The Callsheet August 2011

R22.80 THE LOERIES ISSUE August 2011 www.thecallsheet.co.za

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NFVF PROPOSES CHANGING DEFINITION OF SA FILM GENERAL INDUSTRY

Mawande Seti

The NFVF started their countrywide consultation on the proposed South African Film Criteria to the film industry in Cape Town.

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he Cape Town leg of the consultation is the first of four sessions planned to be conducted around the country with visits scheduled for Port Elizabeth, Durban and Johannesburg.

NFVF council member and the former Cape Film Commissioner and director at Waterfront Studios, Laurence Mitchell, welcomed the guests and outlined the goals of the proposal.

Mawande Seti started with the NFVF presentation explaining the importance of clearly defining South African Film Criteria. Included in the presentation were the changes that have been made since the last proposal published in December 2010.

Only one submission, from the Independent Producers’ Organisation (IPO), was made to the NFVF after the proposal was initially released, which raises concerns over how well it was communicated or how apathetic the industry uptake is. The low response to the last submissions was one of the reasons the NFVF decided to open the proposal to a countrywide consultation. After the presentation delegates were

offered the opportunity to engage with the NFVF panel, and the big debate surrounded the question “What makes a South African film?” According to the proposed point system a film that doesn’t obtain a minimum 52 points of a possible 73 points can’t quality as a local production. Official co-productions require 36 points of the possible 73 points.

The general feeling among the delegates was that a structured point system is a good

method of determining if a film fits into either criteria, but where it lacks is how the points are allocated for certain categories, also the lack of points being awarded for co-writers. Other issues of concern raised by the delegates included Pan African co-operation, job creation, regional funding, and percentages of language.

Percentages of language sparked concern among delegates; more than 50% of the script needs to be in any of-

ficial South African language other than English to qualify for the points in the first category of assessment.

After tea, industry presentations were conducted by Glenn Gillis from Animation South Africa (ASA), highlighting the importance of animation to the South African film industry and how the proposed points system does not take into account animated productions. Glenn added that he felt it would be important to have separate

policies for co-productions and local content.

Selona Reddy from the IPO outlined the issues of economic growth, job creation and skills development already being offered by the film industry and the implications the proposed system would have had on past projects. Izidore Codron, Vlokkie Gordon and Glenn all said this points system will have an effect on co-production changes.

Several delegates felt the NFVF were on the right track in many regards, but that the proposed system required more work and closer consideration.

Afterwards, Izidore added that he believed the NFVF was conflating the definition of coproductions and Indigenous films, TV films and TV shows. He stressed it is imperative they understand international best practice. Izi was impressed with the unity showed by the industry, with a conciliatory tone from the NFVF and a warm welcome and support from the industry in Cape Town.

In closing Terrence Khumalo of the NFVF informed the delegates that issues discussed will be taken into consideration and an updated version will be published at a later stage for further discussion before being tabled in parliament.

Charl Fourie

PAGE TWO PIN-UP: CADER Y Photos by Charl Marais

TALENT HAIRSTYLIST Cader is fast becoming the face of several household brands in South Africa.

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hree years ago he was better known as one of Cape Town’s top hairstylists, now Yaseen Cader is well on his way to becoming one of the country’s most in-demand models. Known to friends and family as Cader, the 26-yearold is with 20Management. “I finally came across a honest family of people whom I could trust,” says Cader referring to the bookers and staff at his

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model agency. Owner Robin Fryer approached Cader in 2008 after a chance encounter at Cape Town’s trendy Old Biscuit Mill.

In the short time Cader has been with 20Management he has booked more than 2 dozen campaigns - among them high profile jobs for Nokia, Edgars and Truworths. Cader is also a regular in the pages of South Africa’s most mostread mens’ fashion magazines - booking no less that 10 jobs with GQ alone. Cader said: “Shooting for GQ magazine has been my favourite job so far, it’s great to get to work with such an amazing group of

people who make the job fun and easy.”

Cader has also used his new found career to help him develop his true passion - fashion design. When he’s not in front of the camera Cader has begun designing and manufacturing high fashion leather items, including bags, belts and shoes. The range is expected to launch at the end of the year with each item hand made

by Cader himself. In the near future he would like to open a hair salon which also showcases his leather designs. That said it seems the model industry won’t be letting go of this dynamic 26-year-old anytime soon.

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Matthew Bristowe on 3d Coversion

Potter and the Deathly Hallows: Parts 1 and 2, The Chronicles of Narnia: The Voyage of the Dawn Treader, Slumdog Millionaire and Sweeney Todd: The Demon Barber of Fleet Street.

cumbersome and therefore limiting in terms of the shots you can attempt. Setting up the shots is also time consuming. then of course there are the inevitable broken images you capture, which are generally caused by either misalignment, reflections on the lenses or cameras getting out of sync. if these shots cannot be fixed then your options are to either reshoot at great expense, or call in a conversion specialist such as Prime Focus to create the stereo image from the 2D image from one of the lenses. even on Avatar, which is held up as the benchmark of 3D, Prime Focus was called in to convert several shots that required correcting, using our proprietary View-D 2D to 3D tool. the beauty of conversion is that it gives you flexibility and is a really exciting tool for filmmakers. the quality of conversion is also improving dramatically. we are producing work that is up there with native 3D footage, but it’s far more cost effective to produce. Because our unique ViewD™ process is artist-led, there is a great deal of room for the director to get really creative and this is why the top guys want to work with us on their projects.

Please tell us about the differences between shooting 3D and converting films into stereoscopic 3D. Is there a difference in the quality of the final product?

Shooting in 3D is a difficult process. the kit is expensive and

what is the global stereo conversion pipeline? the Prime Focus global Digital Pipeline links our state-of-theart facilities in north america, the UK and india. it enables us to securely transfer work

matthew bristowe

TECHNOLOGY matthew bristowe, who spoke about converting to 3D at this year’s Durban Filmmart, took time to answer some questions for the Callsheet.

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atthew, who is the head of production, View D at Prime Focus Film in the UK, has worked on many high profile projects including: Harry

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around the world, meaning that there is a larger talent pool on hand to work on what is a very labour-intensive process. it also means we can pretty much run a 24 hour working day across three territories. the infrastructure we have in place and the scale of our operation means that we can cope with a huge amount of work at the same time, delivering projects on time and to the highest quality. what do you think of the quality of 3D in South Africa? How can we improve?

3D is a very rewarding tool for a filmmaker, but it is something that really needs to be understood. the best thing i can advise is to get an expert involved from the outset, that can guide you through what can be a very complex process and free you up to concentrate on the creative side of filmmaking. 3D can enhance a good film but it can’t make a bad film good.

Does Prime Focus 3D have any plans for expansion into Sa, or any partnerships with local companies?

PriMe Focus does not currently have a presence in South africa but, as our technology suggests, we are a very forward thinking company so are always on the lookout for new opportunities. the beauty of our global Digital Pipeline is that we can send work

around the world very quickly and securely so expansion into new territories is something we can easily accommodate within our infrastructure.

Why should filmmakers consider making 3D movies, whether shooting or converting?

PeoPle want to see 3D films, the box office results speak for themselves and if done correctly, it can really enhance the viewing experience of the audience. it is an exciting tool for filmmakers, but again, it is something that needs to be understood and used correctly. where do you think the industry is headed, in terms of 3D? i think we’ll see a lot more library titles returning to our screens in 3D. we’ve completed work on Star Wars: Episode 1 – The Phantom Menace, which is due to hit screens in 3D next February and i think it’s going to be huge. there is so much love for these types of films that, providing it’s done correctly, i think a lot of people would want to relive these seminal movies in a new dimension.

3D in the home will explode once screens that don’t require glasses become mainstream and affordable. once this happens there will be a race to supply 3D content to broadcasters, both in terms of programming and advertising and also library content.

Kate Hodges

IS SHOOTING 3D IN SOUTH AFRICA VIABLE? TECHNOLOGY 3D filmmaking is becoming less of a mystery to the local industry thanks to men like Stefan Nel, who shares his views on the future of 3D productions in South Africa.

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o you want to make a 3D movie that is visceral and explores depth in a new way, but the only things standing in your way are skills, technology and not to mention the fact that you’re trying to make this movie in the context of the South African film industry.

It seems like a monumental task, especially when you have the likes of James Cameron to live up to. Everyone knows that he dictates the changes we can expect, and is aided and abetted by fellow big budget directors such as Peter Jackson and Steven Spielberg.

Some 4 months ago Jim announced, “the future of 3D cinema is 60fps” (frames per second).

This was followed up nicely by Peter Jackson’s decision to shoot The Hobbit in 48fps. Both a smart way of improving the clarity of the 3D material, making for a greater immersive experience. But what do these changes mean for our local industry, if anything?

Finding a budget to make a 3D film locally seems a far-fetched notion. According to Stefan Nel (Visuals Group head of digital imaging), “there are double the amount of cameras, two extra

crewmembers, a rig technician and/or stereographer as well as an assistant, double the amount of footage and/or data and as such one should double your post budget as well as allowing for the extra finishing and delivery charges associated with the 3D workflow.”

Besides budget constraints, the skills necessary to make a 3D film are not readily available in SA. However, Stefan and the Visuals Academy have begun hosting 3D workshops, “There will be a 3D workshop at Visuals in Cape Town on the 26 August 2011 and we are currently planning similar workshops for JHB.” This training helps but, what options do we have when it comes to affordable equipment? Sony’s latest offering the PMW F3, has done a lot for the expansion of Super 35mm digital filmmaking and was recently 3D demonstrated at Mediatech 2011. “The F3 is definitely an option when budgets are low. The camera choice is normally dictated by the final delivery format i.e. cinema, TV, Internet.” But how do we overcome the issue of rigging the cameras together for effective 3D, without spending huge amounts of budget on foreign skills and technology?

Use the Pro Ultra Rig, “developed and manufactured right here in SA by Russell Bowden”.

He’s up against the big guns, companies such as Pace and Paradise FX, but he’s offering the

Russel Bowden, Shaun De Ponte and Stefan Nel

technology locally along with the skills to maintain and service these tools. 3D shoots can be very problematic, and overseas support doesn’t come cheap.

Then of course there’s the postproduction process. Can we handle this locally?

“There are some post houses that are geared up or are in the process of gearing towards 3D workflows but the vast majority are not ready. We at Visuals are totally geared up with the acquisition side and we are totally compliant on our post workflow at the HDHUB. Visuals also offer the only FCP plug in for editing in 3D which can be bought directly

from us.”

In a nutshell, as local filmmakers it is possible to shoot 3D material using a camera that offers full 35mm quality, at a reasonable price, with locally made rigs and post-facilities fully kitted to handle the workflow. Doesn’t seem that out of reach anymore but what about content?

“There is a serious shortage of 3D content for broadcast around the world. The success of the Parlotones 3D live concert and subsequent broadcast right sales is evidence of this. There are countless avenues that can be explored in the 3D world and as such the scope of potential

projects as well as those in current production is really huge.”

Even when you downscale equipment and work with a bare minimum crew it still costs a fortune to make 3D films. But, there lies potential in creating 3D content of a different nature.

Content that may well prove once and for all that South African filmmakers are truly some of the most innovative of them all.

3D filmmaking in South Africa is hardly out of reach, or limited to servicing international projects, all it takes is innovative thinking and a willingness to explore 3D in new ways.

Jasyn Howes

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MICHAEL C. DONALDSON EXPLAINS FAIR USE Michael C. Donaldson

DOCUMENTARIES The Callsheet chatted to entertainment lawyer Michael C Donaldson about fair use, copyright laws and what every filmmaker should know about intellectual property.

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his month sees the publication of Reclaiming Fair Use: How to Put Balance Back in Copyright by Patricia Aufderheide and Peter Jaszi. The book tells the story of how the culture of Fair Use was changed

by Michael and a handful of students in the space of a few years.

Fair Use refers to a doctrine in Us copyright law which allows limited use of copyrighted material without permission

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from the rights holders. Michael, who was honoured as one of hollywood Reporter’s 2010 Power Lawyers, is the co-author of The American Bar Association’s Legal Guide to Filmmaking.

What is Fair Use? FAiR Use is the concept that you can use somebody else’s copyrighted work. Or some trademark. Those things can be used without asking permission or making a payment.

According to the blurb of Reclaiming Fair Use: how to Put Balance Back in Copyright, you changed the culture of Fair Use, how did you do this?

WeLL, i don’t know if i would say we changed the law, but

we changed the culture. The Fair Use laws have been pretty stable over the years. What’s changed is that in the 90s, the prices of the rights to everything soared. if you wanted to use a song in a film or a film clip in a documentary – the prices were very high ten or twelve thousand dollars for a minute of film. If you produce a documentary that uses a lot of clips it gets very pricey very fast. it isn’t so much that the laws have changed, its that its become a little bit more acceptable to use this stuff.

Fair Use laws, is there a specific length of clip you can use, or some other measurement?

This is the tricky area in one way, but on the other hand it’s quite simple. in all systems that allow Fair Use or Fair Dealing, it says that you can’t use any more than you need to illustrate your point. Where the systems tend to differ the most is what kind of usage will be allowed. But no matter what kind of usage is allowed they all specify ‘just enough to illustrate the point” so that’s the big item there.

Fair Use is a US law, you’ve dealt with filmmakers from the United States US material generally. What about elsewhere in the world, say for South African filmmakers? eveRy copyright system in the world has some permissions for using things that are copyright protected without the permission of the owner. it’s called different things in different places, in england it’s called Fair Dealing, sometimes it’s called Use in the Public interest, sometimes it’s called incidental Use, but every copyright system provides for using material without permission under certain circumstances.

Have you heard of crowdsourcing, where different people from all over the world are lending their skills through the internet to work on a project?

Is this opening up new areas with legal issues, or is a signed release and a credit enough to cover the filmmaker.

OF more concern than crowdsourcing is crowdfunding. And that’s you have to be careful that people understand that it’s a complete donation and that not going to get anything back. Because if they don’t understand that you can get into serious trouble with the security law.

How does one ascertain how much can be used while staying on the right side of these

What would you caution filmmakers to be aware of?

The most important thing to keep in mind every step of the

way is to make sure everybody signs an agreement, it doesn’t have to be fancy, it can be one page but that says the producer owns all the rights and sets out what they’re going to get paid. Then keep all those pieces of paper on file somewhere, because someday when you get distribution somebody’s going to want to see it.

Are you happy with the book Reclaiming Fair Use? iT’s a terrific book, it really traces exactly how the culture was changed in the United states and it empowers other people to use the same kind of system. Right now across europe, there’s quite a movement and they’re using the exact same techniques to try and change the culture there a little bit.

Any plans to visit SA? The whole film movement in Africa in general and south Africa in particular is in a very exciting time. i was Berlinale a couple of years ago and there were nine films from South Africa shown there, and two of the bigger films went to Amsterdam. it’s a very exciting time be involved in Film in south Africa. it would be an honour to visit sA to speak to filmmakers there.

Kate hodges

“For the advertising community, from the media plan all the way to broadcasting Adstream allows campaigns to be managed more easily and efficiently.”

Adstream md mike smit

ADVERTISING AdstreAm is the world’s leading player in advertising technology connects brands, agencies and media owners by streamlining the management, validation and distribution of content.

And it is launching full operations in south Africa.

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DSTREAM has appointed Media Host as their South African licensee partner.

Media Host will have exclusivity in bringing to South African clients all Adstream solutions in storage, distribution, validation and management of multimedia assets for the advertising community including advertisers, agencies, media owners and their creative and production partners.

Mike Smit, the founding partner of Media Host and former MD of Waterfront Studios, said: “For the advertising community, from the media plan all the way to broadcaster or publisher, it allows campaigns to be managed more easily and efficiently, significantly reducing time and costs for all parties.”

Adstream’s digital workflow bring the entire advertising lifecycle closer together with greater transparency, efficiency and ultimately profitability for TV, Radio and Print medias.

Adstream has innovation written in its DNA. When it started in 2001, the concept of digital distribution of broadcast advertising was bold and revolutionary and way ahead of its time. Ten years later, Adstream continues to pioneer innovation in broadcast advertising technologies but now also for Print, Online and workflow platforms.

Adstream has now 26 offices operating in more than 90 countries, with locally based teams.

They are the largest operational, service to offer cross-media solutions designed to work in different markets and to integrate seamlessly with locally designed components. Mike added: “Everyone, from brands to production companies, creative agencies and media owners have a single place to store, review, approve and retrieve campaign materials and information. That gives the different teams a huge advantage because it really

“The advantage of Adstream is the increase in speed, and the fact that anyone, anywhere in the world can have access to the database with a username and password.” mArCO VICCHI, marketing director, NOKIA Italy

streamlines the complexities and free everyone to concentrate on creative results. For example, if during a campaign an agency needs to find a 3-year old reel from a specific director, it would be there easy to find. They may even want to have the scripts, the proposals, the locations, the talent – it all gets centralised in one place and managed centrally, with high-level security and access control. It doesn’t get simpler than that.”

As Adstream’s exclusive licensee, MediaHost will offer South African Clients a powerful global reach. Adstream has the world’s largest network footprint, delivering 800,000 commercials every year. In Print, Adstream distributes annually more than 2,000,000 print ads through its Global Publishers Network, counting with 39,500+ publications worldwide.

“Clients can approve work from anywhere in the world - a creative director can approve an advert even using an iPad or iPhone. It’s about making things easy and simple – really streamlining advertising.”

Mike made it clear that the international infrastructure of the brand means local users will be getting a great deal of value for their money, saying: “Adstream simplifies the logistics for international brands looking to advertise locally. This enables an agency to work with talent instead of a company –because everyone has an internet connection. This is truly a collaborating tool.

“Top agencies adopt Adstream’s solutions to bring global campaigns to local markets, with the same tools and benefits shared equally, no matter where they are. That’s the case for brands like Nokia and P&G or agencies like JWT and McCann – but it’s exactly the same for the local agencies working with local brands.”

“The focus on innovation is continuous.

Adstream has a large team of dedicated developers working to constantly update and upgrade not only the technology but also the user experience: what they need to do and how to do it in an easier way. Adstream’s expertise

comes from a deep understanding of the advertising industry workflow and the solutions (with enhancements being released frequently) are always responding to new challenges.”

Mike also mentioned the level of security Adstream offers: “The client always has ultimate control. Every account holder has very strict rights control and rights management of the assets and content.” The account holder can establish who must get login.

What is useful, it has an audit trail of who’s used what – if someone’s logged in, it keeps a record of exactly what’s happened.

You can also track conversations from a creative perspective.”

The business model is its part of the production costs, so there’s no annuity, or monthly fees. You just pay per transaction or per delivery on an asset. Everything is able to be put on the production budget. Adstream gives the agency producer more control of the process, they can look at the ad themselves – they can look at a proxy of the ad.

The post facility deals with the quality of the ad and the upload.

Mike concluded: “Clients can approve work from anywhere in the world - a creative directors can approve an advert even using an iPad or iPhone. It’s about making things easy and simple - really streamlining advertising.”

AdBank - the next-generation collaboration platform for the global advertising production community Adstream’s AdBank is the ultimate advertising asset consolidation and collaboration tool that captures asset exchange between brands, production partners and media owners during the campaign creation, adaptation and delivery process.

Key Benefits • Consolidation of assets across all your relevant markets • Build, share, manage and analyse your digital assets library • Convenience of previewing your media files online, anywhere, anytime • Save time by searching for assets using a key word or phrase • Fast and user-friendly interface Key Features • AdBank files can be downloaded to your desktop • A multimedia application, supporting television, radio and print • Preview images in an instant without the need for lengthy downloads • View television commercials in an 8 Frame storyboard with all related details • Upload data to an ad file including audio files, documents, images, scripts or video

FACTS & FIGURES • Founded in 2001 in Sydney, privately established and owned • World’s largest digital footprint for TV and Radio delivery • Global network serving Europe, Africa, Middle East, Asia, Americas • Over £60 million capital invested with independent ownership • Over £40 million spent on R&D to ensure state of the art technology • 26 local offices in 20 countries, covering 93 markets • 3,000+ TV channels connected via 1,600 distribution centres in the world • 39,500+ publications in Adstream’s Global Publishers Network • 5,000+ clients: advertisers, agencies, broadcasters, post houses • 800,000+ commercials delivered every year • 2,000,000+ press ads distributed every year across 39,500 publications • 4,000,000+ different ads stored in our digital library Find out more at: www.adstream.com 7

DIFF AND DFM 2011 ROUND-UP

IDFA WINNERS (left to right): Toni Monty (DFM); Nicole Schafer, Mayenzeke Baza, Bryony Roughton and Adriek van Nieuwenhuijzen (IDFA).

How To Steal 2 Million cast and crew

FILM FESTIVAL THIS year’s Durban International Film Festival and Durban Filmmart were feather’s in the industry’s cap.

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he festival got off to a great start with the worldwide premiere of Otelo Burning - the opening movie of DIFF. Directed

by Sara Blecher, the movie tells the story of Lamontville youngsters Otelo and New Year who learn how to surf against the backdrop of the ANC- Inkatha Freedom Party conflict in the dying days of Apartheid. The movie, finished just in time to make its premiere at DIFF, was a stunning choice for the opening film. Highlights for many were the work from Director of Pho-

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tography Lance Gewer and the talented young cast.

Following the screening, guests were invited to head to a beach party just outside the colourful Suncoast Centre. The beach party featured delicious foods and bonfires. People mingled, many pacing themselves as this would be the first of many such networking functions over the course of the festival.

The following morning the organisers, including Toni Monty, Peter Rorvik and Nashen Moodley welcomed the press at a briefing at the Royal Hotel. Appetites were whetted as the organisers introduced key speakers and international attendees. Then they discussed their great programme at length. This was followed by

an intense but informative producer’s forum, which discussed the important issue of finance.

That afternoon a panel including enrico Chiesa, Mark Coetzee, Rehad Desai and Mark Schwinges discussed New Developments in African Film.

More screenings followed on Friday night with both Retribution and How To Steal Two Million making their world premier at DIFF. Both movies were genre pieces, with Retribution paying homage to many thrillers that came before it, while Charlie Vundla’s action movie made excellent use of Johannesburg to contribute to the tone of the movie.

The following morning the Royal hotel in Durban’s city centre hosted Peter Broder-

ick, the president of Paradigm Consulting’s, fascinating talk on crowdfunding and crowdsourcing which inspired an in depth look into the model on page 18 of this newspaper.

Later on Saturday the NFVF hosted a forum in which they discussed their new funding structures and their plans for the future. This talk is reported on in more detail on page 19 of this newspaper.

That night more networking was scheduled at the NFVF’s party at Suncoast where most of the industry gathered to let their hair down and have a party. On Sunday morning, Peter spoke again, this time about distribution and later the Producer’s Forum discussed What Investors are looking for.

Monday was the final day of a highly successful Filmmart with Matthew Bristowe from Prime Focus, chatting about stereoscopic post-production.

You can read an interview with Matthew on page four of this paper.

The organisers were thrilled with the success of Filmmart and DIFF. “We have seen a distinct shift in the market this year, in so many areas,” says Toni Monty, acting CeO of the Durban Film Office. “Last year the delegates weren’t sure what to expect and were pleasantly surprised by the standard of the market. This year, film-makers and producers came well prepared with strategies and plans and very definite ideas as to who they wanted to meet and what they wanted to get out of the four-day event.”

“The signs of the growing confidence in the DFM can be seen all round,” adds Peter Rorvik, director of the Centre for Creative Arts and Durban International Film Festival (DIFF).

“The response from participants has been very encouraging and the increase in the number of awards that were made possible by sponsors and funders, points to this growing commitment and support for the DFM.” Kate Hodges

COMMERCIALS KEEPING PRODUCTION COMPANIES BUSY Shy the Sun

Giant Films

Moonlighting

ADVERTISING production companies around the country, including Moonlighting, Giant, Shy the Sun and Frieze Films are hard at work on a variety of interesting commercials.

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oeries nominees (for Alice: Madness Returns and Mnet adverts Firefly and Ladybug) Shy the Sun have been working on a spot they did for UK cleaning product CIF. Each spot is a fairytale involving dirty kitchens or bathrooms, where CIF comes to the rescue in the end. These were done in full CG with the help of BlackGinger in South Africa and Passion Pictures in the UK. Before

that the Cape Town animation studio were working on a spot for Ribena in the UK. The adverts tell the story of berries in the English countryside fighting to be selected to be berry juice. Andre from Shy the Sun said: “For this spot we created the English Countryside in miniature sets, and added CG animated characters.”

Frieze Films in Johannesburg have also been busy, with former DP Rob Malpage starting his career as a director with Frieze.

Rob, who has received acclaim for work as a DP has gotten off to a good start at Frieze. So far this year he has done a cross-country shoot for SAT, a corporate Standard Bank commercial and a

Shield Rugby sponsorship commercial with the Springboks.

Moonlighting revealed their commercials team didn’t take a winter break this year, as they were shooting the latest digital campaign for the new Ford Ranger; head of production Shayne Brookstein spent two weeks travelling round Lesotho and some of the more remote areas of South Africa with her crew. The Ford shoot involved an 11-strong crew headed up by Shayne, two hero cars, three vehicles, and seven cameras. Shayne spent two weeks with Australia’s Gorgeous Films, shooting the digital content for the campaign in with director Rowan Webb and agency Wun-

derman. Shayne commented “We had a small crew, great clients and lots of fun on what was effectively a road trip shooting digital which is something we’re seeing a lot more of now.” Producer Trish Wylie is currently travelling around the whole of South Africa with a team for a Samsung shoot.

Director Robin Goode from Giant Films is hard at work too. He’s currently working on Protection,

an advert for Mutual & Federal a portrayal of everyday people protecting the things that are important to them. Robin said: “The beauty of the ad is that we’re climbing into so many different kinds of peoples’ lives”. Shot over 4 days in 18 locations with an extensive street and studio casting.

Kate Hodges

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SUNRISE THRIVING WITH JUNGLE BEAT MERCHANDISE Jungle Beat

Jungle Beat

MERCHANDISE SUNRISE Productions reveal that the real money in animation is in merchandising rather than through actual sales of their shows.

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unriSe Productions are currently at work on season two of Jungle Beat, their award-winning series of five minute, dialogue-free children’s animations. The show’s been sold to 170 countries worldwide but producer Phil Cunningham says the real profit is in merchandising. “We’ve made more money off merchandising in South Africa than in broadcast in the rest of

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the world,” says Phil. “That tells the story of where the money is in the animation business.”

Nicola Rowe, marketing and licensing manager at Sunrise Productions, says their list of merchandising ranges is expanding all the time. “We have clothing, footwear, toys, swimwear, luggage, stationary, activity books, colouring in books, board games, cards, balls, and a big back to school programme with CNA at the end of the year, with everything from lunchboxes to files,” she says, namedropping other stockists like Jet, Ackermans, Edgars, Pick n Pay and Mr. Price. Their merchandising spiked last year with the introduction of Bokkie, the Springbok’s official

mascot, and this year they introduce Sharky, the official mascot of The Sharks.

They work on a licensing model. “We license out Jungle Beat to companies like Prima Toys, who give us a royalty percentage on the wholesale price.

Their license runs for two years and then we have the option to renew or cancel, so we retain ownership,” says Nicola.

Phil says this partnership model has been a key to their success. “Our core business is film and storytelling; we don’t want to try get into a business we don’t understand. This is similar to Disney, who license to similar people here.”

Sunrise quality controls the

merchandising process. Nicola explains, “We have a style guide, with backgrounds, designs, fonts and poses, which goes out to licensees so they know how to use the Jungle Beat assets. They then put together designs which they send to our design team, who either approve them or suggest improvements. We also get strike offs to approve the quality, so we’re still very involved in the process.”

Part of their challenge has been to sell their merchandise with a limited broadcast presence. Nicola says, “Our merchandise has been successful so far on a cuteness factor – people are buying without having seen the series and with very little PR.” Sunrise’s deal with M-Net ended in March and they’re now talking to e.tv. “We’re not making our money off the broadcasters, so we want the widest possible audience,” Phil says.

They’re currently playing around with different formats, as they’ve found the five-minute clips difficult to schedule. “Once we have enough volume, we can combine two together as an 11-minuter,” Phil says. Nicola agrees. “The BBC screens Peppa Pig as two five-minute segments together and Shaun the Sheep is seven minutes.” Each season is only 13 episodes though, so the biggest challenge is to create the volume necessary for this sort of packaging.

They’re also considering using the five-minute clips as inserts on a Barney-style magazine show.

But Sunrise doesn’t want to move away from the five-minute format though. “We want to be creatively led and the five-minute clips work,” Phil says.

With their DVDs, they’ve had great feedback from moms on the format. “Moms love it, because they can put their kids in front of the TV for the five minutes it takes to pack the car and not have to then wait for the programme to end.” Nu Metro is handling the DVD sales.

Jungle Beat is also screened on luxury buses and British Airways, but its biggest scoop is its deal with Nu Metro, which is screening a 3D episode of Jungle Beat before each of its 3D screenings at cinemas. Phil says, “Nu Metro are getting 100-200 000 people on their 3D screens each week. If you take the low-

est number, over 52 weeks 5.2 million people will see Jungle Beat at cinemas in 3D. We’re achieving a 52 week, all year presence at cinemas. For retailers, that’s unique.” nicola says they’re currently working on increasing awareness at cinemas with a stronger presence in the forecourts and on the popcorn boxes.

Sunrise has also run a number of innovative promotions. Nicola explains, “We did a deal with Wimpy last year, with six different DVDs with two episodes on each, which they were giving away with burgers. They had 350 000 DVDS that they planned for a three to six week promotion but they sold out in ten days. It did better than their Ben10 promotion.” Sunrise also ran a toy promotion with Chicken Licken and is prepping another DVD giveaway promotion with Sasol for the December school holidays.

Sunrise is just getting started.

“We finish season two in August this year, then we go into production on Ocean Beat,” says Nicola. “Every year there will be a new season: potentially Jurassic Beat, Farm Beat, Snow Beat…. That will all lead into the production of a feature film in 2014/2015.”

Phil says they’ll start the development process on the feature next year. “One of our big discussions is dialogue or no dialogue.

If we pull it off, it’ll be awesome.

If we don’t, it’ll be terrible. There are a lot of positives, like not having to pay big voice actors, but creatively it’s a hard one. I think we’ll go the no dialogue route though.”

They’re also expanding internationally, setting up offices in Australia and the UK this year.

Other plans include a Jungle Beat social networking site for kids; theme parks; and online distribution, possibly via the Nintendo 3DS and ultimately via Itunes.

Phil wants to make live action films at some stage, but he’s passionate about animation. “There are thousands of live actions made a year, and only about ten animations, yet you’ll always find at least four animations in the top twelve films at the box office.

That’s testimony to the power animation has to cross age and race barriers.”

Staff Writer

PHOTOGRAPHY CRAFTS FINALISTS Bryan Traylor Rainbow Goddess

Bryan Traylor Half Thumb Up

David Prior - Fish Eagle

PHOTOGRAPHY

Ross Garrett Dancer

Ross Garrett - Shoe Personified

THIS year’s Loeries finalists for photograpgry crafts include many of last year’s big winners, such as Ross Garrett, Clive Stewart and Michael Lewis.

DESIGN CRAFTS PHOTOGRAPHY Title: INJOZI Carnivale Product: INJOZI website Agency: Injozi Photographer: Ross Garrett Title: Heita!

Product: photography style Agency: Interbrand Sampson Group Photographer: Clive Stuart Title: Dancer Product: KKNK 2011 Agency: The Jupiter Drawing Room (South Africa) Photographer: Ross Garrett Title: Coffee Entrant Product: V&A Waterfront Agency: The Jupiter Drawing Room South Africa, Cape Town Photographer: Hayley de Vantier Title: Holiday Product: V&A Waterfront Agency: The Jupiter Drawing Room South Africa, Cape Town Photographer: Hayley de Vantier PRINT & COLLATERAL CRAFTS PHOTOGRAPHY Title: HT-HBomb Product: HTH Pool Sanitiser Agency: DDB South Africa Photographer: Michael Lewis Title: Lion Product: National Geographic Kids Magazine Agency: FOXP2 Photographer: David Prior Title: Crocodile Product: National Geographic Kids Magazine Agency: FOXP2 Photographer: David Prior Title: Fish Eagle Product: National Geographic Kids Magazine Agency: FOXP2 Photographer: David Prior Title: Prisoners 2 Product: Brandhouse Drive Dry Agency: FOXP2 Photographer: Sacha Waldman Title: Ava Product: Tracker Agency: Joe Public Photographer: Huw Morris Title: Bunny Product: Eagle Awards 2010 Agency: King James

Photographer: Michael Lewis and Nick van Renen Title: Beach Product: 8.ta Mobile Network Agency: McCann Erickson Photographer: Michael Poliza Title: Shoe Personified Product: The Edgars Shoe Affair Agency: The Jupiter Drawing Room (South Africa) Photographer: Ross Garrett Title: Viktoria Product: The Edgars Shoe Affair Agency: The Jupiter Drawing Room (South Africa) Photographer: Warren van Rensburg Title: Albino girl Product: The Edgars Shoe Affair Agency: The Jupiter Drawing Room South Africa (Johannesburg) Photographer: Sacha Waldman Out of all the categories, which includes posters, newspaper and magazine advertising, brand identity and collatoral design, and outdoor, Micheal Lewis and Nick van Reenan are the most nominated photographers with a total of 13 nominations.

Clive Stewart is a close second with ten, while Bryan Traylor has seven. Sacha Waldman and Hayley de Vantier both have five nominations; Ross Garrett has four; and David Prior and Des Ellis both have three.

For more Information visit www.theloerieawards.co.za

Sally Fink

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LOERIES: FILM CONTENDERS

8ta - Emoticon Boy DirecteD by Velocity’s Keith rose and conceptualised by Mccann erickson Johannesburg, the advert features a stirring Queen soundtrack.

Agency: Mccann erickson, Agency Art Director: Sean Harrison, Sarita immelman, yvonne Hall, AniMAtion coMpAny: Black ginger, Art Director/StyliSt: leon Morland, Sylvia van Heerden, cineMAtogrApHy: Keith rose, Director: Keith rose, eDiting coMpAny: Deliverance, eDitor: ricky Boyd, executiVe creAtiVe Director: Vanessa pearson, FilM proDuction coMpAny: Velocity Films cape town, MuSic & SounD coMpoSition: Queen, perForMAnce: Queen, poSt proDuction FAcility: Black ginger, proDucer: peter carr, grant Davies, StrAtegiSt: Dallas glover, Writer: tim Beckerling

Avril Elizabeth - Jumbled JuMBleD is a public service announcement for the Avril elizabeth Home. it was produced by Bouffant Johannesburg and directed by chloe coetsee.

Agency: JWt Johannesburg, Agency Art Director: Steve clayton, Agency proDucer: Maggie post, Silke gehring, cineMAtogrApHy: rob Wilson, creAtiVe Director: Ben du plessis, Director: chloe coetsee, eDiting coMpAny: Deep end post production, eDitor: Daniel Mitchell, FilM proDuction coMpAny: Fringe / Bouffant, MuSic & SounD coMpoSition: Freq’ncy Audio, poSt proDuction FAcility: Deep end post production, proDucer: chanelle Critchfield, Lorraine Smit, Melina McDonald, StrAtegiSt: clive evans, Harsha prag, Writer: grahame Finnemore, nare Mokgotho

Tracker - Memories DirecteD by Kevin Fitzgerald from egg Films for agency Joe public, Memories is a definite contender for recognition at the loeries and a fan favourite besides . it tells the story of one young woman’s life from old age to her infancy.

A Brandi carlile song plays in the background Agency: Joe public, Agency Art Director: christo Kruger, Simon Keeling, gawie Joubert, Freda raubenheimer, Agency proDucer: Bronwyn James , AniMAtion coMpAny: AMi collective, creAtiVe Director: pepe Marais, xolisa Dyeshana, Director: Kevin Fitzgerald, executiVe creAtiVe Director: pepe Marais, ilM proDuction coMpAny: egg Films, poSt proDuction FAcility: riot, Bladeworks, proDucer: Jon ronbeck, StrAtegiSt: laurent Marty, Writer: Antoinette Fourie, xolisa Dyeshana

SAMPRO - Dutch Settler tHiS was one of a series of adverts that imagined an alternative version of South Africa’s history. the Dutch Settler advert was produced by plank Films.

Agency: Foxp2, Agency Art Director: ryan Barkhuizen, Agency proDucer: Katherine tripp, cHieF creAtiVe oFFicer: Justin gomes/Andrew Whitehouse, cineMAtogrApHy: Vicci turpin, creAtiVe Director: Justin gomes, Andrew Whitehouse, Director: peter pohorsky, eDiting coMpAny: Deliverance, eDitor: ricky Boyd, executiVe creAtiVe Director: Justin gomes, Andrew Whitehouse, FilM proDuction coMpAny: plank Films, MuSic & SounD coMpoSition: We love Jam, poSt proDuction FAcility: condor, proDucer: Di du toit recorDing StuDio: We love Jam, StrAtegiSt: rebecca Warne, Writer: Simon lotze

Johnnie Walker - Haile Gebrselassie tHiS inspirational advert from ian gabriel featured ethiopian long distance runner Haile gebrselassie urging viewers to dig deep for success.

Agency: King James, Agency Art Director: Janine Wittrowski, Agency proDucer: Kathi Jones, cHieF creAtiVe oFFicer: Alistair King, cineMAtogrApHy: Vicky turpin, creAtiVe Director: Michael Wilson, Director: ian gabriel, eDiting coMpAny: left, eDitor: James Hoskins, executiVe creAtiVe Director: Alistair King, FilM proDuction coMpAny: giant Films, MuSic & SounD coMpoSition: theo crous, Arnold Vermaak, perForMAnce: Haille gebreselassie, poSt proDuction FAcility: condor, proDucer: cindy gabriel, recorDing StuDio: Milestone, Bellville Studios, Writer: Michael Wilson

Friskies – Slobber Dog tHiS advert, produced by catapult commercials is of a big jowly dog shaking its head as the slobber sprays liberally in every direction. the commercials’ tag-line is Get A Cat. Agency: JWt Johannesburg, Agency Art Director: Keshia Meyerson, Agency proDucer: Maggie post, lungile Maseko, cineMAtogrApHy: clive de Klerk, creAtiVe Director: Ben du plessis, Director: Jonathan Boynton-lee, eDiting coMpAny: the House post production, eDitor: claire Stewart, executiVe creAtiVe Director: Ben du plessis, FilM proDuction coMpAny: catapult commercials, MuSic & SounD coMpoSition: the House post production, poSt proDuction FAcility: the House post production, roDucer: glen Bosman, StrAtegiSt: clive evans, Writer: Steve clayton

Vodacom - Powerrap VoDAcoM’S rebranding was heralded with this fun, star-studded advert that had people talking for all the right reasons.

Agency: Draftfcb Johannesburg Agency Art Director: Bradley Stapleton, Agency proDucer: ofentse Moremi, cHieF creAtiVe oFFicer: Brett Morris, cineMAtogrApHy: Werner Maritz, creAtiVe Director: gareth paul and grant Sithole, Director: Amy Allias, eDiting coMpAny: orchestra Blue post production, eDitor: Jason Basson, FilM proDuction coMpAny: olA Films, MuSic & SounD coMpoSition: rob Schroeder, perForMAnce: thembalethu ntuli, poSt proDuction FAcility: Sinister, proDucer: Brenda Wilson, recorDing StuDio: robroy, VFx operAtor: Werner Maritz, louis enslin Writer: Melusi Mhlungu, lyricist lebo Shuggasmaxx

Toyota - Breakdown BreAKDoWn showed the dangers of judging a book by it’s cover.

Agency: Draftfcb Johannesburg, Agency Art Director: Keving yong, ivor Forrester, Agency proDucer: Wakhile Sithole, Ayanda tshabalala, Art Director/StyliSt: gavin Scates, cHieF creAtiVe oFFicer: Brett Morris, cineMAtogrApHy: clive Sacke creAtiVe Director: tian van den Heever, Director: Dean Blumberg, eDiting coMpAny: tessa Ford post production eDitor: tessa Ford, executiVe creAtiVe Director: James cloete, FilM proDuction coMpAny: Bouffant, MuSic & SounD coMpoSition: louis enslin, poSt proDuction FAcility: Refinery, proDucer: lorraine Smit, Melina McDonald, Boris Vossgatter, recorDing StuDio: produce, Writer: Sindiwe Mbiko, Frank Kunene

Stimorol - Neverending Story Velocity’S Anton Visser directed Neverending Story for Stimorol Infinity. The advert was conceptualised by ogilvy cape town’s senior creative team Jamie Mietz and peri van papendorp. it aims to show how the new gum from Cadbury “lasts infinitely longer” than ordinary gum.

Agency: ogilvy cape town, Agency Art Director: Jamie Mietz, Agency proDucer: emma lundy, cineMAtogrApHy: paul gilpin, reAtiVe Director: chris gotz, Director: Anton Visser, eDiting coMpAny: left post, eDitor: James Hosking, executiVe creAtiVe Director: chris gotz, FilM proDuction coMpAny: Velocity Films, MuSic & SounD coMpoSition: We love Jam - Arnold Vermaak, proDucer: prenneven govender, peter carr, Writer: peri van papendorp

Kulula - Top Gun tHiS South African take on the blockbuster was a favourite with the public. High production values and a funny concept meant the advert had people talking.

Agency: King James, Agency Art Director: Damian Bonse, Agency proDucer: caz Friedman, AniMAtion coMpAny: Sinister Studios - Visual effect, Art Director/StyliSt: Kezia eales, cHieF creAtiVe oFFicer: Alistair King, cineMAtogrApHy: Werner Maritz, creAtiVe Director: Michael Wilson, Director: Slim, eDiting coMpAny: left, eDitor: Sakie Bergh, executiVe creAtiVe Director: Alistair King, FilM proDuction coMpAny: egg Films, MuSic & SounD coMpoSition: tully Mccully, poSt proDuction FAcility: Siinister Studios, proDucer: nicci cox, recorDing StuDio: Spaced out Sound, Writer: Michael Wilson

The Callsheet would like to wish all Loeries finalists good luck.

We hope you enjoy the event and take home a grand prix! get the September issue of the callsheet to see where you ranked.

to advertise call Makkie | 021 674 0646 email | makkie@thecallsheet.co.za www.thecallsheet.co.za

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Mnet – Firefly SHY the Sun have three nominations this year, and choosing a favourite was difficult but the animated story of their charming Firefly advert for Mnet made it our favourite. The advert tells the story of a firefly who loses his love - a porch light. The little firefly finds a new love in the reflection of the moon on the surface of a nearby lake.

AgencY: Ogilvy JHB, AgencY Art Director: Chantelle Dos Santos, AgencY ProDucer: Debbie Dannheisser, AniMAtion coMPAnY: BlackGinger, Art Director/StYliSt: Ree Treweek, creAtive Director: Robyn Bergman/Fran Luckin, Director: Jannes Hendriks, FilM ProDuction coMPAnY: Shy the Sun, PoSt ProDuction FAcilitY: BlackGinger, ProDucer: tracylee Portnoi, Writer: leon van Huyssteen

Anton Apps - Organogram tHiS two minute animated commercial for international recruitment company, Anton Apps displays the dynamic nature of business using organograms.

The company deals with dogs, chinese dragons and giants - all in the form of an organogram.

It was conceptualised by Grey South Africa. it was animated and edited by Hilton Tennant.

AgencY: grey South Africa, AgencY Art Director: Cath Ireland, AgencY ProDucer: Caroline Crowther, AniMAtion coMPAnY: tennant McKay, AniMAtion Director: Hilton Tennant, eDitor: Hilton Tennant, executive creAtive Director: Cath Ireland, MuSic & SounD coMPoSition: Alun Richards, ProDucer: Robyn Jephson, StrAtegiSt: terry unser, Writer: Cath Ireland

Ctrack - Always Visible AT first glance a standard car commercial, this advert makes use of animation to show trees, bridges, tunnels and buildings vanish as a car passes. this is to demonstrate how with Ctrack your car is ‘always visible’.

Featuring animation by BlackGinger, production by Egg Films and directed by Bruno Bossi - this advert was a glossy spectacle.

AgencY: Fishgate Advertising, AgencY Art Director: Herman venter, AniMAtion coMPAnY: BlackGinger, AniMAtor: BlackGinger, creAtive Director: Quintes venter, Director: Bruno Bossi, FilM ProDuction coMPAnY: Egg Films, PoSt ProDuction FAcilitY: Blackginger, ProDucer: tracy-lee Portnoi, Writer: Wynand van Staden

Cadbury Dairy Milk - Monks A FAn favourite, this advert combined humour and amazing cinematography.

AgencY: Ogilvy Johannesburg, AgencY Art Director: Shane Forbes, AgencY ProDucer: Tsakane Mogale, cHieF creAtive oFFicer: Fran Luckin, cineMAtogrAPHY: Tim Pike, creAtive Director: Fran Luckin, Jonathan Beggs, Director: Erik van Wyk, eDiting coMPAnY: upstairs Post, eDitor: Kobus Loots, executive creAtive Director: Fran Luckin, FilM ProDuction coMPAnY: Bouffant, MuSic & SounD coMPoSition: Original ‘Low’ Flo rida, T-Pain, PoSt ProDuction FAcilitY: upstairs Post, ProDucer: Melina McDonald, Chantel Kriel, recorDing StuDio: Fr’quncy, Writer: David Krueger, Mike Middleton, Greg Banach, Tamsin Holton, Albertus Lombard

Toyota Aygo- Cut the Cord THE controversial Toyota advert was conceptualised by Draftfcb Johannesburg and directed by Erik van Wyk of Bouffant. The advert showed young people going about their days being humorously hampered by umbilical cords.

AgencY: Draftfcb Johannesburg, AgencY Art Director, Alan Lewus, AgencY ProDucer: Rachel Andreaotti, cHieF creAtive oFFicer: Brett Morris, cineMAtogrAPHY: Tim Pike, creAtive Director: tian van den Heever, Director: Erik van Wyk, eDiting coMPAnY: Deliverance, eDitor: Ricki Boyd, FilM ProDuction coMPAnY: Bouffant, MuSic & SounD coMPoSition: Desmond and the tutus, Dave Harris, PoSt ProDuction FAcilitY: Blade, ProDucer: Lorraine Smit, Melina McDonald, recorDing StuDio: Frequenc’y Writer: Morne Strydom

Arrive Alive - Love to Meet You tHe campaign saw ominious prisoners auditioning for a cell mate.

AgencY: FoxP2, AgencY Art Director: Ryan Barkhuizen, AgencY ProDucer: Katherine tripp, Art Director/StYliSt: Thomas Gubb, cHieF creAtive oFFicer: Justin Gomes/Andrew Whitehouse, cineMAtogrAPHY: Michael Cleary, creAtive Director: Justin Gomes, Andrew Whitehouse, Director: Robin goode, eDiting coMPAnY: Deliverance, eDitor: Anthony lee Martin, executive creAtive Director: Justin Gomes, Andrew Whitehouse, FilM ProDuction coMPAnY: Fundi Films, MuSic & SounD coMPoSition: We love Jam, PoSt ProDuction FAcilitY: condor, ProDucer: laura Sampson, recorDing StuDio: We Love Jam, StrAtegiSt: rebecca Warne Writer: Simon Lotze, Mimi Cooper

Cadbury Lunchbar - Voiceover tHiS advert features Michael Winslow, known for his role in the Police Academy movies as Larvelle “Motor Mouth” Jones.

AgencY: Ogilvy Johannesburg, AgencY Art Director: chantelle dos Santos, AgencY ProDucer: Debbie Dannheisser, cHieF creAtive oFFicer: Fran Luckin, cineMAtogrAPHY: Paul Gilpin, creAtive Director: Mariana O’Kelly, Director: greg gray, eDiting coMPAnY: Deliverance, eDitor: Ricky Boyd, executive creAtive Director: Fran Luckin, FilM ProDuction coMPAnY: Velocity, MuSic & SounD coMPoSition: lorens Persson, PerForMAnce: Michael Winslow, I Mpoea, T Sebe, PoSt ProDuction FAcilitY: Deliverance, ProDucer: Helena Woodfine, Peter Carr, recorDing StuDio: Sterling Sound, Writer: Dan Parmenter

PPC - Strength to Change crAig Wessels directed this advert for PPc cement with the Jupiter Drawing Room Johannesburg. The advert, which features the brand’s signature elephant makues use of animation and live-action.

AgencY: The Jupiter Drawing Room JHB, AgencY Art Director: gareth Pretorius, AgencY ProDucer: Chloe Saunders, AniMAtion coMPAnY: Wicked Pixels, AniMAtor: Wicked Pixels, cineMAtogrAPHY: Rob Malpage, Director: Craig Wessels, eDiting coMPAnY: Wicked Pixels eDitor: Jaco Rossouw, executive creAtive Director: Pierre Odendaal, FilM ProDuction coMPAnY: Wicked Pixels, MuSic & SounD coMPoSition: cut and Paste Audio, PoSt ProDuction FAcilitY: Wicked Pixels, ProDucer: cat lindsay, Magda roets, Writer: Darren Kilfoil

Wimpy - Gina GINA, directed by Egg Films’ Slim, tells the story of a kettle enthusiast gina, who despite her best efforts to repurpose kettles, is being put out of business by Wimpy’s coffee.

AgencY: MetropolitanRepublic AgencY Art Director: Dale Mullany, AgencY ProDucer: Linda Hauser, Aileen Kennaugh cineMAtogrAPHY: lars cox, creAtive Director: Wesley Phelan, Spike Kunene, Director: Slim eDiting coMPAnY: left Post Production, eDitor: Willie Saayman, Keno naidoo, executive creAtive Director: Paul Warner, FilM ProDuction coMPAnY: Egg Films, MuSic & SounD coMPoSition: lourens Persson, PoSt ProDuction FAcilitY: left Post Production, ProDucer: nicci cox, recorDing StuDio: Sterling Sound, Writer: Keith Manning

SAMPRO - Andre FOXP2 used Zombies, particularly milk-fan Andre to show off the revitalising qualities of milk in this fun advert for SAMPro. it was directed by Trevor Clarence of Terraplane.

AgencY: FoxP2, AgencY Art Director: Michael Lees-Rolfe cHieF creAtive oFFicer: Justin gomes/Andrew Whitehouse cineMAtogrAPHY: Willie Nel, creAtive Director: Justin gomes, Andrew Whitehouse, Director: Trevor Clarence, eDiting coMPAnY: Deep end, eDitor: Paul West, executive creAtive Director: Justin Gomes, Andrew Whitehouse, FilM ProDuction coMPAnY: Terraplane, MuSic & SounD coMPoSition: Jon Savage, PoSt ProDuction FAcilitY: Refinery, ProDucer: Vanessa La Trobe, recorDing StuDio: Produce JHB, Writer: Gavin Williams

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LOERIES 2011 - 16- 18 SEPTEMBER FESTIVAL WEEKEND

LOERIES The 33rd Annual Loerie Awards takes place from Friday 18 September to Sunday 18 September 2011. This year’s event will be a black-tie affair.

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ttendees can expect sleek and stylish red carpet awards ceremonies, along with a plentiful supply of top notch events surrounding the awards shows. transport has been taken care of, so that attendees can move from venue to venue with peace of mind. ticketholders will have the added benefit of using Cape town’s new IRt bus system over the Festival Weekend, at no charge, including transport to and from Cape town International Airport. easy-reference transport cards will provided by PocketMedia at registration. All

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Loerie ticketholders must register for their accreditation pack at the Grand daddy Hotel in order to get access to events throughout the weekend.

Here is a taste of what will be taking place over the Festival Weekend: FRIDAY 16 SEPT: Loeries registration - Grand daddy Hotel, Long street (09h0021h00); Mayor’s Welcome Function Mingle with the Mayor and industry elite – by invitation only, includes Loerie VIP ticketholders (18h00); eMI Music Battle of the Bands a chance for agency bands to battle it out on stage at Mercury Live – with an eMI recording contract up for grabs. entry is free for all Loerie ticketholders (20h00).

SATURDAY 17 SEPT: Loeries registration - Grand daddy Hotel, Long street (09h00-18h30); Adobe student Portfolio day selected students from sA’s top tertiary institutions display their best work to the industry, at the south African slave Church Museum (09h00-14h00); Camps Bay - the strip comes alive with the legendary Velocity Party, agency lunches and the industry’s most sought-after parties (12h00-17h00); the 33rd Annual Loerie Awards - media interviews on the red carpet, live entertainment, cocktails and canapés – first night of awards (17h00 – last entry at 18h30 and finishes at 21h00); Awards Live Feed - Loerie ticketholders not seated at the CtICC on saturday night can watch a live feed of the awards show at the V&A Waterfront nu Metro (19h00); the Marie Claire Winners Party - join sA’s fashion elite and celebrate the fruits of the evening with the Grand Prix and Gold Loerie winners at this exclusive party – for VIPs and by invitation only (21h00); Agency parties - agency parties will keep Cape town rocking until the early hours (21h00).

SUNDAY 18 SEPT: Loeries registration - includes dedicated media centre at

the Grand daddy Hotel, Long street (09h00-18h30); the 33rd Annual Loerie Awards - media interviews on the red carpet, live entertainment, cocktails and canapés – second night of awards (17h00 – last entry at 18h30 and finishes at 21h00); The Official Party - kicks off at the Fez at the same time as the awards ceremony, with a live simulcast of the awards show.

From 21h00 the CtICC guests will join the Fez for the biggest party of the weekend, including an MtV sound stage, pan-African artists and SA’s finest DJ’s (doors open 17h00).

For more information on the Festival Weekend including categories awarded on each evening, tempest car hire specials, accommodation and travelling VIP-style with kulula.com, visit the Loeries website (www.theloerieawards.co.za). the Loeries is joining forces once again with Creative Cape town to involve the City’s creative community in Creative Week Cape town (CWCt), 9 - 18 september 2011 – a weeklong explosion of innovation right in the heart of the Mother City.

CWCt was initiated in 2010 as a legacy for Cape town’s bid for World design Capital 2014 and events can be staged anywhere in the City. this initiative

offers plenty of opportunity for hosts to exploit their creative talent to the thousands of Loeries attendees flocking to the city for the awards ceremony.

Whether your talents lie in film, design, writing, music, architecture, live performance, crafts or fine art, individuals and organisations involved in all aspects of Cape town’s creative life can come and participate. events which have been confirmed for Creative Week so far include: a coffee morning with a crafty Capetonian designer, a celebration of music at City Hall, Goematronics Remix competition prize-giving, a graffiti art walkabout tour, an award-winning musical at the Labia on Orange, a design studio tour with VIsI and the Cape town design network, the Fringe Forum, a creative exhibition with supadog, and tedx Mfuleni.

For more on Creative Week Cape town, check in with (www. creativeweekct.co.za) or follow on twitter: CreativeCt and Facebook: Creative Cape town.

Major sponsors the major sponsors of the 33rd Annual Loerie Awards are Cape town tourism, the City of Cape town, Gearhouse south Africa

For more information go to www.theloerieawards.co.za

AN INTERVIEW WITH HUMPHREY BARCLAY (for Hark At Barker), spotting the potential of Agony (and maureen Lipman), luring Judi Dench to do her first sitcom, pairing John alderton and his wife Pauline Collins for comedy, discovering andrew marshall and David Renwick (End of Part One / Whoops Apolcalypse / Hot Metal) and setting black sitcom on the right path with No Problem!

E N T E R TA I N M E N T MASTER CLASS HUMPHREY Barclay, one of the UK’s most prolific comedy writers and producers, is speaking at the Entertainment Masterclass’ Sitcom and Comedy Module 9 – 15 September 2011.

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is focus will be storytelling and character in sitcom, specifically the ways in which a concentration on the structure of comic stories, and the interplay of characters can transcend local humour.

Your BBC job was followed by the London Weekend TV gig as Head of Comedy – what stands out for you? i am most proud of the Doctor series because it was so young and modern. also introducing Ronnie Barker to David Jason

The Doctor… series were not only a long-running audience pleaser, but one of the episodes was an embryonic Fawlty Towers.

Apparently you said that there was something there to be developed. How does one identify this potential? i DisCoveReD after i did a pathetically bad pilot for a latenight radio show that i would rather fail by my own choices than by following others’ in which I hadn’t really had confidence in the first place. So I took courage from then on in the fact that someone had asked me to do a certain job because they wanted mY judgement, not a weak copy of someone else’s, and it was seat of the pants from then on.

What challenges arise in developing comedy in foreign territories – was it an adjustment to accommodate American sensibilities, for example? it is very difficult to develop

comedy in a culture which is not your own. Comedy depends on touching the nerve of your audience. it’s tough enough for the native to get it right: what chance has a foreigner?

You have often partnered with or launched the careers of some of Britain’s great comedic talents. It seems that collaboration and team writing is an important theme in your career. How does sharing lead to great comedy?

ComeDY is a nervous business: you are never sure if something is as funny as you think it is: and a reliable uncle figure as producer and script editor is very useful.

You have been responsible for so many British tv firsts (first gay couple in Agony, first authentic West Indian cast in No Problem! and the ground breaking Desmond’s. Does comedy and satire make it easier to tackle “taboo” topics? it wasn’t exactly a deliberate move to plunge into these areas, but i had ears for the people who wanted to, and the power to make things happen. i am very proud of the breakthroughs i enabled. i met a man in a tweed suit smoking a pipe the other day. When he discovered that i had made Agony happen, he said, quite simply, that i had saved his life as a young gay man. easier in comedy? Well, let’s say more ef-

fective in comedy. the ‘lesson’ gets through more acceptably, sometimes less conspicuously, and more memorably.

South African comedy series and sitcoms often tackle multicultural issues through the vehicle of humour. Can you share tips on how we can continue to innovate and look at these issues with fresh eyes?

Use writers from the culture being portrayed. When i talked in sa in 2001 i suggested that every comedy show budget should contain provision for a trainee writer from a non-white background. only thus can the new writer gain experience without the world crashing if he gets it wrong.

Could you tell us more about your script editing work? In South Africa we are so aware of the value of this function in a writing team, a role you have fulfilled for John Cleese.

JoHn likes to have someone to work with - Connie Booth and Graham Chapman to cite two examples: and he likes my input or shall we say he likes the reassurance of my laughter. that only works of course when the writer trusts the editor. that’s the vital part, and not every producer or script editor is right for every writer.

Part of my ‘method’, evolved over the years, is to script edit

‘live’. the writer brings his draft at 10 o’clock: i read it, with him twitching in front of me or walking round the block, and half an hour later we begin discussing it. it’s pretty subjective: ‘i got bored half way down page three: let’s examine why?’ and it is this technique. which sends the writer away at the end of the session knowing what to do next, rather than sitting at home waiting for a set of sometimes incomprehensible notes in the mail, that makes for better progress.

How do you divide your time between Ghana and the UK and what is keeping you busy at present?

HaLf and half: when i am in Kwahu tafo i check the needs and the management of the funding we have enabled, gathering a great deal of photographic and video reportage for our donors, chairing or sitting in on meetings, and cultivating relationships between UK and tafo schools for example: and when i am in UK i fundraise. anyone can learn more about our achievements at www.friendsoftafo.org and the important thing about our small and honest charity is that you really do see what every penny does.

Liezel Vermeulen

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CFC NELSON MANDELA DAY SCREENING

INDUSTRY THE Cape Town Film Commission (CFC) hosted a screening of Reconciliation: Mandela’s Miracle in honour of the former president and global icon’s birthday on 18 July 2011 at the Labia theatre.

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he screening was atended by dignitaries including Cape town Premier and Mayor Patricia De Lille.

Also in attendance were former apartheid minister of justice Adriaan Vlok and at the other end of the spectrum Mandela’s fellow inmates from Robben Island as well as prison

guards from Robben Island. the movie itself was powerful and moving, and its message of reconciliation provoked powerful reactions from many audience members.

Directed by Michael henry Wilson and produced by his wife Carol Wilson, the movie uses some of the most famous, powerful photographs from the Apartheid struggle as well as archival footage and interviews to deliver a visceral lesson about Apartheid and Mandela’s part in defeating it. Some of the archival footage is of a graphic nature, but it adds to the overall message of the movie..

Some of the most moving footage is of Zindzi Mandela reading her father’s words at an ANC rally in the late 80s.

While the footage of Mandela’s release from prison, the 1994 elections and his inauguration is equally powerful. the documentary uses the movie Invictus, directed by Clint eastwood and starring Matt Damon as a companion piece to the real-life events. the hollywood movie’s subject matter is contrasted with the wider political events happening in the country. For many the Rugby World Cup victory in 1995 is seen as a watershed moment in the country’s reconciliation after Apartheid.

Michael henry Wilson’s pre-

vious film credits include the 2007 documentary Clint Eastwood: A Life in Film and the 1998 documentary In Search of Kundun. the Dalai Lama suggested he make a movie about South Africa’s reconciliation in 1998, and he ended up sinking his own money into the film when the finance fell through in the wake of the global recession in 2007. he said: “Reconciliation: Mandela’s Miracle is a project that has been percolating for years. It started taking shape in August 1999 during a private audience with the Dalai Lama when I presented him with a copy of my documentary In Search of Kundun, which includes an in-depth interview with him. he asked what my next project would be. I mentioned that I wanted to focus on the spirit of reconciliation, a theme that concerned the survival of mankind. his immediate response was a question: ‘have you met Nelson Mandela and Archbishop Desmond tutu? You have to go and talk to them. Remember that it all started there in South Africa, with Gandhi.’ “ the Fabulous Boomtown Boys were the production company in charge of the movie in South Africa, with Murray MacDonald acting as the South African producer.

The film features interviews

with a wide variety of people from Clint eastwood to COPe leader Mosuia ‘terror’ Lekota.

Other people the movie speaks to in order to gain a fuller picture of South Africa’s history and present are: Archbishop Desmond tutu; FW de Klerk; fellow political prisoners on Robben Island Ahmed Kathrada and eddie Daniels; former jailer Christo Brand and bodyguards Rory Steyn, Linga Moonsamy.

Zindzi Mandela, the great man’s daughter, also speaks movingly in the documentary as does apartheid activist and judge Albie Sachs. the movie also canvassed the opinions of former Springboks Francois Pienaar, Morne du Plessis, Joel Stransky, James Small and hennie Le Roux - who all show a remarkable degree of insight into the political subtleties of their World Cup victory just one year into South Africa’s new democracy. the heated question and answer session at the end of the movie once again demonstarted that documentaries of this nature are a great way to get people talking and engaging with the soci-political challenges that still face this country. The CFC also confirmed that the movie would be screened at schools in underprivileged areas in the Western Cape.

Staff Writer

SEPTEMBER ISSUE Booking deadline: 12 September 2011 Material deadline: 15 September 2011 Print deadline: 16 September 2011 • PUBLISHER: Film & Event Publishing • PHYSICAL ADDRESS: 57 2nd Ave, Harfield Village, Claremont, Cape Town • PHONE: +27 21 674 0646 • PRINTER: CTP • PUBLISHER: Lance Gibbons (lance@filmeventpublishing.co.za) • EDITOR: Kate Hodges (kate@thecallsheet.co.za) • COPY EDITOR: Sally Fink (sally@filmeventpublishing.co.za) • HEAD OF DESIGN: Jess Novotná (jess@filmeventpublishing.co.za) • ADVERTISING EXECUTIVE: Makkie Slamong (makkie@thecallsheet.co.za) • ONLINE CO-ORDINATOR: Charl Fourie (charl@filmeventpublishing.co.za) • HEAD OF PRODUCTION: Nadia Samsodien (nadia@filmeventpublishing.co.za) DISCLAIMER: Opinions expressed in The Callsheet do not necessarily represent the official viewpoint of the editor or the publisher, while inclusion of adverts/advertising features does not imply endorsement of any business, product or service. Copyright of this material is reserved.

While every effort has been made to ensure the accuracy of the information contained in this publication, The Callsheet and/or its employees may not be held liable or responsible for any act or ommission committed by any person, including a juristic person, referred to in this publication. It and they furthermore accept(s) no responsibility for any liability arising out of any reliance that a reader of this publication places on the contents of this publication.

WWW.THECALLSHEET.CO.ZA SUBMISSIONS: Please submit online at www.thecallsheet.co.za/daily_news/add/ 16

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CROWDFUNDING - IS IT FEASIBLE? Claire Angelique

INDIE FILMMAKING Peter Broderick held a producer’s forum about crowdfunding and crowdsourcing at the Durban Filmmart.

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rowd funding, also known as crowd sourced capital, is basically the concept that a group of people donate money in order to support the creation of a piece of art. In the context of Peter’s talk and the durban Filmmart, the definition refers to filmmakers who convince a diverse group of people to support the making of their film. These filmmakers usually convince people to back them using only a trailer of the film along with their own passion

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about the project.

Crowdfunding doesn’t tend to work unless the filmmaker is able to make a compelling argument in favour of getting the film made. Peter Broderick’s definition of crowd-funding was “raising money online from donations”. He discussed two online platforms for crowdfunding in detail, these were Kickstarter and Indie Go-Go. The two platforms allow creatives to post trailers for their project as well as introductory videos asking contributors for donations toward their projects. Kickstarter has more stringent guidelines – insisting that those seeking funding set a goal and reach that goal in order to get the money they raise. In addition Kickstarter takes a percentage of the money raised and insists filmmakers have a US address. Indie Go-Go is a lot more laid back allowing artists to access any and all funds they raise, operate from anywhere in the world and not take a percentage of funds raised.

Peter cautioned that crowdfunding is a lot of work for filmmakers, and in order to ensure that it’s successful they have to be prepared to work on it and be a part of the initiative. Peter emphasised that people tend to respond to projects – being moved to take out their wallets – when a filmmaker’s passion in tangible. He gave several examples of crowd-funding initiatives with varying degrees of success.

The most well-known crowdfunded movie is The Age of Stupid a British documentary, directed by Franny Armstrong.

The film is a documentary which makes use of drama and animation to tell the story of a futuristic dystopian earth in 2055.

The star of the film, the later Pete Postlethwaite, looks back to the mid-to-late 2000s to ascertain when and how we could have stopped climate change. Using crowdfunding the film raised a £450,000 budget by selling “shares” to 223 individuals and groups who donated between

£500 and £35,000. These groups range from a hockey team to a health centre. All the investors own a percentage of the film and have received a pro-rata share in the profits. The 105-strong crew, who worked for survival wages, also received a share of the profits.

Acclaimed Durban filmmaker Claire Angelique, who used crowd funding through Facebook for her movie Palace of Bones, says the model is good for filmmakers in that it allows for less red tape and complete artistic freedom. She cautioned that there are downsides too, saying: “Some people infer that you are begging for money, but really this is the 21st century and if you’re an independent film maker you’ve got to explore every aspect of modern culture and technology – use it to your advantage in realising your goal which for me is to make feature films, by any means necessary.”

Claire also had some advice for filmmakers considering crowd funding, suggesting: “I think it really helps to have a good track record, you know, I think it works better if you’ve already made a feature film or won some awards.

People then feel that they can trust you. I had already made one feature film, My Black Little Heart, numerous shorts, documentaries and music videos as well as winning many awards so people know that I am serious,

that making movies is my calling and that they’re investing in your future, not just one film but in a personality that is dedicated to the art of cinema and has a strong, successful and long career ahead of them.”

Claire is busy working with Maboneng and Jonathan Lieberman in building a new film and sound studio, rEvolution House Film Studios where they will be shooting a feature film shot entirely in studio about an online friendship called Street Life on Main.

Some other successful crowdfunded movies Peter mentioned were Iraq For Sale, My Reincarnation and I Am (the filmmakers were in attendance at Peter’s talk). He also showed us shorts of other art forms that are being crowdfunded including Indie singer-songwriter Jill Solbule who crowdfunded an album she called Jill’s Next Record and writer robin Sloan who raised funds through Kickstarter.

Peter also touched on the concept of crowdsourcing – comparing the concept to the open source trend expemplified by the online encyclopaedia wikipedia and open-source software Linux. Crowdsourcing generally refers to a project that has contributions from a variety of creatives, often strangers who are recruited online.

Kate Hodges

NFVF ANNOUNCES BIGGER BUDGETS IN DURBAN GENERAL ON Saturday 23 July 2011, as part of Durban Filmmart at the Durban International Film Festival, the NFVF took the opportunity to announce some big changes to their budget and allocation of funding.

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n addition they announced they will be concentrating more of their efforts on distributing films they have helped develop. The move into distribution seemed to raise concerns among many in the room, including the IPO, but the NFVF insisted this move was prompted by a need in the industry.

Clarence Hamilton, the head of development and production at the NFVF, revealed that they have budgeted a R135 million increase in funding over the next three years for sustainable development and production of South African film. In the past it was R100 000 per documentary, from now on documentaries will receive funding to the tune of R200 000, with the nFVF planning to support ten documentaries a year.

R200 000 will be allocated to script development for feature films, while each feature film the NFVF champions can expect to receive R 1.2 million for production. The NFVF aims to help ten features per

year, while the plan to help develop low-budget feature films is ongoing. Promising international television concepts will receive development funding to the value of R200 000.

The NFVF also revealed that they have commissioned a book of analysis of South African film and revealed that they will send out a private call for papers.

Clarence also revealed that the nature of the nFVF’s Masters programme is changing. They will now be looking to train script editors as well as to relaunch the short-film contest.

However the contest will no longer be aimed at first time filmmakers. Clarence revealed that the nFVF will be championing indigenous language films, hinting that these films are successful at home for obvious reasons, but may project at air of authenticity abroad when it comes to awards ceremonies. The NFVF team also revealed that they were keen to put up an additional 150 screens in rural and township areas as part of their ongoing project to develop new audiences in South Africa.

Azania Muendane the had of marketing and public affairs at the NFVF spoke next. She revealed that the SAFTAS call for entries would go out on 1 August 2011. She also revealed that the judging criteria had changed, with only previous nominees and winners qualify-

Clarence Hamilton

ing to be judges. Azania added that the nFVF will continue with their drive to create new audiences. This year they will do that by engaging with the public via a NFVF roadshow – specifically targeting underserviced areas and the youth.

The announcement that caused the greatest stir was that the nFVF will in fact be moving into distribution this

year. They reiterated their position that they were doing this as they felt that the private sector is failing to serve filmmakers when it comes to distributing their work. When the floor was opened up to questions, the concerns raised by the IPO and Denis Lillie from the Cape Town Film Commission included the fact that the nFVF are duplicating programmes

already put in place by other bodies and organisations and that they need to go back and evaluate and support these programmes. Some people felt that the NFVF were overstepping their role as an advisory position – but the NFVF responded that their moves were a result of market failures.

Kate Hodges

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ONLINE NEWS HIGHLIGHTS visiblenightclub.co.za

Ben Ludik

LATEST NEWS GENERAL news from the South African film and commercials industry. You can load your own stories to our website at www.thecallsheet.co.za The Invisible Nightclub launches with an award winning first year Ben Ludik, founder, producer and composer for the Invisible nightclub is proud to announce a successful first year in business.

The Invisible nightclub is a music and sound design studio based in Observatory, Cape Town.

With in the last 12 months the Invisible nightclub has scored

the music to a host of award winning productions ranging from Adidas’ Unite Mzanzi Unite campaign, to the award winning local feature film Skoonheid, which premiered at the Cannes Film Festival earlier this year.

The Invisible nightclub completed work on Die Takhaar met die Bontkar, which won the DFA My Town award at the 2010 Encounters Documentary Film Festival. That was followed by double campaign for Virgin Active with Nomad Productions.

The campaign titled Stories was aired nationally in theatres and on television.

Most recently The INC com-

posed the soundtrack to KIA’s latest Picanto campaign titled Awesome, produced by Giant Films, for Singh & Sons.

Ben Ludik majored in Graphic Design at Stellenbosch University, having always had a vocation for music, he launched The Invisible Nightclub in January 2010. Over the past 12 months he has also established himself as a prominent, Cape Town based DJ. He is a collaborator with the Fiction DJ Bar’s Untamed Youth and The Assembly Nightclub’s Discoteque.

For a full portfolio of completed work visit: www.in-

Sleeper’s Wake starts shooting in KZN SLEEPEr’S Wake is the second co-production between Producer Ken Kaplan’s Bioskope Pictures and Anant Singh’s Videovision Entertainment, the first being the cult horror film, Pure Blood. Kaplan and Berk’s association goes back 15 years to their student days at New York University’s prestigious graduate film school, where they both studied before returning to South Africa to pursue their filmmaking careers.

Berk has had a distinguished career in television directing for the hit British series Wild At Heart and well known South African drama series such The Lab, Gaz Lam, Yizo Yizo. His made-for-TV film, The Good Provider, won Best Family Drama at the BANFF World Television Festival in 2006 and received nine nominations at the South African Film & Television Awards (SAFTAs) including, Best Director and Best Drama.

Sleeper’s Wake stars Lionel Newton (Jozi, Gums & Noses) and Jay Anstey who first gained notice for her portrayal of Tim robbins’s daughter in Phillip Noyce’s Catch a Fire.

Sleeper’s Wake will be presented at the Cannes Film Festival in May next year. Sleeper’s Wake is a Bioskope Pictures and Videovision entertainment pro-

duction starring Lionel Newton, Jay Anstey and Deon Lotz. It is produced by Ken Kaplan, executive produced by Barry Berk, Anant Singh, Sudhir Pragjee, Sanjeev Singh, robert Naidoo, ronnie Apteker and richard Cohen and written and directed by Barry Berk.

Creative Vision gives Coca-Cola an African Heartbeat CrEATIVE Vision was briefed by ad agency Stick to make a commercial for Coca-Cola’s 125 year anniversary. They supplied them with all Coke’s South African commercials dating back to the early eighties and a local remix of the famous “Hilltop” song.

The open brief was to create a uniquely South African montage for Coke’s anniversary. Creative Vision editor, Walter Green, plays a dynamic role in all the company’s work whether it is live action or animation, for off-line approvals he cuts in music, mocks up visual effects, and adds sound effects, creating a vital emotional connection to the viewer.

He has a feeling for rhythm and pace necessary to give his work a heartbeat. Walter said: “I try to work on the subconscious of the audience and place myself in the viewer’s perspective, hoping that they become so engaged that they are not aware of my work. Editing is often referred to as the invisible art.”

We’re distributing 4 000 copies a month free via bulk distribution at film industry commissions and organisations; key industry meeting points like equipment houses, post facilities and broadcasters; on set; and at key industry events.

This means we’ll remain the most read film industry trade publication.

After seven years of carrying the cost of mailing another 4 000 copies direct to everyone else, we’re asking for subscriptions to help us cover our rising distribution costs.

Subscribe now for just R22.80 pm to keep receiving your copy, delivered to your door every month.

Please contact us for a subscription debit order form: nadia@filmeventpublishing.co.za or 021 674 6691.

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FEP’S 25th MONTHLY WRAP PARTY AT TRINITY INDUSTRY EVENTS FILM & Event Publishing’s July monthly wrap party, our 25th such event, was a special affair at Trinity nightclub. The party took place on Wednesday 27 July 2011.

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RINITY proved to be a great choice as the 200-strong attendees brought their dancing shoes and got into the swing of things. Trinity, Cape Town’s first ‘super-club’ is a multi-level night club and restaurant. The venue filled up quickly and firstimers were impressed with the venue.

Guests were welcomed with a delicious cocktail and treated to snacks after the speeches and prize-giving. Our first prize on the evening was a shark cage diving experience for two, We also gave away a free bottle of champagne and entry for four people to Trinity.

Thanks to all our sponsors: Cape Film Commission, Hippo Boutique Hotel, Panalux and Superior Vision as well as to Trinity for helping make our 25th network function a night to remember. A big thank you to Nicholas King, Robert Scrooby and Kevin King for hosting us at their wonderful venue and proving so easy to work with.

Our next wrap party will be at Taj Hotel on 25 August 2011.

Visit Facebook to see the full gallery.

Conrad Callow, James Adams and Richard Rubenstein

Sarah Scott and Mbuyi Makanda

Beccy Kellond, Tricia Francois and Greg Francois

Jeanne Nagy, Lanese Lubbe and Cindy Lee Wilson

Dale Bedford

Tracey Rollino and Neil Du Toit

Nicholas King and Richard Rubenstein

St John Alexander

Jeanne Nagy and Cindy Lee Wilson

Shane Abrahams and Bradley Cooke

DIFF WRAP PARTY AT DOCKLANDS INDUSTRY EVENTS FILM & Event Publishing’s held our first ever Durban monthly wrap party at the Docklands Hotel on on 23 July 2011. The event was attended by locals and those who had travelled to Durban for the Durban International Film Festival.

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Yoliswa Makhasi and Shamiela Williams

Bridget Scarr and Bhekani Shabalala

Sasha Nirmul, Billy Dixon and Liani van Straaten

Yoliswa Makhasi

Neil and Jasylyn from Go Big Productions

Tony and Beth van der Merwe

Dennis Lillie and Marlow de Mardt

Michael Matthews, Kisha CameronDingle, Padraic O’Meara and Sean Drummond

OCKLANDS is situated on the Durban Waterfront, behind uShaka Marine World. The area is a exciting combination of working harbour neighbourhood and upmarket cool.

Guests were welcomed with delicious cocktails and a generous selection of scrumptious canapes. The venue, next to Wodka restuarant and opening onto a beautiful courtyard was spacious and decorated in a funky, eclectic manner.

Guests won some great prizes in our draw, including two nights at Docklands for Cape Town Film Commissioner Dennis Lillie. Our headline sponsors were the Film and Publication Board (FPB). The FPB played an informative video about having movies rated before CEO Yoliswa Makhasi explained to guests what the Film and Publication Board does.

Thanks to all our sponsors: Film and Publication Board, Jameson Irish Whiskey, In-House, Signature and Durban Filmmart and to all who attended for contributing to lovely event.

Our next wrap party will be at Taj Hotel on 25 August 2011.

Visit Facebook to see the full gallery.

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DIARISE SEPTEMBER

UPCOMING FEATURES Troye Sivan with the cast of Spud at the Cape Town premiere

2011 Joburg Arts Alive International Festival 1-25 September, Johannesburg North West Film Festival September, North West Province How to Steal 2 Million 2 September, cinemas Wildlife Film Academy 4 September-4 October, Longkloof Studios, Cape Town Saak van Geloof 9 September, cinemas Entertainment Master Class 2011 1-25 September, Johannesburg People to People International Documentary Conference 9-15 September, Cape Town Film Industry Business Forum 14 September, Andros Boutique Hotel, Claremont, Cape Town Tri-Continetal Film Festival 2011 14-23 September, Johannesburg Viva Riva 16 September, cinemas The Loerie Awards 2011 16-18 September, Cape Town Tri-Continetal Film Festival 2011 21-30 September, Cape Town Fordsburg Film Festival 23-25 September, ajestic Cinema, Fordsburg, Johannesburg Soweto Arts Festival 23-25 September, Soweto.

Gauteng

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Patsha Bay stars in Viva Riva! starting 16 September in South Africa.

How to Steal 2 Million starring Rapulana Seiphemo, Terry Pheto, Menzi Ngubane, Hlubi Mboya and John Kani.

JOBS & OPPORTUNITIES PEOPLE TO PEOPLE GOOD PITCH X THE People to People (P2P) International Documentary Conference, will hold the inaugural Good Pitch X funding and networking forum. The inauguaral P2P Good Pitch X will take place during the third People to People International Documentary Conference from 12-14 to September 2011 in Johannesburg.

For more information, email arya@uhuruproductions.co.za

television and radio production through a partnership between SABC Education and NEMISA. This partnership offers incredible opportunities for learners in the broadcasting environment.

The closing date for applications is 30 September 2011, for more information and to download application forms, visit www.nemisa.co.za or www. sabceducation.co.za. You can also call NEMISA on 011 484 0583

SABC EDUCATION AND NEMISA STUDENTS interested in a career in electronic media stand a chance to win a share of R2 million worth of bursaries for studies in animation, graphic design,

WOMEN OF THE SUN CALL FOR SUBMISSIONS IN the quest to develop longform fiction film women directors, Women of the Sun is inviting projects/scripts of which five

will each be awarded R100, 000 for the production of 60-minute fiction films. Selected directors will have the opportunity to go through intensive directing workshops facilitated by local and international experts to ensure that they direct on-time and on-budget and still get the results they want. Candidates are required to have had some directing experience ie. short films, documentary, PSAs and commercials. Finished scripts must be submitted.

The deadline for submissions is 3 October. For More info visit www.wos.org.za or contact Eve at info@wos.org.za

PAN AFRICAN FILM FESTIVAL CALL FOR SUBMISSIONS THE Pan African Film Festival is currently accepting applications for films and videos made by and/or about people of African descent although filmmaker needn’t be of African descent. Films should preferably depict positive and realistic images and can be of any genre —- drama, comedy, horror, adventure, animation, romance, science fiction, experimental, etc. The PAFF accepts features and shorts; narratives and documentaries.

Deadline to submit films for the Pan African Film Festival 31 October 2011.

DIARISE SEPTEMBER (CONTINUED) Apollo Film Festival 25 September-8 October, Victoria West

OCTOBER Wildlife Film Academy 9 October-8 November, Longkloof Studios, Cape Town Leon van der Merwe, Patricia de Lille, Helen Zille and Denis Lillie at the premiere of Reconciliation, Mandela’s Miracle.

Neels van Jaarsveld, Diane Mostert, Frank and Leigh Rautenbach at the black carpet premiere of The Bang Bang Club.

Photo & Film Expo 13-16 October, Coca~Cola Dome, Johannesburg A State of Violence 14 October, cinemas

MATERIAL/PROGRAMME DEVELOPER REACHING a Generation is looking for a Material Developer who is familiar with Final Cut Pro Editing Suite, Adobe Creative Suite, web design, social media management, scriptwriting and sound editing.

For more information contact Tommy Richardson at mdprojects@rag.org.za $100 FILM FESTIVAL CALL FOR SUBMISSIONS THE Calgary Society of Independent Filmmakers is pleased to present the annual $100 Film Festival from March 1-3, 2012.

The festival embodies the spirit of independent filmmak-

ing and brings the experience of projected celluloid to our audience by only screening film prints. It is the only competitive festival in Canada that screens exclusively on Super 8 and 16mm film. The $100 Film Festival does not charge any entrance fees and pays artist honorariums for all films selected for the festival. The selected films will also be eligible for festival prizes.

Deadline for Entries 1 December 2011. For more information visit www.100dollarfilmfestival. org 2012 SONY WORLD PHOTOGRAPHY AWARDS CALL FOR ENTRIES

THE World Photography Organisation is calling for entries for the Sony World Photography Awards 2012. The Sony World Photography Awards is the world’s most comprehensive photography competition. It includes a Professional competition, which invites entries from the world’s leading photographers and ‘serious enthusiasts’, and an Open competition for everyone with an interest in photography. Each competition has been refreshed with new categories for 2012. For a full list of categories, please visit the website. A new Youth competition has been launched for younger photographers under 20 years of age and the Stu-

dent Focus competition will continue to support and connect the next generation of photography pros. Entries for the 2012 Sony World Photography Awards close on 4 January 2012. The winner of the L’Iris D’Or Sony World Photography Awards Photographer of the Year Award will be presented with $25,000 (USD) plus Sony digital SLR camera equipment.

The overall Open competition winner will receive $5,000 plus Sony digital SLR camera equipment.

For more information please visit www.worldphoto.org.

Charl Fourie

Kenya International Film Festival 21-31 October, Nairobi, Nakuru, Kisumu, Mombasa, Eldoret, Kenya

NOVEMBER M-Net Vuka! Awards November, Theatre on Track Kyalami, Gauteng Wildlife Film Academy 13 October-13 November, Longkloof Studios, Cape Town Platteland 25 November, cinemas For more, visit www.thecallsheet.co.za/diarise Compiled by Charl Fourie

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