Kwese, Unibet, Alcon, SA Tourism Vodacom, Amstel, Metropolitan, Santam, Multi Choice, Cycle Lab, Tymbark, Neotel, Vertu, Econet, Visa, Strongbow, Smoothies


04 / NEWS

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QUBEKA SCI-FI HEADS TO CHINA

A Xhosa science-fiction film called Stillborn wowed audiences in China as it opened the international BRICS Film Festival.

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ocal Director Jahmil XT Qubeka, who is known for his controversial film Of Good Report, saw his latest production hit the big screen in China at the BRICS Film Festival in Chengdu. The festival took place from 23-27 June 2017 and placed the spotlight on emerging talent

and established filmmakers from Brazil, India, China, and South Africa. The festival showcased 30 films including a selection of classic cinema such as Central Station, City of God, The Monk and the Devil, and Happiness is a Four Letter Word. The Xhosa sci-fi film, called Stillborn, is the story

of a futuristic robot who is obsessed with her human ancestry. The unique idea came from Qubeka’s desire to fuse his Xhosa heritage with his love for sci-fi films he told TimesLive recently. “I grew up watching sci-fi films and, of course, my heritage is Xhosa. If I reflect on Xhosa and

African culture there is a lot of potential sci-fi elements that I could draw from,” he said. Stillborn was shot entirely at night in several locations around Johannesburg, including refineries, mine shafts and the iconic Orlando Towers. It features Mandisa Nduna in the lead.

BEYOND THE RIVER GOES INTERNATIONAL After a successful run on the local circuit, Beyond the River is ready to go international.

H Beyond the River © Heartlines

eartlines, the producers of Beyond the River, have announced the film is headed outside the South Africa soon. After its success on the local circuit, this heartwarming film based on a true story has seen requests stream in from as far afield as Belgium, Australia, Argentina, and Britain. “We have received several messages from international canoe clubs, expats as well as locals who didn’t manage to see the film in cinemas. Beyond the River tackles universal themes around trust, understanding and tolerance; we want to make it

available to audiences far and wide,” says Heartlines CEO and Beyond the River Executive Producer, Dr Garth Japhet. The film is inspired by the story of Piers Cruickshanks and Siseko Ntondini, who together competed in one of the toughest river races, the Dusi Canoe Marathon. Beyond the River was written by Craig Freimond and Robbie Thorpe, directed by Freimond and produced by Thorpe, Harriet Gavshon and Ronnie Apteker. It is available on DStv Box Office from 24 June, and on DVD for rental or retail from mid-July.


SILVERLINEEEE


06 / CANNES LIONS

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CANNES LIONS 2017 The 64th International Festival of Creativity took place from 17-24 June 2017 and brought people together from across communications, marketing, entertainment, design, and tech sectors to find out where the industry is heading and see stand-out creative work awarded live.

A

Lion is recognised the world over as the ultimate creative accolade and a shining symbol of industry-shaping work. It truly is the one to win. And the 2017 Cannes Lions event was no exception. The International Festival of Creativity brought around 15 000 marketing and media executives together to

mingle with the likes of Dame Helen Mirren, Christine Lagarde, Naomi Campbell, and even Reverend Jesse Jackson. A total of 41 170 entries were received across 24 Lions for this year, with the nascent trend of clients entering work directly continuing to grow strongly across all Lions, and up 69% year on year. Cannes Lions believes that

Native VML and Khuli Chana talk One Source. © Photo Laura Tesarczyk

creativity is a powerful force for business, for change and for good in the world. Through their yearround programme of festivals, awards, small-scale events, training courses and digital tools – and though their global network of official representatives – they aim to inspire, challenge and move the industry forward. Creative Effectiveness, the only global award linking award-winning creative work with business driving results, was up 59% on 2016, demonstrating that client and creative collaboration is stronger than ever. Jose Papa, Managing Director of Cannes Lions commented, “The interest around the Creative Effectiveness Lion is very exciting. Not only does it chime with the Festival’s campaign for creativity as a positive force for business, but the work that wins here equips clients everywhere with the guidance and reassurance they need as they seek to become

more ambitious creatively.” New at Cannes Lions is the creation of an advisory committee to help shape the future of the festival and ensure it continues to respond to the needs of the industry. The committee will be a platform for stakeholders in the event to share their views and recommendations around all aspects of the Cannes Lions experience. The Entertainment Lions for music, media, design and product design were revealed on 21 June and from a whopping pool of 1 793 entries received, 78 Lions were awarded: 12 Gold, 22 Silver and 43 Bronze. Beyond Money by MRM//McCann Spain, Madrid for Santander Bank took the Grand Prix.

SUMMARY OF SA WINNERS AGENCY

GRAND PRIX CAMPAIGN

GOLD LION

GOLD LION CAMPAIGN

FCB Cape Town Grey Africa, Johannesburg Ogilvy & Mather Johannesburg

SILVER LION

SILVER LION CAMPAIGN

BRONZE LION

1

1

1

BRONZE LION TOTAL CAMPAIGN 3

1 1

1

1

1

1

Grid Worldwide, Johannesburg

4

1

1

3

6

Openco – The Open Collaboration, Johannesburg

1

1

Publicis Machine, Cape Town

1

1

TBWA In Africa, Johannesburg

1

1

TBWA\Hunt\Lascaris, Johannesburg

1

Native VML, Johannesburg

Y&R South Africa, Cape Town

Table source: www.bizcommunity.com

1

1

2

4

1 3

8


NEWS / 07

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EGG FILMS RAKES IN AWARDS AT

CANNES LIONS

Egg Films’ Sunu was the sixth SA commercials director to win Gold at Cannes Lions, while Terence Neale became the first local director to take home the prestigious Grand Prix. Dan Mace bagged his third Young Director Award in two years.

string of accolades including a D&AD Wooden Pencil, Silver at the One Show. Sunu won a Gold Lion, two Silvers and Bronze in the Entertainment, Entertainment for Music, and Media categories at Cannes Lions. He directed the music videos and brand films for One Source, Native VML’s campaign for Absolut starring Khuli Chana, Sarkodie, Victoria Kimani and other African musicians. “For a long time, South African creatives looked overseas for inspiration,” says Sunu, who shot One Source in Ghana. “In contrast, One Source is a celebration of the creative revolution taking place across the continent as we embrace who we are as Africans. All credit to Native VML, Absolut and Pernod Ricard for seeing the opportunity in showcasing Africa in a completely different light on a global stage.” Khuli, Native VML’s Jason Xenopoulos and Ryan McManus, and Pernod Ricard’s Melanie

Sunu (courtesy of Egg Films)

I

t comes as no surprise that renowned commercial directors Sunu and Terence Neale, represented by Egg Films, took home the most coveted awards at Cannes Lions International Festival of Creativity in mid-June. Terence Neale became the first South African director to win a Grand Prix. He bagged the award in the Entertainment for Music category for Adidas Originals campaign Original is Never

Finished. The campaign was largely shot in South Africa for New York agency Johannes Leonardo with RSA Films, starring the likes of Snoop Dogg, basketball star Kareem Abdul-Jabbar and artist Petra Collins. Original Is Never Finished also picked up Bronze in the Entertainment category and was presented as a case study during Cannes Lions. The campaign’s success at Cannes is just the latest in a

Campbell presented One Source as a case study during Cannes Lions. One Source topped South Africa’s iTunes charts and was nominated for Best Music Video at The South African Music Awards and Metro FM Awards. The campaign was also the most nominated and most awarded campaign at South Africa’s Bookmarks. Egg Films’ latest recruit Dan Mace won his third Young Director Award in two years at Cannes Lions, a South African record. Dan won Silver in the Broadcast category for the Here’s To The Us In Every Tusker ad he directed in Kenya with Groundglass for Net#work BBDO. Dan was the only winner from Africa in the category. He was also shortlisted in the Changing The World Frame By Frame category for Tusker Flag 42. Last year, Dan won two Young Director Award Silvers: for Gift in the Short Film category and The Bomb Sniffing Rats Saving Lives in Mozambique in the Changing The World Frame By Frame category.

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08 / NEWS

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HLAUDI MOTSOENENG

DISMISSED

The troubled Chief Operating Officer of the South African Broadcasting Corporation, Hlaudi Motsoeneng, has finally been dismissed after years of mismanagement.

S

ABC COO Hlaudi Motsoeneng was fired from the public broadcaster on 12 June 2017 following a disciplinary hearing brought against him for bringing the SABC into disrepute and causing extensive damage during an unauthorised press conference in April. The disciplinary hearing concluded in early June, with Interim Board Chairperson Khanyisile Kweyama

announcing the dismissal. During the unauthorised briefing Motsoeneng, who was still on suspension, criticised the Parliamentary ad-hoc committee’s inquiry into the former board and interim board member Krish Naidoo. Motsoeneng clearly violated SABC policies, Kweyama said, however details about his notice period will not be revealed at this stage. “It suffices to

say that Mr Motsoeneng’s dismissal has been accepted by the board,” he explained. The SOS Coalition released an official statement following the announcement saying they welcome the news. “We believe that the Board’s decision is a long-awaited step in the right direction and is in line with its mandate from Parliament to fix the current crises at the SABC,” they said. “Furthermore,

we are pleased with the decisions that the board has taken in rescinding some of Mr. Motsoeneng’s notorious directives.” They went on to commend the efficient work of the interim board, and invited SA to “take part in the nomination process for the 12-person board, so as to ensure greater public oversight in the running of the SABC for the next five years.”

MIFA 2017: A NEW DIMENSION

Annecy Festival, the world’s animation playground, and its corresponding market MIFA saw a successful event from 12-17 June 2017.

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he Annecy International Animation Festival saw record achievement in 2017 with over 10 000 visitors, while its Film Market MIFA attracted 3 000 professionals from 74 countries. “We feel like we’ve really broken down a barrier this year by giving the MIFA a new dimension. It’s a new dimension because of the surface area with over 1 000m² extra space, a new structure for the exhibitors, and also by the number of accreditations

and the multiplication of meeting opportunities set up during this (now) four-daylong market,” said Mickaël Marin, CITIA Managing Director, Head of Economic Development and MIFA. This was the 32nd year of MIFA with 1 400 companies registered, 430 buyers, distributors and investors, and 1 300 participants at the 1st MIFA Campus. Magic Light Pictures and Triggerfish Animation took home a coveted Cristal for TV

© G Piel - CITIA

production for a second year in a row with their BBC special Revolting Rhymes Part One.


NEWS / 09

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CENTRAL CASTINGS ANNOUNCES NEW OWNER

Central Castings Founder Derek Antonio Serra has announced the 25-year-old agency has been acquired by Manager Bernie Adams.

C Bernie Adams

entral Castings Founder Derek Antonio Serra announced on 15 June 2017 that the talent agency has been acquired by Manager Bernie Adams in what he describes as “an exciting empowerment deal which puts South Africa’s oldest casting and talent agency in the hands of a black female owner who is a respected industry professional.” Bernie Adams joined Central Castings 22 years ago as a

booker and has been Chief Booker and Manager at the agency for the past 10 years. Founded in 1991, Central Castings soon emerged as the industry leader in the talent sector and over its 25 years of operation has supplied tens of thousands of background and featured talent on hundreds of TV commercials, TV series and feature films. The agency uses state-ofthe-art technology to manage

its database of over 5 000 artists, including a proprietary cloud-based booking system integrated with bulk SMS messaging capabilities. Thanks to the cloud-based system, accessible from anywhere, relocation of the agency offices will have no impact on its day-to-day running. A seamless change of ownership takes place on 1 July 2017. For more information, email info@centralcastings.co.za.

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10 / SPOTLIGHT

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© Jakob Owens (via Unsplash)

NFVF RELEASES SA FILM

INDUSTRY REPORT

The second Economic Impact of the South African Film Industry Report was released on 14 June 2017 by the National Film and Video Foundation.

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he National Film and Video Foundation (NFVF) recently released findings of their second Economic Impact Assessment study. It reveals the industry’s economic contribution to the country’s GDP over a four-year period. The study, conducted by Urban Econ in the 2016/17 financial year, identifies and quantifies the economic impact of the film and television industry between January 2013 and March 2017. It follows the baseline report released in 2013. Results from this study reveals that during the 2016/17 financial year, the film industry in South Africa contributed R5.4-billion to the GDP,

compared to the R3.5-billion in 2013. Film industry operations raised the level of production by approximately R12.2-billion overall. The total investment or expenditure made in the South African film industry in the 2016/17 financial year resulted in the following economic benefits: • An increase by a multiple of 4.9 in the employment multiplier for every R1 invested • R5.4-billion contribution to the GDP • A direct impact of R4.4-billion on economic production led to an increase of approximately R12.2-billion on total production in the economy

• The net operational expenditure produced in the four financial years analysed in the study amounted to R17.5-billion • The total number of jobs crafted amounted to 21 626 Over the last decade, the development of policies promoting economic growth has become an integral part of the public sector. The study further reveals key trends that play a role in the industry’s contribution to the economy. Film productions are seen to be Gauteng, Western Cape, and KwaZuluNatal based with little to no income generating activity in

the Northern Cape, Free State, North West, and Mpumalanga. Common funders are public institutions such as the Department of Trade and Industry (dti), the NFVF, and the Industrial Development Corporation (IDC) but the study also identified a rise in funding from the private sector. 32.4% of funding is mainly equity financing, as well as commissioning and pre-sales. A result of the high risk involved in issuing loans gap funding, at 8.5%, is the lowest form offered. Feature films and documentaries comprise 27.3% and are the largest segments of the industry. Animation


SPOTLIGHT / 11

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comprises the smallest segment of the industry at 3%. The South African film industry is among the oldest in the world and has taken leaps to secure its place in the global market. However, this fast growing 21st century industry remains at risk of leaving most of its human capital behind as it remains one of the most untransformed industries in the country. According to Zama Mkosi, CEO of the NFVF, “There is a strong need for transformation in our industry. If the industry is to continue the same growth trajectory that has been witnessed in recent years, it should focus on transformation. Gender representation in particular remains low. The number of black female-owned companies has remained stagnant. While this not only affects representation in terms of the content that is produced and protagonists therein, it stands to say that economically, PDIs are still not well-represented

within the film and television sector. Another concern is that while we appreciate international investment, the level of skills development and transfer from these companies is not making a real impact when it comes to training.” The study recommends that the industry focus on transformation, creating a skills development programme geared towards young, black filmmakers. “The aim of the programme would be to shift the current mindsets of filmmakers from that filmmaking is merely a form of art, to help them start focusing on filmmaking as business, therefore obtaining the necessary skills required to run a business such as financial management and identification of new business opportunities,” says Aifheli Makhwanya, Head of Policy and Research at the NFVF. “We have found the persistent view among upcoming filmmakers is that filmmaking is just an art, which is one of the biggest hindrances to growth in this sector.”

THE AIM OF THE PROGRAMME WOULD BE TO SHIFT THE CURRENT MINDSETS OF FILMMAKERS FROM THAT FILMMAKING IS MERELY A FORM OF ART, TO FOCUSING ON FILMMAKING AS BUSINESS. © Jakob Owens (via Unsplash)

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12 / SPOTLIGHT

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SA PARTY AT CANNES LIONS The annual South African party took place at Cannes Lions Festival of Creativity on Friday, 23 June 2017. Here’s a glimpse at some of the festivities. By Philippa Dresner.


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SPOTLIGHT / 13


14 / FEATURE

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AERIAL FILMING

Shooting from the air has its challenges but a great result is worth the regulations and red tape. Susan Reynard chats to the experts.

Back at the Savannah ‘base camp’ © Savannah Aerial Filming

Filming on the ocean © Savannah Aerial Filming

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erial filming for companies using drones has been a minefield of late. Stringent legislation from the SA Civil Aviation Authority has grounded many operators, some of whom have exited the remotely piloted aircraft systems (RPAS) industry due to their frustration, while others operate illegally. FC Hamman of FC Hamman Films International has been a fully licensed operator for the past year and has been in the business for more than 30 years. The company won the South African Society of Cinematographers’ Visual Spectrum Award 2015 for their drone cinematography work, a reflection of their passion and commitment to getting the best shot, within budget and on deadline. Their list of clients includes many big local and international brands. FC says many operators are under the impression that drone pilot license courses and training result in a legal operating license.

It’s more complicated, costly and time-consuming than this. The RPAS legislation is not friendly towards young people who are keen to work in this industry but cannot afford it, so it doesn’t stimulate job creation as it should, FC notes. He is sympathetic towards those batt ling to gain a foothold and says he loves working with and training young talent in the film industry. Some of FC’s most challenging shots include low fl ying, dipping in under trees, and drone chasing drone among city buildings. He says the trick is to deliver quality shots and tell a visual story in the most creati ve way using a drone, which requires having a feel for the medium and the ability to visualise the shot. “I’m always part of the creati ve process and sit down with the director and director of photography (DOP) to discuss the shot before we get to the actual implementation on set. We talk things through, I have creati ve input, give feedback

and very often directors give me the creati ve license to interpret the shots the way that I feel them, which is very satisfying. Sometimes you can give them more than what they hoped and asked for,” he says. Dean Engela, Operations Manager and Owner of Darkwing Aerials, is delighted to have finally secured their remote operating certi ficate from the CAA to operate drones legally in South Africa, after two years of being grounded when the new regulations were introduced in 2015. He remained acti ve in other mediums of film and consultancy, while compiling the paperwork required by the CAA. Darkwing Aerials uses drones predominantly for film, TV commercials, documentaries and the industrial sector. Having worked in such an array of film environments, Dean says a particularly challenging project was capturing a different perspecti ve of ocean life in the Animal Planet documentary Killer Whales: The Mega Hunt, which

was shot in False Bay. Over the course of five months, Darkwing used many different types of drones to try and capture the action on the ocean, including waterproof drones that would land on the surface of the water and be able to go from fl ying to underwater shots seamlessly without disturbing the wildlife. In reflecting on Darkwing’s role in the project, Dean says, “The idea of using drones in wildlife documentary is to get the camera into a place not possible any other way, trying not to alter the behaviour of the wildlife being filmed. In these documentaries you want to ensure animal behaviour remains as natural as possible. With nature, especially the ocean, you’re always waiting for a moment, unlike a scripted shoot.” Drones have already changed aerial cinematography, and improvement in drone technology means they now fl y for longer and safer, carrying bigger payloads and better cameras and lenses. For


FEATURE / 15

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Darkwing, moving between their Phantom 4, Inspire 2 X5S, and Freefl y Alta 8 allows them to produce footage that is based upon a calculated combination of camera quality, flight time and agility. Each of these drones features particular benefits and are used accordingly to achieve the best results. FC Hamman stays at the forefront of drone design, which changes all the time. They also design their own equipment and guard their trade secrets, believing that if you understand the equipment you can utilise it better. FC notes: “As a creati ve person it doesn’t really matter what drone camera or equipment you use; if you cannot deliver and execute the shots required, you’ve got nothing. The key thing is synergy between pilot and camera operator and the pilot also needs to have a visual feel – it’s all about what’s happening in the frame. The two of them together create the magic that makes the difference.” Savannah Aerial Filming Flight Planning Assistant, Lynné Pretorius, says their

team (Cameraman Chris Lomax, Pilot Gert Uys, and Technician Greg John) aim to supply dynamic, wellcomposed shots with a lot of “wow” factor using helicopters. Challenging shots include low light, game and fast cars. “All our shots have their challenges and are separated by a director’s specific need, which is a challenge in itself to determine exactly what is required and to decide when we have it and when to walk away. There can often be a moment of doubt as to whether or not one has achieved exactly what is needed,” she says. Going back is expensive but you’re only as good as your last shot, she adds. Lynné says that due to the cost of equipment and reduced budgets, the biggest challenge to the aerial filming industry is to utilise helicopter, system and crew as cost-effecti vely as possible, which is achieved with good planning and coordination. The company’s new Shotover F1 system, an advanced gyro stabilised camera platform, is its newest investment in the latest technology.

AS A CREATIVE PERSON IT DOESN’T REALLY MATTER WHAT DRONE CAMERA OR EQUIPMENT YOU USE; IF YOU CANNOT DELIVER AND EXECUTE THE SHOTS REQUIRED, YOU’VE GOT NOTHING.

LEGALESE According to the South African Civil Aviation Authority, the number of registered remotely piloted aircraft systems (RPAS) or drones grew from 216 in January 2016 to 465 in January 2017, with the number of remote pilot’s licences issued during the same time period jumping from 33 to 368. Regulations categorise RPAS as aircraft , an international standard, which is why they are integrated into the existing manned aviation sector and civil airspace, a highly regulated environment, mid-2015. Simon Segwabe, Executi ve Aviation Safety Operations, says, “It is estimated that for every registered and licensed remotely piloted aircraft taking to the skies, there are two or three more doing so illegally.” RPAS approval in brief: • Air Service Licence (ASL) • RPAS Operators Certifi cate (ROC) • RPAS Letter of Approval (RLA) • Remote Pilot Licence (RPL) • Certifi cate of Registration (CofR) • RPAS Maintenance Technician (RMT) for

class three and higher Source: www.caa.co.za

EXPERTS Kent & Co is an expert in South African aviation regulations and serves as an aviation legal process outsourcing firm. Phillip Kent says, “When unmanned flights started becoming popular and the prevalence of unmanned craft s in our skies increased, regulators worldwide had to move fast to instil safety standards in the form of laws.” The kind of damage that a drone can wreak on a commercial airline or in causing a veldfire if it crashes requires proacti ve legislation. He acknowledges that the new regulations seem onerous and expensive, but maintains they are in place for the safety of society. The greatest challenge to newcomers to the industry is not anticipating the extent to which aviati on is regulated and finding the process messy and confusing. However, the kinds of penalties in the form or fines (from R50 000) and/or imprisonment (ten years) make compliance more palatable.

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16 / FEATURE

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FILM EDUCATION GENERALISTS AND SPECIALISTS FIND THEIR NICHE

Education in film continues to broaden in scope as new areas of specialisation are identified. Most in demand are multi-skilled graduates with the right attitude, industry experts tell Susan Reynard.

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ligning education to industry needs remains the key focus of film education institutions. Employability is the ultimate test of any course, after all.

CHANGING LANDSCAPE

Garth Holmes, Co-Founder and Chairman of AFDA, says the creative economy has exploded and is growing. The massive demand for digital has changed the way we access, produce, archive and distribute information and knowledge, with an emphasis on visual. “There is 24/7 production of motion pictures and the 24-hour nature of it, on multiple platforms, is driven by an insatiable appetite from consumers. China produces around 700 feature films a year, Russia around 500 and the USA about 400, with Hollywood continuing to dominate distribution,” he notes. “You have a shifting paradigm: we’re in a non-linear world with random access so a lot of people are users and creators. Not everyone goes to film school but you still need skills across the board.” Tian Theron, Film Lecturer at Oakfields College, says, “Students have the opportunity to shoot high quality projects for a fraction of the cost compared to a decade ago. The sharing of up-to-date

AFDA students having fun on the job © AFDA

industry news and information happens instantaneously and, as a lecturer, I’m able to focus on discussing the current industry and cultivate a habit of self-learning that students can continue long after college.” Film courses at CityVarsity have changed to keep up with technology and developments in production and post-production gear and soft ware, says David Stein, Film Department Manager. Student projects have also changed to include other formats like webisodes, corporate videos and public service announcements, in addition to short films, to add to the versatility and employability of graduates.

New generations of young people – millennials, centennials – are very different to the students ten years ago. They are savvy, independent, believe knowledge is infinite, want to do their own thing, be their own boss, not work 9-5, find new solutions. This new approach to learning requires a shift in the way people are taught, with an emphasis on participatory, collaborative, and experiential reflection in learners.

KNOWLEDGE GAPS

André Murrel, Film Editing Lecturer at Oakfields College, believes more understanding of the role of storytelling in editing is needed, including “knowing what makes a compelling story,

tapping into local trends and local people and culture, what makes a uniquely South African story and how we can as ‘storytellers’ tell that story. Editing is simply the process behind it.” Theron notes that all subjects are interrelated and courses must be malleable to keep up with the times. “An example would be camera studies: instead of learning about a specific camera, students research various cameras and learn to compare quality, affordability, etc., as this will be expected of them for the rest of their career,” he says. Cheryl Ann Delport, MD of Footprint Media Academy, says that in addition to broadcasting courses they include


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entrepreneurial training because graduates need to learn how to be self-sustaining and start their own production companies. She sees a lack of basic skills such as writing, listening and visualisation. She says some students want to be in television but don’t watch television, or they want to be scriptwriters but don’t read or broaden their general knowledge.

SKILLS IN DEMAND

Employers in the film industry continue to look for multiskilled, good all-rounder graduates. “Gone are the days of specialists in one particular skill. Employers are cashstrapped, budgets are lower, so the more skills you have under the belt the more desirable it will make you as a graduate. Self start and innovate, do things differently. It’s such a competitive market at the moment,” maintains Murrel. Educators agree that there is no substitute or shortcut for hands-on experience. Seton Bailey from non-profit company SA F.I.L.M. Academy says, “People entering the film industry need to learn how to negotiate the frenetic space of a high-energy set, with huge pressures of time and money. Not everyone can walk onto a set and thrive, but those who are passionate, disciplined and hungry to learn, will find a niche in the booming industry. “Sure, aptitude is key, but it is ultimately an industry where

Johannesburg • Pretoria • Somerset West

attitude is altitude.” People who stand out and get ahead are smart, passionate, proactive, professional, committed, learn fast, work hard and can fly by the seat of their pants. Delport says that lack of discipline is a challenge and they place a lot of emphasis on life skills. She describes Footprint Media Academy as the “boot camp of industry”, splitting students’ time 30:70 between theory and practice respectively. She believes youngsters need to be out in industry as soon as possible and work placement is important. According to Stein, “We still believe in a solid grounding and the importance of the basics. There’s the old philosophy that ‘content is king’ – fancy equipment and impressive technology add no value if not based upon solid foundations of narrative and visual communication.” He says at CityVarsity they also inculcate “setiquette”, preparing students to be positive, dependable and respectful members of an onset crew or production office environment.

SPECIALISATION MAY LIMIT OPPORTUNITIES

“It is increasingly difficult to find a job as a pure animator or pure film editor,” notes Murrel. These skills remain desirable but companies and agencies have consolidated their offering to meet industry demands. Murrel says agencies that used

to focus purely on animation or film post-production are diversifying to include more service offerings and, as a result, are focusing their recruitment efforts around those additional resources and holding on to key senior staff, making it harder for juniors entering the industry. Holmes agrees that industry looks for generalists at entry level, but sees a place for “hyperspecialists, uberspecialists” who have extensive knowledge in a very niche area. For example, people very good at animation, or building and flying drones, or operating a particular soft ware package.

EXPERIENCE IS EVERYTHING

Life and occupational skills can best be learned through experience, including how to prioritise tasks, deal with pressure, to work in a team, manage time, handle expensive equipment, work with international technicians and artists and build a career, Bailey maintains. “The ‘devil is in the detail’ but at the same time, it’s crucial to grasp the bigger picture.” “We focus on the value proposition of providing a vital bridge between education and employment in the film industry. We offer trainees and interns paid hands-on experiential ‘learningby-doing’ opportunities on local and international film, commercial and television productions, working in partnership with industry and government.”

TRENDS TO WATCH

“With the proliferation of social media advertising in South Africa, creating short mini films and animated imagery is slowly but surely going to replace the static image,” believes Murrel. “The ability to tell micro stories is becoming more important for brands and individuals to get their heads around. Engagement rates are becoming the new measure of a brand’s success, gone are the days of ‘wallpaper’ advertising.” Bailey points out, “Film industry transformation is vital and we address the huge historic imbalance by focusing on emerging black filmmakers. Quite simply, we need a transformed, diverse, representative, internationally competitive local and international film industry.” Footprint Media Television, an initiative of Footprint Media Academy, is an online broadcast channel. The channel is student-driven and features a wide range of programmes, with productions overseen by industry professionals. As students come through the programme, they may be given shares, with the aim of the channel eventually being owned by graduate students. “Online is the way we’re going,” Delport believes, as seen with Showmax and Netflix. This is thanks to the costs of broadband coming down and broadcasters not required to carry all costs.

FILM, TV AND VIDEO PRODUCTION COURSE

If you have always dreamt of seeing the world of entertainment from behind the camera – this is just the course for you! At Oakfields College, our film course will help you unlock your inner Spielberg by giving you individual attention and exposure to all the different aspects of film-making, focusing on ‘out-of-the-box’ thinking. Other courses offered: Animation / Drama / Fashion Design / Graphic Design / Marketing / Make-up and Special Effects Musical Theatre and Dance / Photography / PR and Event Management / Sound Engineering

www.oakfieldscollege.co.za


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INSTITUTIONS OFFERING FILM AND RELATED COURSES South Africa has a large number of tertiary institutions, with a fair percentage of these offering film, multi-media, animation and other filmic and related degrees, certificates and courses. Here is a comprehensive list of some of the best-known schools and the areas in which they specialise.

AAA SCHOOL OF ADVERTISING

About: Founded in 1986, AAA is an award-winning institution offering a worldclass curriculum in the advertising professions, with an integrated approach to teaching, incorporating new technologies and new media. Programmes: Copywriting Diploma, Bachelor of Arts Degrees in Creative Brand Communication and Marketing Communication, Strategic Marketing and Advertising Programme, part-time BA Marketing Communication Degree, Foundation Programme, short courses in Marketing and Creative, and e-Learning options. Campuses: Randburg (Johannesburg), Cape Town Website: www.aaaschool.co.za

ACADEMY OF TELEVISION & SCREEN ARTS, ACADEMY OF SOUND ENGINEERING

About: Founded in 1997, ATV and their sister institution ASE, offer unique, cutting-edge programmes in television, film and new evolving forms of screen media. The school has 24-hour access to professional facilities located in the SABC in Johannesburg. Programmes: Higher Certificate in Television and Screen Media, Diploma in Television and Screen Media, Bachelor of Science in Sound Engineering Technology, Diploma in Audio Technology, Higher Certificate in Audio Technology,

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Fundamental Audio Technology Skills Programme, Fundamental Video Technology Skills Programme, Music Business Masterclass Skills Programme, Electronic Music Masterclass Skills Programme, Short Courses, and Pro Tools Courses Head: Nick Matzukis, Founding Director Campuses: Auckland Park (Johannesburg), Cape Town (Zonnebloem) Website: www.ase.co.za | www.screenarts.tv

ACT CAPE TOWN

About: ACT Cape Town was born in 2005 to facilitate the need for actors to grow and be inspired. The school is a private higher education institution, with a vision to become a leading acting for film school in Africa. Includes private coaching, corporate training, kids and teens, and studio hire. Programmes: Two-Year Acting For Film Programme (Higher Certificate & Advanced Certificate – NQF 5-6), Third Year Professional Programme; Part-Time Courses: Acting for Film, Voice and Speech Training; Express Courses: One-Day Accent Training (American, English), One-Day Auditioning for Camera. Head: Alison Hofer (Academic), Grant Swanby (Programme Manager) Campus: Cape Town Website: www. actcapetown.co.za

AFDA: THE SOUTH AFRICAN SCHOOL OF MOTION PICTURE MEDIUM AND LIVE PERFORMANCE About: Founded in 1994, AFDA currently has around 2 000 students, a permanent staff of over 150, and five fully equipped campuses offering post- and undergraduate courses in film, television, performance, business and computer technology. Programmes: Master of Fine Arts, Postgraduate Bachelor of Arts, Undergraduate

Bachelor of Arts, Commerce and Computer Technology, Higher Certificates, AFDA PRO Short Courses in Broadcast Design, Virtual Reality, Transmedia and Screenwriting. Head: Bata Passchier, Co-founder and CEO; Garth Holmes, Cofounder and Chairman Campuses: Johannesburg, Cape Town, Durban, Port Elizabeth, Botswana Website: www.afda.co.za

BIG FISH SCHOOL OF DIGITAL FILMMAKING

About: Big Fish School of Digital Filmmaking is an awardwinning institution supported by entertainment and media industry giants as well as big business and government. Some 80% of graduates find work in the industry and 20% work on different projects through Big Fish’s Little Pond Trust. Programmes: Full-time Courses: National Certificate in Film and TV Production, FET Certificate: Film, Television and Video Production Operations (NQF4), FET Certificate: Film and Television Production (NQF5), Diploma: Non-Fiction Filmmaking; Short Courses: Production, Technical, Scripting, Short Format, Business Campuses: Auckland Park (Johannesburg); Cape Town (Green Point) Website: www.bigfish.org.za

CAPE PENINSULA UNIVERSITY OF TECHNOLOGY (CPUT)

About: The Cape Peninsula University of Technology is an internationally acclaimed institution with a range of accredited undergraduate and postgraduate courses. Programmes: BTech Multimedia (this is a short-term offer before the BTech degree is replaced by the Advanced Diploma in 2018); BTech and National Diploma in Photography; National Diploma in Film and Video Technology; BTech Industrial Design; National Diploma and

National Diploma (Extended) in Three-Dimensional Design. National Certificate and National Diploma Courses in Multimedia Technology were discontinued in 2016. Head: Dr. Prins Nevhutalu, Vice-Chancellor Campus: Cape Town CBD, Bellville (Cape Town) Website: www.cput.ac.za

CENTRE FOR FINE ART, ANIMATION AND DESIGN (CFAD)

About: CFAD was founded by Nanda Soobben in 1994. The school offers one course integrating the study of Fine Art, Animation and Graphic Design. The Cape Town campus offers a course with a deeper focus on animation and cinematics. Programmes: Drawing, Painting, Animation and Cartooning, Computers, ToonBoon, Design, Digital Design, Multimedia, History of Art, History of Graphic Design, Communication, Broadcast Graphics, Video Editing, Experiential Learning (Internship), Visual Literacy, Cinematography, Storytelling, 3D Modelling, Directing for Animation, Programming, Professional Practice. Head: Dr Nanda Soobben, Director Campuses: Durban, Cape Town Website: www.cfad.co.za | www.cfadcapetown.co.za

CITYVARSITY

About: CityVarsity, the go-to School of Media and Creative Arts, has campuses based in Cape Town and Johannesburg. Its flagship school in Cape Town features state-of-the-art sound, film, acting and photography studios, an infinity wall, dark room, casting rooms and fully equipped labs for animation, multimedia and journalism. Programmes: Bachelor of Arts in Professional Acting for Camera, Diploma in Animation/ Advanced Diploma in Animation and New Media, Bachelor


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of Arts: Film and Television, Diploma/Advanced Diploma in Professional Acting for Camera, Film and Television Production Techniques, Higher Certificate in Motion Picture Make-up, Diploma/Advanced Diploma in Multimedia Design and Production, Higher Certificate in New Media Development, Diploma in Professional Photography, Diploma/Advanced Diploma in Sound Engineering, Short Courses, Online Courses. General Managers: Michelle Young, Zenzele Zungu Campuses: Cape Town, Johannesburg Website: www.cityvarsity.co.za

DURBAN INSTITUTE OF TECHNOLOGY (DUT)

About: DUT offers a range of film-related courses through the Department of Art and Design, with a number of post- and undergraduate programmes available to students. The school places a focus on technology and innovation. Their facilities include studios, editing suites and outside broadcasting. Programmes: National Diploma and/or Bachelor of Technology in Drama and Production; Fashion and Textiles; Fine Art and Jewellery Design; Media, Language and Communication; Video Technology; Visual Communication; and Short Courses. Head: Dr RenĂŠ Smith, Executive Dean: Faculty of Arts and Design Campus: Durban Website: www.dut.ac.za

F.I.L.M.

About: Film Industry Learner Mentorship (F.I.L.M.) is a nonprofit public benefit organisation assisting in the growth and development of people primarily from previously disadvantaged backgrounds with handson experiential learning opportunities under mentorship, on local and international features and commercials.

Programmes: Unit StandardAligned Skills Programmes (NQF 4-5), F.I.L.M. Entry Skills Programme, F.I.L.M. Intermediate Skills Programme, F.I.L.M. MICT SETA Film and Electronic Media Internship, Film Servicing and Production Mentorship Programme, F.I.L.M. Entrepreneurial Incubation Hub Head: Seton Bailey Campus: Cape Town Website: www.filmsa.co.za

FOOTPRINT MEDIA ACADEMY

About: Footprint Media Academy is an internationally recognised institution in the broadcast training arena that equips professionals abroad and in Africa with skills in television. Graduates have the appropriate technical and conceptual skills to work within the broadcast and telecommunications environment. All training is done on HD equipment. Programmes: City & Guilds: Media Techniques; ILM: Certificate in First Line Management and Certificate in Sales and Marketing; National SAQA Qualifications: Further Education and Training Certificate: Film and Television Production Operations; National Certificate: Film and Television Production; National Certificate: Journalism; National Certificate: Broadcast Engineering; Short Courses. Head: Cheryl Ann Delport, Managing Director Campuses: Johannesburg, Polokwane Website: www.felinetech.co.za

OAKFIELDS COLLEGE

About: Oakfields College offers full-time and part-time courses and diplomas as well as the choice to articulate to the internationally acclaimed Solent University in the UK. Its registered qualifications and practical experience prepare graduates for the working world. It features fully-

equipped sound studios, photo studios and editing facilities. Oakfields offers skills-based qualifications that fall into the Occupational Qualification Framework registered with MICT SETA and CATHSSETA. It is provisionally registered with the Department of Higher Education and Training until 31 December 2018 as a private higher education institution. Programmes: Courses and diplomas include: Photography; Film, Television and Video Production; Sound Engineering; 3D Animation; Graphic Design; Drama; Fashion Design; Make-Up and Special Effects; Musical Theatre and Dance; Public Relations and Event Management; and Marketing. Head: Vivien Keller (director) Campuses: Johannesburg (East Rand), Pretoria (Lynnwood Ridge), Cape Town (Somerset West) Website: www. oakfieldscollege.co.za

OPEN WINDOW INSTITUTE FOR ARTS AND DIGITAL SCIENCES

About: The Open Window Institute is a private tertiary education institution with practice-led tuition offering degrees, certificates and short courses in the fields of visual communication, film, animation and interactive design. Programmes: Bachelor of Arts and Bachelor of Arts Honours Degrees in Visual Communication Design, and Film Arts; Certificate, FET Certificate and National Certificate in: Design Techniques (NQF 5), Film and Television Production (NQF 5), 3D Animation and Visual Effects (NQF 5), Photography (NQF 4), New Venture Creation, (NQF4); Short Courses; and Holiday Workshops. Campus: Pretoria Website: www.openwindow.co.za

RED & YELLOW SCHOOL

About: Red & Yellow has been producing leaders of industry for almost 25 years. Prioritising skilled, work-ready students

the school offers certificates, diplomas, degrees and executive education in the creative, marketing, communications and business world. Programmes: Certificate in Creating Digital Content, BA Visual Communications, Diploma in Marketing, Advertising and Communications, Online Courses in Digital Marketing, Social Media, Marketing Strategy, Selling Digital Media for Campaign Success and more. Head: Wesley Fredericks, Managing Director Campuses: Cape Town, Johannesburg Website: www. redandyellow.co.za

SAE INSTITUTE SOUTH AFRICA

About: SAE Institute South Africa offers a range of audio, film and animation courses, with state-of-the-art facilities and editing suites for students. The school also offers a number of digital film masterclasses and workshops, and has four scholarships available for qualifying applicants. Programmes: Bachelor of Arts and Higher Certificates in: Motion Design and Animation, Sound Production, Film Production; Short Courses in: Electronic Music Production, Live Sound Production, Pro Performance DJ, Radio Production, Music Business, Guerrilla Video Production, Live Streaming, Motion Design, Photography and Lightroom Foundations; Digital Film Masterclasses; Re-Shape: Video and Editing for Teachers. Head: Trenton Birch, Campus Director Campus: Cape Town Website: www.capetown.sae.edu

THE ANIMATION SCHOOL

About: The Animation School offers a three-year course in animation and since its launch in 2000 has established itself as the leading specialist animation training


20 / FEATURE institution in South Africa, with students consistently winning accolades and awards. Programmes: Three Year, Full-Time Animation Diploma; Saturday, Part-Time Course in Introduction to Autodesk Maya for beginners. Head: Nuno Martins Campuses: Cape Town, Johannesburg Website: www. theanimationschool.co.za

TSHWANE UNIVERSITY OF TECHNOLOGY (TUT)

About: Established in 2004 with the merging of two Technikons, the institution now enrols approximately 60 000 students, with campuses located in four of SA’s provinces – Gauteng, Mpumalanga, Limpopo and the North West. Programmes: National Diploma, Baccalaureus Technologiae, Magister Technologiae, and Doctor Technologiae in Drama, Film Production, Performing Arts Technology, Performing Arts and Visual Communication. Head: Professor Mziwoxolo Sirayi, Executive Dean; Professor Patrick Ebewo, Head of Drama & Film Department Campus: Pretoria Website: www.tut.ac.za

UNIVERSITY OF CAPE TOWN: CENTRE FOR FILM AND MEDIA STUDIES (CFMS) About: Established in 2004, the Centre for Film and Media Studies offers a range of courses equipping graduates with theoretical knowledge and practical skills for careers in the film and media industries. The University of Cape Town also offers courses in Drama and Performance Arts separate to CFMS. Programmes: Bachelor of Arts in: Film and Television, Media and Writing, Film and Media Production with a focus on: Screenwriting, Screen Production, Interactive Media, Digital Media and Informatics Stream, Broadcast Journalism, Print Journalism. Postgraduate

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Degrees: Honours, Masters and PhD courses available. Head: Professor Herman Wasserman, Director of CFMS Campus: Rondebosch, Cape Town Website: www.cfms.uct.ac.za

UNIVERSITY OF JOHANNESBURG

About: The University of Johannesburg’s Faculty of Arts, Design and Architecture (FADA) offers programmes in eight different disciplines including multimedia and fine art, while the Faculty of Humanities School of Communication offers courses in journalism, film and television. Programmes: Bachelor of Arts Degrees in: Design in Digital Media, Visual Art (Fine Art), Audiovisual Communication, Journalism. Postgraduate degrees also available in these and other disciplines. Campuses: Johannesburg Website: www.uj.ac.za

UNIVERSITY OF KWAZULU-NATAL

About: The University of KZN’s School of Arts offers a range of courses, training workshops and seminars including Media Studies, Performance and Digital Art, with the Centre for Creative Arts providing a creative platform for students, festivals and other areas of cultural and creative development. Programmes: Digital Art, Drama, Fine Art, Media Studies, Drama and Performance Studies, Music. Campuses: Pietermaritzburg, Durban Head: Professor Nobuhle Hlongwa, Acting Dean Website: www.cca.ukzn. ac.za | www.soa.ukzn.ac.za

UNIVERSITY OF THE WITWATERSRAND: WITS SCHOOL OF ARTS

About: The Wits School of Arts combines critical inquiry with artistic practice with a comprehensive range of undergraduate and postgraduate degree courses. The school runs regular events and workshops,

giving students the chance to experience their chosen career paths in a practical manner. Programmes: Digital Arts, Theatre and Performance, Drama for Life, Film and Television, Fine Arts, Cultural Management, History of Art, Music. Head: Professor Brett Pyper Campus: Johannesburg Website: wsoa.wits.ac.za

VEGA SCHOOL

About: Established in 1998, Vega Design, Brand and Business School offers fully accredited Certificates, Baccalaureates, Honours and Master programmes in brand building and creative communication. The School also offers a number of short courses, workshops, and internship opportunities. Programmes: From 2018 Vega School will expand its Creative Brand Bachelor of Arts Degree programme into three highly specialised Bachelor of Arts Degrees in Graphic Design, Multimedia Design and Copywriting. Includes a range of other Post- and Undergraduate Degrees, Advanced Diplomas, Higher Certificates; Short Courses; Workshops; Corporate Training. Campuses: Johannesburg, Durban, Cape Town and Pretoria Website: www.vegaschool.com

WATERFRONT THEATRE SCHOOL

About: Waterfront International College for Performing Arts was established in 1978 in Johannesburg as Dance Workshop, and since 1992 has been based in Cape Town under its current name. Programmes: Full-time courses in Dance, Drama and Musical Theatre, part-time courses and children’s classes also available. Head: Keith Galloway, Founder/ Writer/Director/Choreographer; Delia Sainsbury, Founder. Campus: Cape Town Website: www. waterfronttheatreschool.co.za

THERE’S THE OLD PHILOSOPHY THAT ‘CONTENT IS KING’ – FANCY EQUIPMENT AND IMPRESSIVE TECHNOLOGY ADD NO VALUE IF NOT BASED UPON SOLID FOUNDATIONS OF NARRATIVE AND VISUAL COMMUNICATION.

OTHER INSTITUTIONS OFFERING FILMRELATED COURSES • • • • • • •

• • • • • •

• • • • •

Auteur Film School Boston Media House Cape Audio College Creative Arts College DAS: School of Art and Design Film School Africa Friends of Design Academy of Digital Arts Greenside Design Center Jintek Media Institute Johnathan Andrews Academy M-Net Magic in Motion Academy Mpumalanga Creative Academy National Electronic Media Institute of South Africa (NEMISA) New York City College On Cue Communications Reel Edge Film Academy (REFA) Rhodes University The Media Academy Walter Sisulu University for Technology


22 / PROSPECTIVE

Vlokkie Gordon

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The No 1 Ladies Detective Agency starring Jill Scott ©HBO

Samson will be released in September 2017 © Pure Flix

VLOKKIE GORDON ON WHY SHE

LOVES SA FILM

Producer extraordinaire with some of the biggest international productions in SA under her belt, Vlokkie Gordon is surprisingly down-to-earth and extremely passionate about the development of the local film industry. Kim Crowie sits down with her in this tell-all interview. Part 1 of 2.

I

n my few short years being exposed to South Africa’s film industry, Vlokkie Gordon was one of the first people I was assigned to contact for information. Four years down the line, she is as busy, and even more of an industry leader, having played key roles in the development not only of the local film industry, but in the international film sector’s involvement and interest in shooting in our country. Her credits include the recent biblical epic Samson, which wrapped principal photography in May, as well as Mandela: Long Walk to Freedom starring Idris Elba, Jamillah and Aladdin, Black Sails Season 1, and A United Kingdom. We caught up for a chat over coffee in Stellenbosch near the setting of Pure Flix’s upcoming film Samson.

TELL ME ABOUT YOUR LATEST WORK AS LINE PRODUCER ON SAMSON.

We finished principal photography in the first week of May, and it went very, very well. I think they’re very happy, and the production value for money, as always, is exceptional. As a company, they’ve never shot outside the US and also they’re a very fast-growing company and have their own mini studio, so in a sense, they are also trying to build relationships in order to create a workflow for the projects they have in the pipeline. I think what sold them on SA was that they had a very good relationship with The Fabulous Boomtown Boys and Bruce Macdonald. They distributed his film The Perfect Wave and Bruce won the bid to direct on Samson. I really enjoyed working with him and I enjoyed the relationship between Bruce and Craig Jones as

well as Pure Flix producer Brittany Yost. We had an all South African crew, including the DOP, Trevor Brown from Cape Town, and there was only one international crew member and that was the production designer. We shot principal photography in six weeks and they used lots of our other resources. For instance, we had to shoot Samson’s fight with the lion and we obviously couldn’t use a real lion. Cosmesis built a beautiful lion puppet consisting of the full head, back, chest and front paws. It looks amazing and it’s unbelievably realistic. The quality of work is phenomenal. Then there are nice, big action sequences like Samson fighting a thousand men, and water coming out of a rock, him discovering his strength, and his weakness for women. Now Pure Flix is hoping to come back in December to shoot the story of young David

who was only about 14 years old when he killed a lion. That would mean all these stories would have happened in the reign of Saul.

YOU’VE OBVIOUSLY BUILT ON THE LEGACY OF OTHER PRODUCTIONS WITH THIS ONE?

It’s interesting because of the amount of period stories being shot in SA at the moment. We have done an immense number of quotes for Biblical period work over the last couple of years because the only other location options for these productions are Morocco and Tunisia. When all the trouble started in the Middle East about ten years ago, they began looking further afield, but because of the existing sets they had built in Morocco and Tunisia, we never really stood a chance. And I have to commend Disney/ABC Studios in assisting


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WHAT IT’S TAUGHT US IS THAT IF WE GET THE INFRASTRUCTURE, IT OPENS UP OPPORTUNITIES FOR SOUTH AFRICA TO OFFER MORE ACCESSIBILITY AND COST EFFECTIVENESS.

us in changing all of that, and now we’re in high demand for Biblical period work. We built the versatile and neutral, 10 500 square metre Gibeah set in Durbanville and set up a mini studio with offices, interior sets, constuction workshops, and manufacturing at Oude Molen in Stellenbosch. It’s a multi-million Rand set that you can easily change in façade, and that reduced our budgets immensely. Now it’s more of an even playing field and we have further leverage with South Africa’s expertise like DPs, art department, production designers, costume, etc.

I could see that vision from Cape Town Film Studios days between Nico Dekker and myself when we did Labyrinth. The idea was to build a big production set – a castle – and we pretty much had about three or four days to convince the producers that it would be more cost effective to build that set on a backlot. That miracle set for Labyrinth then attracted Young Leonardo with Out of Africa, and Black Sails with Film Afrika, and now Outlander is shooting on it. What it’s taught us is that if we get the infrastructure, it

opens up opportunities for South Africa to offer more accessibility and cost effectiveness. I’m really blessed that the owners of Oude Molen have been very supportive of the film industry and have allowed us to keep the facility for filming. We built a backlot behind it as a Philistine village for Samson, and then at Diamant Estate in Paarl, which Peter Curry discovered, we built a small Jerusalem village. This means we have more infrastructure, and it means that if one set is booked, we can offer other options. If we can keep that vision going and if we can leave the legacy of each show in such a way that it can grow, it kind of takes care of itself.

YOU’RE CLEARLY PASSIONATE ABOUT GROWING THE LOCAL INDUSTRY. HOW DO WE GET IT TO A ROBUST PLACE?

Let’s look at the reality of the Western Cape: if we had another

show, we’d be able to create a thousand more jobs. They are well-paying; they are jobs that build infrastructure. The one thing that’s very important – and something that South African producers have done very clearly – is focusing more on TV series. This is sustainable, production goes on for nine months from prep to shoot to wrap, and it’s a wonderful platform to train people. We saw that on Of Kings and Prophets where we took on 85 trainees on the pilot, and once we went into series production, we were able to give 35 of them good positions. So theoretically, if that show continued, you could take those people up to middle management very easily. And from there they can grow – it’s basically growing the local talent pool to international level. Read Part 2 in The Callsheet Issue 08.

When you don’t need “The Works”you should pay less. The new Decimator MD-LX, shipping in July, pre-order now.

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24 / SPOTLIGHT

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FILM CAMERA FOCUS

We speak to some local technicians to find out how the latest cameras work and what kind of film productions they’re best for.

BLACKMAGIC DESIGN URSA MINI PRO CAMERA FEATURES • • • •

Built-in ND Filters: high quality with IR compensation Powerful tactile controls Interchangeable lens mounts: compatible with EF, PL and B4 lenses Status Display: provides critical shooting information on a high visibility LCD screen

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URSA MINI RECENTLY USED ON

KUHANA!, Yggdrasil, Feeder Eskimo music video, Independence Day: Resurgence, SXSW Flesh and Blood

“It combines the really good image quality of an URSA Mini 4.6K with the features and controls of a traditional broadcast camera. There are a number of ergonomically designed controls on the side of the camera to adjust most settings by feel, as is standard in any broadcast camera. URSA Mini Pro also features built in ND filters, a status display, and a new interchangeable lens mount that allows one to change between EF photographic lenses or PL and B4 lenses. URSA Mini Pro records up to 60fps and features dual C-Fast 2.0 recorders as well as dual UHS-II SD Card recorders. The Pro is now also constructed using magnesium in the camera chassis and looks like it may last in the rentals market. The Ursa Mini Pro is a crossover camera designed for use in any delivery requirement from lower budget feature films to documentaries and traditional TV broadcasting.” – Stefan Nell, Head of Digital Imaging/Rentals, Visual Impact

ARRI ALEXA SXT W CAMERA FEATURES

• Fully wireless: integrated wireless video, WiFi and ARRI ECS wireless camera/lens control; interference-free operation between video, WiFi and ECS radios • Replaces SXT Plus and SXT Studio • ARRI will develop more upgrades to SXT platform

COMMENTS BEST FOR

Film and Television Production

ALEXA RECENTLY USED ON

Moonlight, Lion, Manchester By the Sea, The Jungle Book, The Americans, Dallas, Orange is the New Black, Burn Notice, Downton Abbey, Grimm

“The built-in HD transmitter coupled with the integrated WiFi transmitter has opened up an entire range of options in this already amazing offering from ARRI. The wireless video combined with wireless colour management, camera control and lens control with the use of an ARRI WCU 4 sets the Alexa SXT W in a category all on its own at the top of the pile of motion camera systems. The SXT W is specifically designed for motion picture acquisition and as such is not the cheapest of models available from ARRI.” – Stefan Nell, Head of Digital Imaging/Rentals, Visual Impact


SPOTLIGHT / 25

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SONY PXW-FS7 II CAMERA FEATURES

• Electronic Variable ND for optimum exposure • E-Mount with third-party adapters for PL, SLR, DSLR and classic rangefinders • BT.2020 recording: records directly to ITU-R BT.2020 • 4K Super35 Exmor sensor: delivers more ‘bokeh’, ISO 2000 low-light sensitivity, lower image noise, wider field of view, 14 stops, • Frame rate: HD frame rates of up to 180 fps (on-board) and 240 fps (outboard)

COMMENTS

BEST FOR

Single Operators, Broadcasters and Handheld Shooters

FS7 RECENTLY USED ON

Family Life, Trophy, Tokyo Idols, Winnie

“The FS7 is by far the most popular camera in our rentals fleet due to its versatility and robust build. With lens adapters, any kind of 35mm lens can be used on the FS7. Sony has set the benchmark in the medium camera market with the FS7 and it is evident in the design of all the new cameras. In the sector the FS7 has seen improvements on the previous model such as a locking lens mount and a 2.1 ND internal ND filter. The FS7 II continues to set the standard to which all contenders in this category are judged against. This camera is everything one would expect from a Sony camera, and then some.” – Stefan Nell, Head of Digital Imaging/Rentals, Visual Impact

RED WEAPON HELIUM CAMERA FEATURES

• 8K S35 frame: 8K Full Format motion at 60 fps, ultra-detailed 35.4 megapixel stills • data speeds of up to 300MB/s • supports simultaneous REDCODE RAW capture with Apple ProRes or Avid DNxHD/HR • 16.5+ stops dynamic range

COMMENTS

BEST FOR

Film and Television Production

RED RECENTLY USED ON

Troy, Allied, Straight Outta Compton, Room, Independence Day: Resurgence, Guardians of the Galaxy, The Danish Girl, The Hobbit

“The RED Weapon Helium has been great. The 8K S35mm sensor has really impressed me and the DPs on the low grain noise in low light situations; we are using less light, and achieving spectacular natural looking shots. The user interface is responsive and has loads of new tools. We have put this camera through hell in the past few months and it has been a true Weapon. The Weapon Helium S35 has a new 8K sensor jammed into an S35mm sensor. Photosites are smaller and packed more densely which helps with the low noise in dark environments and keeps the blacks really clean. The soft ware is intuitive, the look management is really great and you can grade in-camera. You control the camera via WiFi using an app which is quite handy. I don’t really like using the new proxy features, but I think this will improve on later builds. Thanks to RED for raising the bar for all the other manufacturers and creating a tool that is in a price range to make great cinematography.” – Clive Shirlaw, DIT, Digital Alkimi


26 / FEATURE

www.thecallsheet.co.za

EXCITING LINEUP OF SPEAKERS FOR DFM 2017

The 8th Durban FilmMart (DFM), Africa’s premier film finance and co-production forum, has an exciting lineup of speakers for this year’s edition, which takes place at the Tsogo Sun Elangeni Hotel from 14 - 17 July 2017 during the Durban International Film Festival.

Tilane Jones, Executive Director at Array, is a leading speaker at DFM.

A

diverse and insightful industry programme has been scheduled for this year’s DFM, which aims to stimulate collaboration between African filmmakers and international producers and financiers. Key speakers include Film Distributor Tilane Jones, Audience Development Specialist Moikgantsi Kgama, Film Executive Charles Hopkins, Writer-Director Shmerah Passchier, Virtual Reality Expert Ingrid Kopp, Distributor Nicole Brooks, Editor-Director Karen Harley, Editor-Producer Sabrina S Gordon, ScreenwriterProducer Mila Aung-Thwin, Screenwriter Busisiwe Ntintili, Filmmaker, Playwright, Poet and Activist Tsitsi Dangarembga, Producer-Director Stefano

Tealdi and Producer, Director and Writer Alby James. Tilane Jones is the Executive Director of Array Now, a film distribution collaborative focused on women filmmakers and filmmakers of colour, will be speaking about Array Now and the role it plays in supporting “Women Led Film”. Since 2011 Array has acquired key titles, including Ava DuVernay’s Middle of Nowhere, Andrew Dosunmu’s Restless City and Haile Gerima’s Ashes and Embers. Jones’ production credits include DuVernay’s Selma and the Oscarnominated Netflix documentary The 13th , as well as a range of high-profile fashion and beauty films and television productions. Moikgantsi Kgama is an

Audience Development Specialist whose credits include I Will Follow, Killer Sheep, Lumumba and the Academy Award-nominated Trouble the Water. Kgama is also the founder of the Harlem-based ImageNation Cinema Foundation, which presents progressive media made by people of colour. Nicole Brooks, Vice President of CaribbeanTales Worldwide

Distribution facilitates the CaribbeanTales Market Incubator Programme. Brooks will be presenting “CineFAM - Africa, an Accelerator Programme for African Women Filmmakers”. Brooks has spent more than 15 years developing narratives that illuminate the peoples of the African diaspora. With substantial experience as a filmmaker, director, performer, curator and teacher, Brooks also produces content for film, television and the performing arts. Charles Hopkins is an Executive at Shoreline Entertainment, an independent sales and production company based in Los Angeles who will lead a masterclass called “Ten Questions to Ask Yourself Before Making Your Pitch”. As a Shoreline Executive, Hopkins has overseen acquisitions of projects in development, attended various festivals and markets for acquisitions and sales, and has negotiated a variety of deals with producers, talent, and distributors. Ingrid Kopp and Shmerah Passchier will lead a masterclass and workshop around “Virtual

BROOKS HAS SPENT MORE THAN 15 YEARS DEVELOPING NARRATIVES THAT ILLUMINATE THE PEOPLES OF THE AFRICAN DIASPORA.


FEATURE / 27

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Reality: What’s Happening in Africa and What Can We Make Happen?” Kopp is Co-Founder of Electric South, a non-profit initiative that aims to develop virtual reality and mobile storytelling projects across Africa. She is also a senior consultant in the Interactive Department at the Tribeca Film Institute where she works at the intersection of storytelling, technology, design and social change. Shmerah Passchier has worked in the film and television industry as a writer, director and producer. She has travelled extensively around Africa, directing magazine, reality shows and documentaries for the SABC and DSTV. Editor and Director Karen Harley leads a panel discussion entitled “Editors Suite: Effective Editing” together with Sabrina S. Gordon, Producer/Editor and Documentary Filmmaker from NYC. Harley co-directed Waste Land, the feature-length documentary about artist Vik Muniz’s work, which won the Audience Award at Sundance, Berlin and Durban, and was nominated for Best Documentary at the Oscars in 2011. Sabrina S. Gordon’s editing debut won an Emmy for WGBH’s Greater Boston Arts series and she has continued to distinguish herself on award-winning films, web and television programmes. She has many awards and credits to her name, and also produces media for non-profit and grassroots organizations, as well as engagement campaigns that

leverage documentaries for tools for social change. She is the CoChair of the Black Documentary Collective and serves on many media panels and juries. Mila Aung-Thwin, CoFounder of Montreal’s EyeSteelFilm, who is a writer, director, producer and editor, will participate in a panel discussion – “Making Socially Impactful Documentaries”. Aung-Thwin has produced more than 25 documentary features, including Up the Yangtze, Forest of the Dancing Spirits and the Emmy award-winning Last Train Home. He has served as President of Montreal’s International Documentary Festival, as well as a juror for the International Emmy Awards, the New Zealand Film Awards and the Sundance Film Festival. The Durban Talents programme presents South African Busisiwe Ntintili together with Zimbabwean Tsitsi Dangarembga, who will appear on a panel “From Novel to Script”. Ntintili has had extensive experience as a writer for radio, film and television, as well as writing the screenplay for the local smash hit, Happiness is a Four Letter Word. Dangarembga is a filmmaker, playwright, poet and activist who has produced several documentaries and has credits on most of Zimbabwe’s feature film classics, including Everyone’s Child, which she co-wrote and directed. As part of a collaboration between DFM and Produire

Ingrid Kopp will lead a VR masterclass and workshop.

au Sud, Nantes, Stefano Tealdi, a director and producer of film and television who lives and works in Italy, will be conducting a pitching workshop for DFM Official fiction projects and DFM Jumpstart projects which aims to support emerging filmmakers through exposing them to the pitching process. Tealdi has directed numerous documentaries as well as the series Food Markets – In the Belly of the City. Recent works produced include Mostar United, Vinylmania, Char, and No Man’s Island. He has directed all 17 editions of the annual Italian workshop Documentary in Europe and has chaired the European Documentary Network. Tealdi tutors film development and production, as well as film pitching for many of the world’s leading film events.

From the UK comes Alby James, who will present a Talents Durban Masterclass entitled “Interpreting the Script for the Screen”. James has been working as a producer, director and writer in the field of drama for nearly 40 years in film, television, radio, theatre and opera, and as an educator of creative skills and professional practice with writers, producers, directors and actors. He is leader of a new short course for directors at the National Film & Television School in London to increase the numbers of Black and Asian people, women, and those with disabilities in the industry. The 8th Durban FilmMart takes place in Durban, at the Tsogo Sun Elangeni from 14 to 17 July 2017, during the 38th edition of the Durban International Film Festival (13-23 July 2017).

GOOD WORK is a multi award-winning documentary communications studio based in Cape Town and working across the globe. We bring the power of authentic stories to films, advocacy communications, CSR programmes and branded content. Speak to us about helping to tell your stories.

Telling real stories of the world around us through cinematic documentaries

www.goodworkpictures.com kelly@goodworkpictures.com +27 (0)84 800 3288


FRIDAY, 14 JULY

SATURDAY, 15 JULY

REGISTRATION: 08H30 - 17H30 DAILY 09h00 - 10h00 Meet the Kenyan Delegation - KZNFC Suite 5

10h00 - 12h00 From Novel to Script: Busisiwe Ntintili and Tsitsi Dangarembga: Durban Talents Masterclass Suite 5 12h00 - 13h00 SA National Film and Video Foundation: Industry Economic Impact Research Presentation Suite 3

12h00 - 13h00 Seeing Docs Differently: Jacquie Jones: Talents Durban Suite 2

REGISTRATION: 08H30 - 17H30 DAILY 09h00 - 10h00 Restless Talent How to Pitch Workshop Suite 5

10h00 - 11h30 10 Questions to ask yourself before making your pitch: Charles Hopkins, Shoreline Entertainment, Suite 5 12h00 - 13h00 SA National Film and Video Foundation Female Filmmaker Project Suite 3

13h00 - 14h00 Lunch

13h00 - 14h00 Lunch

14h00 - 16h00 Women Led Film: In conversation with Tilane Jones, Executive Director, Array Now Suite 5

16h00 - 17h00 Round Tables with Festivals and Funds Suite 4

09h00 - 10h00 Co-producing with Kenya – The Way Forward: KZNFC Suite 3

15h00 - 17h00 Funding SA/Kenya Funding Structures: KZNFC Suite 3

14h00 - 15h00 African Content Distribution: KNZFC Suite 3

14h00 - 15h00 Crafting a successful animated project pitch: Vanessa Ann Sinden: Durban Talents Masterclass Suite 4

15h00 - 17h00 Caiphus Semenya and Letta Mbulu’s panel Film Music Scoring Suite 3

16h00 - 17h00 Finding the Right Partner: Round Tables with Industry Professionals Suite 5

Day Long Sessions 14 - 16 July

09h00 - 17h00

CineFAM-Africa Accelerator Incubator programme (closed)

16 July

09h00 - 17h00

The Africa Pitch

16 - 17 July

09h00 - 17h00

Finance Forum meetings (closed)

17 July

11h30 - 13h00

Sisters in Film and Television Workshop

PLEASE NOTE: All networking events by invitation only.


DFM TALENTS DIFF 2017 Industry programme 14-17 July 8th ONE VENUE

UNLIMITED OPPORTUNITIES

SUNDAY, 16 JULY

MONDAY, 17 JULY

REGISTRATION: 08H30 - 17H30 DAILY 08h30 - 10h00 Women Led Film: Media Briefing Suite 5

10h00 - 12h00 AFDA Pro VR 360 Master Class Tech Demo Suite 4

10h30 - 12h00 Film Finance: State of the Industry: IDC Panel Discussion Suite 5

12h00 - 13h00 SA National Film and Video Foundation: Co-production with Canada: Canada/South Africa co-production agreement. Suite 3 13h00 - 14h00 Lunch 14h00 - 15h00 Editors Suite: Effective Editing Panel Discussion Suite 5

14h00 - 16h00 Alby James: Interpreting the Script: Talents Durban Suite 4

15h00 - 16h00 DTI Rebate Panel Discussion Suite 3 16h00 - 17h00 Women Led Film: Round Tables Suite 4

16h00 - 17h00 Manic at the Box Office: Panel Discussion Suite 5

Find out more on www.durbanfilmmart.com

REGISTRATION: 08H30 - 17H30 DAILY 09h00 - 11h00 Women Led Film: Disrupting Status Quo Panel Discussion Suite 5

10h00 - 12h00 Talents Durban Story Junction Suite 4

11h00 - 12h30 Making Socially Impactful Documentaries: Panel Discussion Suite 5 12h00 - 13h00 SA National Film and Video Foundation: SAFTAS – “The Reveal” Suite 3

12h00 - 13h00 Understanding German Film Funds Suite 5

13h00 - 14h00 Lunch 14h00 - 15h00 Virtual Reality: What’s Happening in Africa and What Can We Make Happen? presented by Electric South and AFDA Suite 4

14h00 - 15h00 Case Study: The Wound Suite 3

15h00 - 17h00 The Restless Pitch Suite 5

/ JCA 2269 E.3

FOUR DAYS


BROADCAST - TV & RADIO

PRO AUDIO - LIGHTING - STAGING

FILM & VIDEO PRODUCTION

AUDIO VISUAL INTEGRATION

DIGITAL MEDIA

STUDIO - RECORDING - DJ

TICKETPRO DOME

19-21 JULY 2017 www.mediatech.co.za

REGISTER NOW TECHNOLOGY TRADE SHOW SHAPING THE WAY CREATIVITY PLAYS. CREATES. LIVES.

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LOCATION SPOTLIGHT / 31

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KENYA

KWAZULU-NATAL FILM COMMISSION

A land of unparalleled natural beauty and abundant wildlife, Kenya is an ever-growing film destination in East Africa.

A

n ever-growing film destination in Africa, Kenya has a myriad incredible natural locations to choose from, and an industry that has become aware of the potential they have as a location and production hub in East Africa. With advances in technology like digital migration and OTT services, the creative industry has flourished and promises to generate even more income and make a larger contribution to the nation’s GDP. Riverwood is the nickname given to Kenya’s film industry. It comprises over 200 film producers and employs over 4 000 youth. The country’s film industry generated US$72-million in 2016, creating direct and indirect employment for over 100 000 people, according to the Kenya Film Classification Board.

CLIMATE Long rains fall in March and April and short rains in October and November, so it’s best to avoid shooting if the script is weather-specific. Average temperatures remain between 10 and 28°C, and sunlight averages between 150 and 200 hours/month. Lake Naivasha, Rift Valley, Kenya © Gopal Vijayaraghavan

helped raise its profile. It is also a veritable location on the continent, with international credits such as The Constant Gardener, Nowhere in Africa, African Cats, Tomb Raider: The Cradle of Life, Cry Freedom, and the 2011 Morgan Freeman-narrated documentary Born to be Wild.

FILMS SHOT IN THE COUNTRY FILMING ON LOCATION Kenya has seen limited success in exporting local films to the global market, however productions such as The First Grader, Nairobi Half Life, and Pumzi garnered international attention and have

Pro Events is the leading specialist in professional & personal security solutions for the Film Production, VIP Protection and Special Events

WILL BE HOSTING AN OFFICIAL FILM DELEGATION FROM KENYA AT THE DURBAN FILMMART THIS YEAR. FOR MORE INFORMATION: INFO@KWAZULUNATALFILM.CO.ZA +27 27 31 325 0200

Nairobi is Kenya’s capital and the major film and broadcast hub for East Africa. Amboseli National Park is a popular destination; crowned by Africa’s highest peak, Mt Kilimanjaro, and one of the

best places to film elephant herds up close. Maasai Mara National Reserve is known for the Great Migration where thousands of wildebeest, zebra and gazelle travel to and from the Serengeti. Film licenses must be obtained through a local, registered production service provider and issued by the Department of Film Services (DFS). Additional clearances may be required by NEMA (Environment), CID (National Security) and other government agencies for sensitive locations. Drone filming is not permitted in Kenya.

ACCESS Jomo Kenyatta International Airport in Nairobi is the main access point.

CONTACTS Kenya Film Commission Tel: +254 202 714 073 / +254 202 714 074 Cell: +254 729 407 497 / +254 733 650 068 Email: info@filmingkenya.com Web: www. kenyafilmcommission.com

Risk management consulting K9 unit and armed escorts VIP Security and special events Mobile operations unit with fully fitted CCTV control room BBBEE level 1

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32 / EVENTS TO DIARISE

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AUGUST SAN ANTONIO FILM FESTIVAL 1–6 San Antonio, USA

JULY

LOCARNO FILM FESTIVAL 2 – 12 Locarno, Switzerland

SUNLIGHT INTERNATIONAL FILM FESTIVAL 7–8 Moscow, Russia KOTA KINABALU INTERNATIONAL FILM FESTIVAL 7 – 16 Kota Kinabalu, Malaysia MADRID INTERNATIONAL FILM FESTIVAL 8 – 15 Madrid, Spain ZANZIBAR INTERNATIONAL FILM FESTIVAL 8 – 16 Zanzibar City, Tanzania PLETT FOOD FILM FESTIVAL 11 – 13 Plettenberg Bay, South Africa DURBAN INTERNATIONAL FILM FESTIVAL 13 – 23 Durban, South Africa

MAINE INTERNATIONAL FILM FESTIVAL 14 – 23 Maine, USA MEDIATECH AFRICA 19 – 21 Johannesburg, South Africa SAN FRANSISCO FROZEN FILM FESTIVAL 20 – 23 San Francisco, USA PERIPHERY OF EMPIRE SHORT FILM FESTIVAL 20 – 31 Sessa Aurunca, Italy GUANAJUATO INTERNATIONAL FILM FESTIVAL 21 – 30 Guanajuato, Mexico

MZANSI WOMEN’S FILM FESTIVAL 3–6 Johannesburg, South Africa MELBOURNE INTERNATIONAL FILM FESTIVAL 3 – 20 Melbourne, Australia RHODE ISLAND INTERNATIONAL FILM FESTIVAL 8 – 13 Rhode Island, USA CHICESTER INTERNATIONAL FILM FESTIVAL 10 – 27 Chichester, United Kingdom FINGAL FILM FESTIVAL 11 – 12 Fingal, Ireland

DURBAN FILMMART 14 – 17 Durban, South Africa

TRAVERSE CITY FILM FESTIVAL 25 – 30 Traverse City, USA

THE ADVENTURE TRAVEL FILM FESTIVAL LONDON 11 – 13 London, United Kingdom

ODESSA INTERNATIONAL FILM FESTIVAL 14 – 22 Odessa, Ukraine

KLEINKAAP SHORT FILM FESTIVAL 28 – 30 Pretoria, South Africa

POPCORN FRIGHTS FILM FESTIVAL 11 – 17 South Florida, USA


EVENTS TO DIARISE / 33

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SARAJEVO FILM FESTIVAL 11 – 18 Sarajevo, Bosnia and Herzegovina LOERIES CREATIVE WEEK 14 – 20 Durban, South Africa UBUNTU YOUTH FILM FESTIVAL 18 Cape Town, South Africa

SEPTEMBER

SILWERSKERMFEES 23 – 26 Cape Town, South Africa

TELLURIDE FILM FESTIVAL 1–4 Telluride, USA

MONTREAL WORLD FILM FESTIVAL 25 – 5 Sept Montreal, Canada

CALIFORNIA INDEPENDENT FILM FESTIVAL 7 – 14 California, USA

SOUND ON SCREEN FILM FESTIVAL 25 – 27 Cape Town, South Africa

TORONTO INTERNATIONAL FILM FESTIVAL 7 – 17 Toronto, Canada

ODENSE INTERNATIONAL FILM FESTIVAL 28 – 3 Sept Odense, Denmark

ATLANTA DOCUFEST 8 – 10 Atlanta, USA

OTTAWA INTERNATIONAL ANIMATION FESTIVAL 20 – 24 Ott awa, Canada JOZI FILM FESTIVAL 21 – 24 Johannesburg, South Africa MANHATTAN SHORT FILM FESTIVAL 28 – 8 Oct New York, USA

PORTLAND FILM FESTIVAL 29 – 5 Sept Portland, USA

CAMDEN INTERNATIONAL FILM FESTIVAL 14 – 17 Camden, USA

ZURICH FILM FESTIVAL 28 – 8 Oct Zurich, Switzerland

VENICE INTERNATIONAL FILM FESTIVAL 30 – 9 Sept Venice, Italy

GLOBAL PEACE FILM FESTIVAL 18 – 24 Orlando, USA

REYKJAVIK INTERNATIONAL FILM FESTIVAL 28 – 8 Oct Reykjavik, Iceland

© Sabri Tuzcu / Unsplash

ATLANTA UNDERGROUND FILM FESTICAL 18 – 20 Atlanta, USA


34 / ASSOCIATIONS NEWS

SOS COALITION WELCOMES SABC’S INTERIM BOARD DECISION

NFVF HOSTS SA PAVILION AT 70 TH CANNES FILM FESTIVAL

In a public statement on 30 May 2017, the SOS Coalition welcomed the news concerning the interim board’s decision to suspend James Aguma from his position as acting CFO at the SABC. “We believe that this move is a significant step in the restoration of the public broadcaster’s governance and financial integrity,” the statement said. This decision follows a call by MPs to hold Aguma accountable for his role in the SABC’s financial and other crises, as well as his efforts to mislead the board and MPs regarding his sanction of Hlaudi Motsoeneng’s illegitimate press conference. “Mr Motsoeneng and Mr Aguma’s actions are symptoms of a larger crisis of corruption without impunity that plagues our country. In this regard, we note the recent reports, in The Sunday Times and The City Press, that implicate former Communications Minister, Faith Muthambi, in the intricate web of state capture,” SOS Coordinator Duduetsang Makuse and SOS Chairperson Thandi Smith said. For more information or to read the full statement, visit www.soscoalition.org.za.

The National Film and Video Foundation hosted the South African Pavilion at the 70th Cannes Film Festival, held from 17 to 28 May 2017. The festival is the premier international event and runs parallel to Marche du Film, a prestigious marketplace for selling films, locations, and securing funding and distribution opportunities. The SA Pavilion included seven NFVF-funded filmmakers, with the NFVF hosting screenings of She Is King, Asinamali and Zulu Wedding. “The South African showcase is a display of our country’s offering to the world and is evidence of the potential we have as a country to be valuable contributors to the international film industry,” said Zama Mkosi, CEO of the NFVF, adding that these films are “evidence of the diversity in storytelling” in SA. The NFVF has also recently sent out a call for raising and securing sponsorship for the 12th annual South African Film and Television Awards. For more information, visit www.nfvf.co.za.

www.thecallsheet.co.za


ASSOCIATIONS NEWS / 35

www.thecallsheet.co.za

ANIMATION SA HEADS TO ANNECY

CPA LAUNCHES THE SHORTLIST

The Documentary Filmmakers Association hosted a workshop called ‘Where Are We with Documentaries in South Africa’ as part of the Encounters Film Festival programme this year on 4 June 2017. The discussion touched on the history, the future, the trends, challenges and opportunities for doccie makers in SA. It also dug into the numbers and statistics, and “who gets the money, if any…” An article by Liezel Vermeulen in Die Burger informed this lively debate.

Animation SA took a South African delegation to Annecy International Animation Festival and its corresponding animation market MIFA from 12-17 June 2017. With the assistance of the DTI SASS Scheme, the organisation considered applications from members with intellectual property eligible and ready for market. Annecy is one of the foremost events on the international film calendar. Last year, Triggerfish Studios’ collaboration with Magic Light Pictures, Stick Man, won a coveted Cristal. This year they built on that success to bag another win with BBC’s Revolting Rhymes.

The Commercial Producers Association of South Africa has launched a bi-monthly newsletter: The Shortlist. The bulletin tracks the country’s commercial production industry and offers insight into how the sector works, the opportunities and challenges, and what makes great production such a key part of truly good advertising. To sign up for this newsletter, email bobby@cpasa.tv to subscribe. In other news, pitching fees are used to safeguard the CPA-associated production companies from jobs that haven’t been confirmed or properly researched and, as a result, don’t go into production. To keep this worthwhile, the CPA and ACA have increased the fee from R10 000 to R20 000 as of 1 May 2017.

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

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

25 YEARS

IN DIGITAL PRINT

© Fabian Irsara / Unsplash

DFA HOSTS WORKSHOP AT ENCOUNTERS


36 / DIRECTORY

www.thecallsheet.co.za

DIRECTORY OF ADVERTISERS COMPANY

TELEPHONE

EMAIL

WEBSITE

PAGE

Annecy

+33 04 50 10 09 00

info@citia.org

www.annecy.org

08

Aquila Private Game Reserve & Spa

+27 21 430 7260

res@aquilasafari.com

www.aquilasafari.com

09

Cannes Lions

+44 203 033 4012

marianb@lionsfestivals.com

www.canneslions.com

06, 12 - 13

CityVarsity

+27 11 242 6360

info@cityvarsity.co.za

www.cityvarsity.co.za

21

+27 21 466 6800 Durban FilmMart

+27 31 311 4243

sharon.ngcobo@durban.gov.za

www.durbanfilmmart.co.za

Inside Back Cover, 28 - 29

F.I.L.M

+27 21 461 7950

seton@filmsa.co.za

www.filmsa.co.za

Inside Front Cover

FC Hamman Films

+27 11 465 2210

fch@iafrica.com

www.fchammanfilms.co.za

03

Good Work

+27 84 800 3288

kelly@goodworkpictures.com

www.goodworkpictures.com

27

KwaZulu-Natal Film Commission

+27 31 325 0200

lungiled@kwazulunatalfilm.co.za

www.kwazulunatalfilm.co.za

Outside Back Cover

Mediatech Africa

+27 11 025 3180

sales@mediatech.co.za

www.mediatech.co.za

30

Oakfields College

+27 12 361 0416

info@oakfieldscollege.co.za

www.oakfieldscollege.co.za

17

Outlandish

+27 82 850 6717

dale@outlandish.co.za

www.outlandish.co.za

11

Pro Events

+27 21 425 2170

info@proevents-sa.co.za

www.proevents-sa.co.za

31

Puma Video

+27 11 886 1122

henk@pumavideo.co.za

www.pumavideo.co.za

23

Savannah Helicopters

+27 44 876 0069

lynne@savannahhelicopters.co.za

www.savannahhelicopters.co.za

15

Silverline 360 Group

+27 11 799 7800

charl@silverline360.com

www.silverline360.com

05

Visual Impact

+27 21 468 6000

marius@visuals.tv

www.visuals.tv

07

Wizardz

+27 21 461 9334

andrew@wizardz.co.za

www.wizardz.co.za

35

CONTACT US Cover Image: Photo by Jakob Owens © Unsplash

Special Projects Designer/Illustrator: Lauren Smith lauren@filmeventmedia.co.za

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

Publisher: Lance Gibbons lance@filmeventmedia.co.za

Writer: Susan Reynard sreynard.joburg@gmail.com

Data Capturer: Ricky Ortell info@filmeventmedia.co.za

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

Business Manager: Coleen Tapson coleen@filmeventmedia.co.za

Head of Design: Sheree Steenkamp sheree@filmeventmedia.co.za

Account Executive: Jennifer Dianez jennifer@filmeventmedia.co.za

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BRINGING STORIES TO LIFE. WHAT IS YOUR STORY?

Scout no further than KwaZulu-Natal for your next production. With provincial incentives, National rebates, film friendly locations and the most diverse and inspiring backdrops - our kingdom is your stage. See how to be creative and budget sensitive by visiting: www.kwazulunatalfilm.co.za 10th Floor, Musgrave Towers,115 Musgrave Road, Berea, Durban, 4001, South Africa. Tel: +27 31 325 0200

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The Callsheet Issue 7  

The Callsheet Issue 7 explores the outer reaches of aerial cinematography and how the sector is regulated. We also dig into the meaty progra...

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