The Callsheet Issue 06

ISSUE 06 | 2018

CANN

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L I ON S

CY ANNE

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CONTENTS / 01

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02. R1.92-billion Film

Sector Boost in WC

06 13 26 32

04. Die Vlieende

A PERFECT MATCH LIKE GIN AND TONIC

Tulips and Chimneys has wowed Hendrick’s Gin with their jaw-dropping imagery.

Springbokkie

06. Tulips and Chimneys Brings Gin to Life

07. Durban FilmMart 2018

10. Realness Residency 2018 Participants Announced

13. Shoot Your

SHOOT YOUR COMMERCIAL IN AFRICA The ultimate business case for bringing international commercials to the African continent.

Commercial in Africa

16. Spotlight on SA’s

Hottest Directors

18. Commercial Studios Showcase

20. Audit: Commercial

Production and Service Companies

22. Inside the World of Tabletop

SHORT-FORM ANIMATION

South Africa’s world-class animation companies bring big brands to life, both locally and abroad.

24. Commercial Post Production

26. Animated Successes 28. Commercial Locations 30. The Client Says it Best 32. Andrew Human: The Secrets of Great Advertising

34. The Loeries

Announces Judging Panel

ANDREW HUMAN

CEO of the Loeries spills the secrets to great advertising.

40. Events to Diarise 42. Associations News 44. Directory of Advertisers

02 / WESGRO

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WESGRO HAS HELPED LAND R1.92-BILLION IN FILM & MEDIA PRODUCTIONS IN THE CAPE

W

esgro is pleased to announce that a total of nine film and media declarations contributing R1.92-billion to Cape Town and the Western Cape’s economy were facilitated by our Film and Media Promotion Unit in the 2017/2018 financial year.

This spend on productions will result in approximately 2 449 full time equivalent jobs having been created in the Cape.

In addition to this, the unit delivered over R33-million Advertising Value Equivalent (AVE) through marketing support for the film and media industry.

This outstanding achievement was the efforts of a stronghold two women team - headed by Monica Rorvik and supported

by Lisa Mini, Film and Media Relations Officer. Both women were certi fied as official African Film Commissioner’s by the African Film Commissions Network in November 2017.

The aim of the unit is to att ract the production of local and international film and new media productions into Cape Town and the Western Cape.

Their objecti ve to grow the local industry is aligned to the Department of Economic Development and Tourism’s (DEDAT) 5-year film and media strategy, the Cape Town Film Studios, as well as the film and media promotion mandate from the City of Cape Town.

Congratulating the team on their efforts, Wesgro CEO, Tim Harris, commented: “The film and

media market is a key contributor Creati ve Locations Cape Town to our province’s economy, and and Western Cape, the recent the above results bare testimony launch of the locations website to this. It can garner much more http://locationmanual.com - a international direct investment joint effort between Wesgro and and local growth if we maintain industry. Plus the completion of and stabilize our legislati ve the film research project, Cape and incenti ve frameworks.”

Town & Western Cape Film & During the financial year, the Media Sector Study (Situational unit worked hard to facilitate Analysis Report 2017). the growth of the industry in Working alongside the a variety of different ways.

Wesgro Tourism team, the film This included four outbound and media unit presented at missions to: Cannes, France various stakeholder engagements (May 2017); Toronto, Canada hosted in regions across the (September 2017); Berlin province. Presentations informed Germany (February 2018); regions on how to become more and El Gouna Egypt (October film friendly and how to become 2017); 603 companies were a more att racti ve film location. upskilled through the completion Head of the Film team, of Exporter Advancement Monica Rorvik, commented: Promotion (EAP) courses “Over $30-billion is spent on acti vities – these were done in production by the Motion Picture partnership with industry, and Association companies globally, partnerships around inbound and the likelihood that South missions; as well as numerous ad Africa can grow its footprint of hoc facilitation acti vities which spend from those companies took place, and to mention a from $400-million to $1.5-billion few: visa support, mentoring and is part of an ongoing discussion strategic B2B networking events. to help stabilize national 23 separate inbound strategic frameworks. Wesgro missions were facilitated with FMP is helping to facilitate this participant nationalities from: discussion and to att ract even Austria, Belgium, Canada, China, more of this spend to the region.”

France, Germany, Italy, Japan, Minister Alan Winde added, USA, UK, Qatar, and Russia. 75 “The Western Cape has been Western Cape companies were gaining traction as a destination assisted on outbound missions of choice for filmmakers from to 5 festi val markets: Shanghai all over the world and these Film Festi val, China; Visions results are proof of the excellent du Reel, Switzerland; Annecy, facilities and value we offer. It’s France; Cannes, France; and also good to see the number the Toronto International Film of local jobs being created Festi val, Canada. There was which means that filmmakers ongoing updating of the Creati ve are recognising the skills of place to create Locations book – e-version – a greatour crews.

This sector has a

lot of potential for growth, which will allow us to further develop our skills set and grow the number of jobs available.”

“The Wesgro team has been working hard to resolve red tape faced by our industry, specifically with regard to constructi ve engagements with SANParks and various municipalities. Monica and her team have been pivotal in contributing to the positi ve growth of the local film industry with our company, the South African Association of Stills Producers (SAASP), declaring R521-million and facilitating 168 full time equivalent jobs in the Western Cape over the past financial year,” commented Rudi Riek of SAASP. Commending the unit on their performance, Executi ve Mayor, Patricia de Lille said: “These results are a firm testament to Cape Town being a destination of choice to filmmakers and the work we are amplifying to let the world know that Cape Town is open for business. I would like to commend the media and film promotion unit for their efforts which contributed to this great success and we look forward to building on it to make even more progress possible in this important jobcreating sector for our city.”

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04 / REVIEW

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SOUTH AFRICANS HEAD TO SPACE IN NEW SERIES

Urban Brew Film Studios is producing a proudly homegrown comedy sci-fi series for SABC2.

T

rends in South African cinema box office results have shown the success of locally made genre films: from District 9 to Five Fingers for Marseille and with Keeping Up With The Kandasamys in between. So far, television has failed to move in a similar direction. However, Die Vlieënde Springbokkie, produced by Urban Brew Film Studios for SABC2 and filmed in their new Randburg studio complex, looks like it’s going to be changing the landscape of South African television.

The sitcom series is set in 2068, and follows a spaceship called “Die Vlieënde Springbokkie” as its zany crew transports a host of cryogenically frozen celebrities off of the polluted husk of Earth to “B-Earth”. Unfortunately, their spaceship soon gets lost in space… And a host of shenanigans ensue. While the plot is certainly fun, it’s the talent that elevates the quality of the series. The cast

is an all-star lineup, featuring Antoinette Kellerman, Riaan Cruywagen, Doreen Morris and David Isaacs alongside a range of young actors.

The aesthetic of Die Vlieënde Springbokkie harks back to old-school sci-fi, including Star Trek and Starship Troopers. The

spirit, though, feels more in line with beloved 90s classic Galaxy Quest. Still, SABC2 has stated that the purpose of the show goes beyond pure spoof and skews towards thoughtf ul satire. “Trapped in space, they struggle to maintain their ship afloat, their

sanity and their popularity with the viewing public back home,” writes SABC2. “In some ways they’re a microcosm of South Africa: a theatre of politics.”

Die Vlieënde Springbokkie, written and performed in Afrikaans, airs on Mondays at 19:00 on SABC2.

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CAPENATURE / 05

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CAPENATURE

CapeNature invites you to experience our breath-taking landscapes, including mountains, dams, waterfalls, rivers and in some cases, tarred roads leading up magnificent passes.

Kogelberg Nature Reserve

Keurbooms

Cederberg

YOUR IMAGINATION OUR LOCATION

Hottentots Holland

Rusbos road

South Africa has been described as a world in one country and the Western Cape is renowned for offering every possible cinematic location for its natural and historical destinations.

When searching for the perfect nature location, CapeNature is able to offer you an extensive selection of the most breath-taking landscapes in the world, including mountains, dams, waterfalls, rivers and caves as well as several wellmaintained tarred roads.

Some of our locations have tarred roads complemented by magnificent landscapes making them perfect for vehicle shoots.

For almost a decade now, most

of the world’s biggest vehicle brands insisted on using these stretch of roads to film their latest model, often in top secrecy under strict security.

We can grant you access to The Cape Floral Region, an evolutionary treasure chest, which was added to the prestigious list of World Heritage Sites in 2004. We also render services and provide facilities for research and training, and generate income to sustain our value offerings.

To this effect all revenue raised by filming is ploughed back into CapeNature’s many conservation programmes and acti vities. All our interventions are informed by sound biodiversity principles in an effort to build a successful Biodiversity Economy in the

Western Cape. CapeNature is a public institution governed by the Western Cape Nature Conservation Board Act. 15 of 1998 and is mandated to promote and ensure biodiversity conservation.

We manage various projects and programmes that not only address these conservation objecti ves, but also create significant socio-economic development opportunities.

As the official conservation agency for the Western Cape, CapeNature aims to provide professional scienti fic services to support biodiversity conservation programmes. Our Scienti fic Services Unit (SSU) boasts a world-renowned team of specialists. The Scienti fic Services Unit supply expert advice on indigenous aquatic systems, plants, invertebrates, freshwater fish, amphibians, reptiles, birds and mammals to academic and non-governmental organisations. With prior arrangement via our Marketing department, the Scienti fic Services Unit is available to assist the broadcasting and filming industry.

As per our commitment to stimulate the economy, CapeNature invites all film schools, students and well emerging filmmakers to consider our vast range of locations for their projects.

T: +27 21 200 0764 E: locations@permitz.co.za W: www.permitz.co.za

06 / SPOTLIGHT

A

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PERFECT MATCH

Who else but Tulips and Chimneys could bring Hendrick’s Gin’s unique aesthetic to life?

H

endrick’s Gin’s tagline is ‘Undeniably peculiar, utterly delicious” – a phrase that could equally describe Tulips and Chimney’s acclaimed animations.

“We have long been admirers of the Hendrick’s Gin aesthetic,” says director Ree Treweek.

“Its Victoriana surrealism is so aligned with our style that you can imagine our delight when we were approached by the creative agency Quaker City Mercantile to create an animated spot for the Scottish brand.”

Escape, the result, is an invitation to ‘escape the conventional and embrace the delectable.’ “No one likes commuting,” says executive producer Nina Pfeiffer. “It is a mundane necessity for so many, and that’s why we love

this script so much. Taking something painfully ordinary and giving it that extraordinary Hendrick’s sense of wonder was an absolute joy.”

The heroes’ journeys home to delicious cocktails are truly weird and wonderful, a surreal mix of impossible juxtapositions and hybrid creatures dressed in Victorian fashion: think crowds of narwhals, a dapper gentleman in a tuxedo with the head of a cucumber, a sophisticated lady juggling knives between palm trees, and painted ceramic whales.

Hendrick’s vintage paper cut aesthetic ties together the varied environments. “We loved the idea that the architecture itself reflects the theme of the spot, and is alive and changing,” says Ree. “Our commuters’ office block works like an old-fashioned clock

ESCAPE, THE RESULT, IS AN INVITATION TO ‘ESCAPE THE CONVENTIONAL AND EMBRACE THE DELECTABLE’

hand, while the homes of our lead characters resemble an alligator and a swordfish. We played with scale within the environments and built on the idea that things are constantly changing, from the lighting to the sky tones.”

For the spot’s distinct look, Tulips and Chimneys created layered illustrated artwork in Photoshop, which was then animated and composited in After Effects. When compositing, they added a subtle grain to the film and made use of vignettes, dust, scratches, film burn, light leaks and other imperfections common in old film stock.

“Atmospherics, lighting and motion blur created ‘real world’ feeling to our shots and helped us to create a seemingly limitless Hendrick’s environment,” says Nina. “We’ve stayed fairly close to the look of the brand, but added depth, atmospherics and some subtle moments of surprise.”

WATCH

vimeo.com/267582018 For more information, visit www.tulipsandchimneys.tv/.

CREDITS TULIPS AND CHIMNEYS Director: Ree Treweek Executive producer: Nina Pfeiffer Storyboards: Marc Moyniham Illustration: Ben Winfield, Carmen Ziervogel, Elise Wessels & Ree Treweek Compositing/Animation: Janine van Schoor, Jannes Hendrickz & Shannon Taylor Animation: Alexis Schofield Compositing: Christian Venter Production Company: Strange Beast Executive Producer: Kitty Turley Producer: Zoe Muslim Agency: Quaker City Mercantile (QCM) Account Director: Ali Sullivan Creative Director: Jerry Stifelman Creative Director: Ron Pushkar Sound Studio: Honeymoon Studios

h

at the Durban Internat

ional Film Festival 20

20-23 JULY 09hOO-17h30

Visit www.durbanfilmmart.com to register

18

08 / DURBAN FILMMART

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EARLY BIRD DELEGATE REGISTRATION IS OPEN FOR THE 9TH EDITION OF AFRICA’S PREMIER FILM FINANCE AND CO-PRODUCTION MARKET 20 - 23 rd July 2018 at the 39th Durban International Film Festival.

N

ow in its 9th edition, the DFM programme includes masterclasses, seminars, workshops, labs and networking opportunities for African and international filmmakers to collaborate, share knowledge and benchmark themselves and their work within a global and continental context.

Focus areas this year will include the evolution of digital distribution structures and development and finance trends

shaping the industry. The programme will also explore the future of virtual reality filmmaking and emerging themes and genres.

As South Africa prepares to host the BRICS summit in 2018, the Durban FilmMart programme will take a look at co-production with the BRICS countries as well as the impacts of policy on filmmaking and creative expression. Other topics will include financing opportunities in the respective

countries and the general state of film across the BRICS cluster.

The changing role of women in front and behind the camera will be challenged over the four days. This focus is fuelled by the global #MeToo campaign, but in SA begun with the creation almost two years ago of SWIFT – Sisters Working in Film and Television – now a formidable organisation making important changes in the industry. As part of its important work of lobbying and advocacy for fair representation and equal access of women to the film industry, SWIFT will lead a critical, yet constructive discussion centered on systemic patriarchal systems that perpetuate inequality and the marginalisation of women.

A core component of the DFM is the finance forum in which 16 pre-selected African projects will pitch in sessions with the intention of finding potential sponsors, funders or partners to aid the making of their films.

Early bird registration is open

until 4 June 2018 and includes four day’s access to the DFM Industry Programme, access to DFM producers lounge and DFM networking events, 10 tickets to Durban International Film Festival screenings and company information published in the industry manual.

Go to www.durbanfilmmart.com for more info!

FOCUS AREAS THIS YEAR WILL INCLUDE THE EVOLUTION OF DIGITAL DISTRIBUTION STRUCTURES AND DEVELOPMENT AND FINANCE TRENDS SHAPING THE INDUSTRY.

DURBAN FILMMART / 09

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DURBAN FILMMART 2018 OFFICIAL PROJECT SELECTION FICTION

DOCUMENTARIES

1. Blood & Honey Producer: Mohamed Siam, Guillaume de Seille Director: Mohamed Siam Country: Egypt

1. At Dawn Producer: Adeyemi Michael Director: Adeyemi Michael Country: Withheld

2. Insila kashaka Producer: Sibongile Nene Director: Brian Khawula, Sibongile Nene Country: South Africa 3. Nyanga / The Horn Producer: Sue-Ellen Chitunya, Brett Michael Innes Director: Brett Michael Innes Country: Zimbabwe

2. Cheese Girl Producer: Batana Vundla, Marion Isaacs Director: Milisuthando Bongela Country: South Africa 3. Fitrah: To Be as God Created You Producer: Kelly Scott Director: Richard Finn Gregory Country: South Africa

4. Snake Producer: Paul Egan and Mustapha Hendricks Director: Meg Rickards Country: South Africa

4. How to Steal a Country (And win it back) Producer: Zivia Desai, Rehad Desai Director: Mark Kaplan, Rehad Desai Country: South Africa

5. Streams Producer: Moufida Fedhila Director: Mehdi Hmili Country: Tunisia

5. Master’s Plan, The Producer: Hanne Phlypo Director: Yuri Ceuninck Country: Cape Verde

6. Mother City Producer: Miki Redelinguys Director: Pearlie Joubert Country: South Africa

6. Mother City Producer: Pearlie Joubert, Miki Redelinguys Director: Pearlie Joubert, Miki Redelinguys Country: South Africa

7. Plunderer, The Producer: ikechukwu omenaihe Director: Didi Cheeka Country: Nigeria 8. Porta-Retrato Producer: Aldino Languana, Osvaldo Lupini Bambamba Director: Orlando Mabasso Jr. Country: Mozambique

7. Searching for Kikhia Producer: Desert Power / Christina Carvalho Director: Jihan Kikhia Country: Libya 8. Zinder, The Seeds of Violence Producer: Clara Vuillermoz, Ousmane Samassekou Director: Aicha Macky Country: Niger

10 / SPOTLIGHT

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REALNESS SCREENWRITERS’

RESIDENCY 2018 PARTICIPANTS ANNOUNCED

Realness is a pioneering residency initiative conceived by Elias Ribeiro and Cait Pansegrouw of Urucu Media. Participants for its 2018 editions were announced at the Cannes Film Festival.

S

ince its inception, Realness has nurtured five African auteurs each year, growing into a prestigious incubator of emerging talent that is recognised throughout the global film community. The programme affords a new generation of filmmakers the opportunity to cultivate their talent as authentic voices in African cinema. Now in its third year, the residency has fostered cinematic voices from twelve countries on the continent, including Angola, Senegal and Kenya.

“There is a reason residencies such as the Sundance Labs and the MacDowell Colony are so sought-after. They offer the opportunity to withdraw from the world to create without distractions while exchanging ideas with other exciting artists and receiving expert feedback at carefully considered intervals.

Realness brings that opportunity to Africa,” said international script consultant Selina Ukwuoma.

“With a pan-African focus, the diversity of Africans is celebrated yet the particular concerns that we have in common come to the fore.” Ukwuoma will join Realness for the third consecutive year, alongside top South Africanbased consultant Mmabatho Kau. The two will work in tandem, cross-consulting on all five of the selected projects for 2018.

“Both Selina and I are rooted in the African narrative but have an international outlook on story. Selina’s extensive work internationally and my work locally gives the residents a holistic experience towards developing a world-class script,” added Kau. On Saturday May 12th the five selected projects were announced at the Cannes Film Festival by Realness co-founder

Elias Ribeiro: “After an extensive evaluation of more than 130 projects from 24 countries, it is my greatest pleasure to introduce you to the Realness Residents of 2018. [They are] Kantarama Gahigiri from Rwanda, Matthys Boshoff from South Africa, Ng’endo Mukii from Kenya and Reem Morsi and Mohammed Siam, both from Egypt.”

The five projects were chosen by an international panel of sixteen prolific world cinema stakeholders. “These filmmakers herald an important and exciting new wave of African storytelling

by Africans for Africans and the world. The strength of the projects and the talent driving them will benefit hugely from the expertise exposure and incubation that Realness offers and I look forward to see[ing] how they mature. I’ve been introduced to some truly special emerging talent, who have the potential to compete on the international stage and shine,” said David Kayser of Casarotto Ramsay & Associates.

The 2018 Realness residents will move into the

Nirox Foundation’s beautiful residence and sculpture park in the Cradle of Humankind on June 11th. They will work on their projects over the course of six weeks before participating in the Durban FilmMart. The most promising projects to emerge will then be invited to participate in Locarno Filmmakers Academy, EAVE Producers Workshop, La Fabrique Cinéma de l’Institut Français, Torino Film Lab Meeting Event and TIFF Talent Lab. “Realness continues to carve important relationships with other labs and partners which allow for its residents’ projects to benefit from further growth and exposure. We would like to thank all of our partners, panellists and volunteers, without whom Realness would not be possible,” said co-founder Cait Pansegrouw.

This year the residency welcomes new partnerships with Robert Bosch Stiftung and Organisation Internationale de la Francophonie, as funders of the programme and Toronto International Film Festival has come on board offering a scholarship to their TIFF Talent Lab.

REALNESS CONTINUES TO CARVE IMPORTANT RELATIONSHIPS WITH OTHER LABS AND PARTNERS WHICH ALLOW FOR ITS RESIDENTS’ PROJECTS TO BENEFIT FROM FURTHER GROWTH AND EXPOSURE.

12 / ROBOT

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ROBOT SERVICES OFFERED We handle all logistics for your shoot in Africa and Indian Ocean Islands and pride ourselves in creative production. We’re usually called upon for the tricky locations, and high-energy shoots.

CREATIVE PRODUCTION Robot is a young dynamic company, with years of experience at the helm. We’re owner-managed which means decisions are made quickly without all the red tape. Having worked in both director based and service companies our focus is being personally involved in each project and solving problems creatively. We’re invested as much as our clients and will always look for the best, most cost-efficient way to do something well.

ABOUT THE COMPANY We’re a full-service production company based in Cape Town, and operating throughout Southern Africa. We’re into the unknown, pushing envelopes … about discovery, meticulous attention to detail, agility and speed. We make commercials, music videos and branded content for the international market throughout Africa. We’re a small company with focused energy to get our clients safely into those tricky locations to get their shot.

MEET THE TEAM

Liam Johnson Executive Producer

Godfrey Matsika Production Manager

James Savage Line Producer

CV OF CLIENTS The majority of our clients are European and from UK. We’ve worked with the likes of Tinie Tempah, Tom Odell, Tiggs da Author as well as major brands, from automotive to fashion.

CONTACT US Tel: +27 71 564 2286 | Email: liam@therobot.tv Address: 8 Dorman Street, Gardens, Cape Town, 8001 Website: www.therobot.tv

Stephan Hambsch Technical Director

SHOOT YOUR NEXT COMMERCIAL IN AFRICA / 13

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© Romance Films

WHY YOU SHOULD

SHOOT YOUR NEXT COMMERCIAL IN AFRICA Natasha Skoryk finds that Africa’s skillful crews, wonderful range of locations and world-class creatives ensure the continent remains the world’s leading commercial service destination.

T

he Commercial Producers Association of South Africa (CPASA) found, in its 2017 annual survey, that the industry appears to be dipping, with fewer service commercials done than in previous years.

Describing the last ‘season’, Moonlighting CEO Phillip Key decried it as being “a little less busy” than usual. There are many reasons for this: Cape Town’s

severe water crisis scared off many potential visitors, ongoing political uncertainty globally makes people wary of travelling, and rising costs (in part due to South Africa’s recession) have made it less budget-friendly.

Yet while the industry may have slowed down, it has by no means ground to a halt. Wesgro announced in May 2018 that the film industry in the Western Cape

contributed R1.92-billion towards the economy, and created around 2 449 full-time jobs. These figures demonstrate that while an air of panic has appeared to descend upon South Africa’s film and commercial service industries, business is still booming.

Part of that business has been a growing demand in local work, which has coincided with the emergence of top creatives.

The CPASA survey found more local commercials were filmed as opposed to service work, in a ratio of 1.2:1. “Local work has been consistent but service work was significantly down for us on previous years, in line with the CPA’s research,” said Egg Films’ Colin Howard. He added: “We had about 15% international work; our lowest ever by a significant margin.

14 / SHOOT YOUR NEXT COMMERCIAL IN AFRICA

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© AFS Productions

© Romance Films

But then we had a particularly good year with our local work […] That said, we’ve just done two jobs in a row for the U.S., so we’re starting winter busy.”

South Africa’s homegrown commercials have excelled – as the awards raked in by local creatives firmly attest. Terence Neale walked away from the 2017 Cannes Lions awards with South Africa’s first Grand Prix.

Sunu Gonera was also highly awarded at the event. These are not one-off exceptions; South African creative talent is widely recognised. In fact, at the 2018 Cannes Lions, seven of the judges are top South African advertising executives.

The reality is that with regards to both creativity and technical

© Egg Films

execution, South Africa is on par with and, in fact, surpassing other parts of the world.

The fact that South Africa has some of the world’s leading advertising creatives has helped it weather several major challenges.

Cape Town’s ‘Day Zero’ proved a particular problem, especially with international press chiming in. “The international press shone a very drastic picture on the situation and created an unnecessary sense of panic that could have been avoided,” said Brin Kushner, a director and executive producer for AFS Productions. “It has taken a lot of damage control to assure our clients that it is still business as usual – but with shorter showers!” he added. Still, since sustained

PR efforts from the industry and Wesgro have made it clear that the crisis is being managed, industry leaders are optimistic.

“Now that Day Zero has been pushed back indefinitely and we have a new president, hopefully the narrative is changing again and we’ll start moving up that list once more,” Howard said.

Moreover, many of the wellknown advantages to shooting in South Africa have been unaffected by the crises. “We have an incredible diversity of locations, highly skilled crew, a very deep talent pool,” said Kushner. These solid reasons ensure South Africa continues to be a top-ranking destination, even when the exchange rate and PR scandals like ‘Day Zero’

threaten the security of the industry. Liam Johnson, of ROBOT, added: “I think the[se] advantages are well known.”

The stunning range of accessible locations, in particular, continues to draw in international work. “Everyone knows Cape Town so well,” Johnson said.

Clients know exactly what to expect from locations, and are aware of what they’ll see once they arrive: “I often get briefed about locations directly: Atlantis Dunes, the Unfinished Highway, Kogel Bay beach. We’ve shot in more far-flung places this year: Maltese Cross in the Cederberg and recently Fish River Canyon in Namibia.” These locations can pass for almost anywhere in the world. Kushner recalled,

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SHOOT YOUR NEXT COMMERCIAL IN AFRICA / 15

© Egg Films

© Romance Films

© Moonlighting

“On a recent project in Cape Town in one day we shot a New York restaurant scene, a safari, paragliding, the Amalfi coast, as well as dune boarding!”

The unfortunate reality, though, is that international clients are wising up to an ever-growing pool of possible locations, many of which are priced more competitively than South Africa. “Portugal has become very popular and is close to the client base in Europe. Eastern Europe is limited by language and weather but pricing is cheaper than South Africa,” said Key. Johnson agreed, adding: “We’re losing business to Portugal and Spain.” Many of the international clients choosing to avoid South Africa have small,

‘tricky’ budgets – but these types of projects historically made up much of the commercialservice work business.

As the Wesgro figures cited show, the situation is far from dire. The reality is that few destinations can truly compete with South Africa – given its huge pool of possible locations, the diversity of its population and talent, the technical excellence of crews and the ingenuity of local creatives. Howard said: “With the current exchange rate, we’re not cheap but we’re still good value.” That sentiment is precisely why shooting in South Africa remains so appealing. At this point, even with rising prices, it is hard to find a destination that offers the same standards.

WITH THE CURRENT EXCHANGE RATE, WE’RE NOT CHEAP BUT WE’RE STILL GOOD VALUE. THAT SENTIMENT IS PRECISELY WHY SHOOTING IN SOUTH AFRICA REMAINS SO APPEALING. AT THIS POINT, EVEN WITH RISING PRICES, IT IS HARD TO FIND A DESTINATION THAT OFFERS THE SAME STANDARDS.

Nevertheless, local industry leaders must not be complacent, and ought to tighten their belts and think of ways to remain appealing to international clients. Key said: “We all have to sharpen our pencils. Reducing

crew size is an important part of this. Supply and demand pressures should have an impact on reducing pricing over the winter. We look forward to a well watered, competitive season toward the end of the year.”

16 / SHOOT YOUR NEXT COMMERCIAL IN AFRICA

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SA’S HOTTEST COMMERCIAL DIRECTORS

While many international producers still choose to fly in directors for their commercials, the growing swell of local talent could change the status quo.

Sunu Gonera

SUNU GONERA | EGG FILMS

Zimbabwean-born Sunu – professionally, he is known by the mononym – walked away from the 2017 Loeries Awards as the top-ranking director in the country. Earlier that year, his One Source music video for Absolut received a number of accolades at the Cannes Lions. The video uses afrofuturist imagery juxtaposed with scenes of gritty real life in Ghana. Absolut’s campaign was extraordinarily successful: sales doubled over its course and helped secure its place as the topselling premium vodka in South Africa. Sunu aspires to telling authentically African stories to a global audience; while opening the 2018 Design Indaba, he said: “[N]o matter who is in front of you, your African voice matters and demands to be heard.”

film; Goode only had Bolt on set for three hours, and so had to use a body-double and some CGI for portions of the video.

The video, entitled Prodigy was shortlisted for an award at Ciclope Africa in April 2018.

Since this campaign, Goode has shown no signs of slowing down.

February 2018 saw Goode’s campaign for Volkswagen’s new Polo Vivo released. This warm, entertaining commercial depicts a young Gauteng man ‘sharing his ride’ with a range of family and friends over the course of a busy day. Share the Ride is fun, positive and light-hearted – while being technically proficient and visually intriguing – much like Prodigy. In short, Goode is a key voice on the South African commercial scene, and his body of work attests to this.

ROBIN GOODE | FIGMENT FILMS

PHI | THE STAR FILM COMPANY

You are most likely to know Robin Goode as the director behind Telkom’s Usain Bolt fibre commercial in 2016. The video was famously tricky to

Their I Do It For… video, which formed part of Nedbank’s “See Money Differently” campaign, was shortlisted for Best Direction at the inaugural Ciclope Africa awards. The campaign as a whole won the MarkLives Ad of the Week in November 2017.

Both Ackerman and Parkinson are detail-obsessed filmmakers, who strive to tell rich, visually satisfying narratives through the medium of advertising. PHI’s mission is “to be brave, to be strong, and to be different” – and this translates into a commitment to inclusive storytelling. PHI are determined to show the many shades of humanity.

Their widely praised I Don’t Live for Money video, for example, featured transgender model Elle van Der Burg and outspoken cancer survivor Naniki Seboni.

Africa today. He has worked with a number of major brands, including MTN, Vodacom and FNB. In March 2018, Matlatsi continued collecting awards, when the short film he directed for South African Tourism’s Brand South Africa series – entitled Bheki the uMbaco Maker – won second place at the Creative Circle Annual Awards. Matlatsi is a committed storyteller with an eye for the finer details, and his commercials all show this clearly.

JASON FIALKOV | CARBON FILMS

Having won two gold, fifteen silver and ten bronze Loeries over the course of the last six years, Matlatsi is one of the most in-demand and skilled directors working in South

Fialkov identifies as a ‘storyteller at heart’ – and it is precisely the depth of his storytelling that has led to much of his acclaim. His heart-wrenching First Kiss video, made for the Western Cape Government’s Safely Home road safety campaign, won a Merit in the Cinema award at the 2017 The One Show. First Kiss depicts a couple whose burgeoning attraction – developed over the course of a party – ends in tragedy after the young man fails to put on his seatbelt…

Fialkov has spoken extensively

Robin Goode

PHI

TEBOHO MATLATSI | BOMB COMMERCIALS

Directing duo PHI – made up of Jonathan Pearson and Nicole Ackerman – have made waves with a number of Nedbank commercials in the last year.

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about how this video allowed him to tell a powerful story and send out a strong message.

This is a rare opportunity in the too-often glitzy and glamorous field of advertising, and Fialkov is immensely grateful for it.

GREG GRAY | ROMANCE

Greg Gray is an industry stalwart, who has racked up a vast number of prizes at award shows including Loeries, Cannes Lions, The One Show and Clios, over a prolific career. His commercials have

Greg Gray

repeatedly been featured as MarkLives Ads of the Week. Recently, Gray’s More than Data video for Investec stunned with its black-and-white visuals and dramatic visual effects.

The ad pairs disturbing and beautiful details into a heady mix. Importantly, Gray does not stick to one signature style. For the love of drive, for the 2017 Golf, follows an adorable child as she goes about her day and gets picked up from school in a mustard-yellow Golf. And his heart-warming video for the NSRI, entitled My Dad, shows a loving father missing his adult daughter’s wedding in order to go out on the water and save lives. Gray’s visual ingenuity and ability to evoke powerful performances and tell meaningful stories has secured his spot as one of South Africa’s most successful commercial directors.

NEALE HAS BECOME RENOWNED FOR HIS ECLECTIC STYLE, WHICH IS DISTINCTLY RECOGNISABLE AND THOROUGHLY SATISFYING. Terence Neale

TERENCE NEALE | ROMANCE And finally, no roundup of local commercial directors is complete without Terence Neale, who became the first South African to win a Grand Prix at the Cannes Lions for his Original is Never Finished spot for adidas Originals. Aside from his two iconic adidas campaigns, Neale has collaborated with a range of other international brands, most recently Beats

by Dre. The spot, Above The Noise scored the Grand Prix

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at the Ciclope Africa Awards.

Neale has become renowned for his eclectic style, which is distinctly recognisable and thoroughly satisfying.

He received international acclaim in 2012 for his music videos with Die Antwoord, as well as his iconic Ragga Bomb music video for Skrillex in 2014. Based on his track record, it’s clear that no matter what Neale has in store for the future, it will be visually ambitious and entertaining.

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STUDIO BASED

COMMERCIALS While producers for location based commercials are naturally drawn to the unparalleled vistas in Africa, those looking for studio-based work are bound to leave the continent satisfied.

S

peaking on reasons to shoot commercials in South Africa, Liam Johnson of ROBOT says: “I think the advantages are well known, incredible variation of locations, favourable exchange rate, time zone [compatibility] and world-class, tight-knit crew who get the job done.” And, indeed, the phenomenal pool of locations in South Africa, and around the continent, is wellknown internationally. But South Africa’s studios and backlots get less attention – and this should change. The need for more attention on studio-based work is particularly urgent given the concerns outlined by Commercial Producers’ Association of South Africa (CPASA) around rising costs of location-based shoots, struggles with location availabilities and the stringent regulations guiding location use.

The most famous studio on the continent is, without a doubt, Cape Town Film Studios. Kate Bedya, Senior Vice-President of Physical Production at Warner Bros, said: “In terms of technology, South Africa is actually ahead

© Silverline Studios

of the curve in many respects.

Those sound stages at Cape Town Film Studios are incredibly advanced, and beyond anything I have seen before.” The studio has hosted a number of bigbudget, Hollywood productions – including Tomb Raider and The Dark Tower – but has facilities for smaller-scale productions

and commercial work as well. Its backlot features a permanent medieval set, and its ship has featured on both Black Sails and Outlander. This demonstrates the studio’s commitment to versatility. That said, their facilities are fully booked until 2020, so Cape Town Film Studios is not particularly suited to the

last-minute, fast-turnaround style shoots that make up the majority of commercial work.

Famous though it is, Cape Town Film Studios is not the country’s only studio and backlot facility. In Cape Town’s city centre, Silverline Studios offers clients over 11 000m2 of flexible drive-in studios, workshops,

THE NEED FOR MORE ATTENTION ON STUDIO BASED WORK IS PARTICULARLY URGENT GIVEN THE CONCERNS OUTLINED BY COMMERCIAL PRODUCERS’ ASSOCIATION OF SOUTH AFRICA (CPASA) AROUND RISING COSTS OF LOCATION BASED SHOOTS, STRUGGLES WITH LOCATION AVAILABILITIES AND THE STRINGENT REGULATIONS GUIDING LOCATION USE.

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WITH THE INCLUSION OF BASIC LIGHTING AND LIGHTING SETUPS, YOU CAN PULL OFF THAT SMALL BUDGET PRODUCTION WITH NO STRESS AT ALL. WITH FULL PROFESSIONAL POST PRODUCTION SUPPORT AND FACILITIES, YOU CAN HAVE THE ENTIRE PROJECT COMPLETED UNDER ONE ROOF. © Silverline Studios

make-up rooms, meeting rooms and production offices. Like Cape Town Film Studios, Silverline has hosted international big-budget productions (such as Maze Runner 3 and Dominion), as well as a huge range of local and international commercials. While the studio is clearly top-of-the-range, it has a more flexible schedule and is thus more suited to the quickpaced world of commercial work.

The newest addition to Cape Town’s high-tech studio offering is Atlantic Film Studios, which is situated just 16km outside the city centre. Atlantic Film Studios comprises of eight stages (including a fully equipped kitchen studio and a giant green screen studio), as well as a sizable backlot, which can be adapted as need be. Additionally, there are a number of small, boutique studios dotted around the city, such as Roodebloem Studios and Bree Street Studios, which can host small productions – both local and international

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– at reasonable rates.

In Johannesburg, the going ‘rates’ generally tend to be better suited to commercials facing budgetary constraints. Fully green-screened studio Phoenix Studios, which is situated in the suburb of Randburg, charges only R3 600 per full day, a figure which includes basic lighting services. They focus explicitly on servicing producers facing budgetary constraints: “With the inclusion of basic lighting and lighting setups, you can pull off that small-budget production with no stress at all. With full professional post-production support and facilities, you can have the entire project completed under one roof.” This sort of service is vital given the industry’s trend towards smaller budgets.

Still in Johannesburg, the massive Sasani Studios offers state-of-the-art facilities for a myriad production types. The facility has a rich, interesting history and has played a crucial

role in the development of the South African film and television industries; the first episode of renowned investigate journalism programme Carte Blanche was filmed here. But while the studios are most famous for the television work done here, they are fully customisable and are available for commercial hire. The complex comprises ten separate studios, which can be customised per the clients’ needs and whims.

All studios feature levelled floors, a kitchen, green room, make-up room and dressing room and full generator back up… Which will no doubt prove helpful, should the notorious South African problem of “load-shedding” ever make an unwelcome comeback!

The film industry in KwaZuluNatal has not achieved the same level of revenue turnover enjoyed in the Western Cape and Gauteng. But the development of eThekwini Film City, a project that was greenlit in 2017, might contribute towards changing

this long accepted status quo.

The project is spearheaded

by Durban-born film-maker Anant Singh (best known for Mandela: Long Walk to Freedom), who spent more than fifteen years attempting to get the project started. The massive studios – built on 21 hectares of prime land in Durban city central – will include a number of sound stages and production workshops, TV studios, editing suites and backlot sets. Singh has also promised a walk of fame, and a museum dedicated to South African cinema. The project promises to be a game-changer for the province, and for the South African film industry at large.

According to the CPASA, South Africa may be losing international clients due to “destination fatigue.” While this may be true, it’s the perfect reason for spearheading the role of studio work and studio-based commercials in the country.

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COMMERCIAL PRODUCTION HOUSES OPERATING IN SOUTH AFRICA COMPANY NAME

NOTABLE CLIENTS / BRANDS

WEBSITE

1410 Street

MTN, Standard Bank, Panasonic

www.fourteententh.co.za

7 Films

Johnny Walker, Virgin Money, Russian Bear

www.7films.co.za

th

Africade Productions

Samsung, Landrover, Toyota

www.africadeproductions.com

AFS Productions

Heinz, Old Spice, Microsoft, Apple, IKEA, Hersheys

www.afsproductions.com www.area-51.tv

Area 51 Productions

Boardmans, Shoprite, Pep

Atomik Pictures

Pepsi, Nutella, Kinder Schoko Bons

www.atomikpictures.com

Axis International

Nestle, Audi, KFC, Ford

www.axisinternational.co.za www.bangbangfilms.com

Bang Bang Films

Jagermeister, Hugo Boss, Swatch

BeatRoute Productions

Land Rover, All Gold, Liberty

www.beatroute.co.za

Big Banana Films

Samsung, Rolex, Lindt, MiWay

www.bigbanana.co.za

Bioscope Films

Cadbury, Toyota, Sainsbury’s, Handy Andy

www.bioscopefilms.co.za

Birdfilm

Go Outdoors, Malibu, Orange

www.birdfilm.com www.blackginger.tv

BlackGinger

Natural Chip Co., Nedbank, Santam, Pepsi

BLM Productions

FNB, Engen, Cell C, Sanlam

www.blmsa.com

Blue Sky Films

Coca Cola, Cadbury’s, SA Breweries

www.blueskyafrica.com www.boomtownfilms.co.za

Boomtown Films

Nescafe, Kraft, McDonald’s, Coca Cola, Jagermeister

CAB Films

McDonald’s, Ford, T Mobile

www.cabfilms.com

Carbon Films

Richelieu, VW, Bobtail

www.carbonfilms.tv

Catapult

Garnier, DSTV, Ford

www.catapult.tv

Conduit Productions

Hunter’s, Coca Cola, Nokia

www.conduit.co.za www.creative-vision.co.za

Creative Vision

Nando’s, Tsogo Sun

CSQUARED Productions

Audi, KFC, New Balance

www.c2.co.za

Darling Films

KFC, Toyota, Environ, Hyundai

www.heydarling.tv www.dancinglight.co.za

Dancing Light Productions

Theraflu, Coughex, Dutch Heart Foundation

Delicious Fresh Film

McDonald’s, Lacoste, Energizer, Magnum

www.deliciousfilms.tv

Edenrage Media

Virgin Atlantic, Grolsch, Veet

www.edenrage.tv

Egg Films / Arcade Content

Jameson, Nike, BMC, Cell C, ABSA, Absolut, Metropolitan

www.eggfilms.tv | www.arcadecontent.tv

EuroConnection Production and Management

Coca Cola, Gillette, Sony Ericsson, Club Med Mauritius

www.euroconnection.co.za www.evidencia.co.za

Evidencia Africa Productions

Peugeot, Renault, Frontline, Nesquick

Farm Film / WeShootFood

Nando’s, Heineken, Kellogg’s, Sainsbury’s, Domino’s Pizza,

www.farmfilm.tv | www.weshootfood.tv

Feel Good Films

Nivea, Audi, Nescafe

www.feelgoodfilms.tv www.figment.tv

Figment Films

Audi, VW, Telkom, Toyota

First Productions

ASICS, Das Handwerk, Caffe Latte

www.firstproductions.co.za

Fly On The Wall

USAID, MTV

www.flyonthewall.co.za

Fresh Eye Films

BMW, Nissan, Fuze Tea

www.fresheye.co.za

Frieze Films

OMO, KFC, Flying Fish

www.friezefilms.com www.gatehouse.co.za

Gatehouse

Old Navy, Bombay Sapphire, Budweiser

Gavin Schneider Productions

Grey Goose, Martini, Ferrero

www.gsproductions.co.za

Gentlemen Films

ABSA, HSBC, Virgin Money

www.gentlemenfilms.co.za www.giantfilms.tv

Giant Films / Giant Africa

Haribo, Hershey’s, Kia

Ginger Pictures

Orange, Tigo, Castel, BGFI Bank

www.gingerpictures.tv

Glo Films

Garnier, Radox, Hallmark

www.glofilms.tv

Golden Planes

Zolla, Trenery, Hyundai, Pampers

www.goldenplanes.com

Grinder Films

Amarula, Clarins, Dove Men

www.grinderfilms.com www.groundglass.co.za

Groundglass

Bar One, Toyota, Levi’s

Hammersmith and Elephant

Telkom, Chevrolet, BMW, Bridgestone

www.hefilms.co.za

Happy Cat Films

Nivea, Ponds, Coca Cola

www.happycatfilms.co.za www.hungryfilms.co.za

Hungry Films

Toyota, Nestle, AXE, Jameson’s

Indie Village

BMW, Investec, FNB

www.indievillage.co.za/

Juice Film

Total, Renault, Nissan

www.juicefilm.tv

Jump SA

Takealot, Pam Golding, VW

www.jumpsa.net

Kaap Film

Nescafe, Cheetos

www.kaapfilm.com

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COMPANY NAME

NOTABLE PROJECTS / BRANDS

WEBSITE

Kalahari Film & Media

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

www.kalaharipictures.com

Let it Rain Films

VW, Mitsubishi, Nedbank

www.letitrainfilms.com

Lobster Tree

Nivea, Peugeot, Pedigree

www.lobstertree.com

Lucky Fish Productions

Audi, Goodyear, Investec

www.luckyfishproductions.co.za

Lucky Rabbit Films

Dettol, Cornetto, McCain

www.luckyrabbit.co.za www.miafilms.co.za

Made In Africa Films

Herbal Essences, Mellon Education, Fenistil

Magic Monkey Productions

Verimark, Grolsch, Gillette

www.magicm.co.za

Man Makes a Picture

BMW, Woolworths, Wesgro

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

Mannequin Films

Hermes, Orange, Brutal Fruit

Masters and Savant

Kellogg’s, McDonald’s, Woolworths, Cell C, Clover

www.mastersandsavant.com

McKenzie Rudolphe Film Services

Nike, Bridgestone, Visa

www.mcrud.com

Metal Tiger Productions

Kellogg’s, Orange

www.metaltigerproductions.co.za

Migrate Films

Pfizer, Bentley, Samsung, VW

www.migratefilms.tv www.moprod.co.za

MO Production

Audi, Reebok, Chloe

Monkey Films

Smirnoff, Playstation, Marriott Rewards, Hellmann’s

www.monkeyfilms.co.za

Moonlighting Film Production Services

Samsung, Daikin, Lays, Experian, Heinz, Garnier

www.moonlighting.co.za www.motioncityfilms.com

Motion City Films

Vaseline Men, Fanta, Kia

Mothership Africa

BMW, Mercedes Benz, Evian

www.mothershipafrica.co.za/

Muti Films

MTN, BestMed, British Airways

www.mutifilms.co.za

Mushroom Media

Lipton, Amstel, Steers, Toyota, iStore, Mugg & Bean

www.mushroommedia.co.za

Navigator Films

Bank of America, Kia, Guiness

www.navigatorfilms.co.za www.nomadprod.com

Nomad Production House

Wrangler, 4YOU, Virgin Holidays

North South Productions

Adidas, Pampers, Deutsche Bank

www.northsouthproductions.com

Nowhere Else Productions

Peugeot, Kiri, Yves Rocher

www.nowhereelse.co.za www.olafilms.tv

Ola Films

Norwegian Church Aid, Nicotinell, SMD

Orange Films

Volvo, Levi’s, Norrlands Guld

www.orangefilms.co.za

Passing Trains Film & Television

Spur, ProNutro, Jameson, Re/Max

www.passingtrains.co.za

Philo Films

BMW, Guerlain, Yamaha

www.philofilms.co.za

Picture Tree

Kulula, IDC, VW, Mastercard

www.picturetree.co.za www.pistoleros.co.za

Pistoleros Films

Edgars, Woolworths, Caltex, Niknaks, Voltaren

Plank Film Productions

Cell C, Hollard, Chicken Licken

www.plank.co.za

Prinz Productions

Lidl, Canon, Sony, Chevrolet

www.prinzproductions.com www.propellerfilms.co.za

Propeller Films

Migros Supermarket, Amstel, Panadol, Fedhealth

Red Dot Productions

Amstel, Lucozade, PHB Bank

www.reddotproductions.co.za

Red Petal

Ford, Bebe, Feldshloesschen Craft Beer, Nivea Sun, Opel Corsa

www.redpetal.co.za

Reeleyes

Campina, Deloitte, Garnier, Securex, Renault, Vital

www.reeleyesfilm.com

Rocket Films Africa

Lexus, Samsung, B&Q

www.rocketfilmsafrica.com www.rollingpictures.co.za

Rolling Pictures

South African Airways, Barclay Card, Bentley, Hitachi

Rolling Thunder

Durex, Vanish, Alfa Romeo

www.rollingthundersa.co.za

Filmworks

Nissan, Laughing Cow, Mountain Dew

www.filmworksgroup.com www.silverliningpictures.tv

Silver Lining Pictures

Private Property, EA Games, LG, Visa, World Youth Forum

Shootaway Production

Formula 1 Melbourne, South African Pork

www.shootawayproduction.com

Smokin’ Gun Productions

BMW, Chivas, Nintendo, Wii

www.smokingun.co.za

Spitfire Films

Isuzu, Sunlight, Vodacom

www.spitfirefilms.tv

Star Productions

Nescafe, Discovery, Panado

www.starproductions.co.za www.stillking.com

Stillking Films

Sheraton, Samsung, Guiness, Pepsi

SugarStone

OMO, Cuddlers, DSTV

www.sugarstone.co.za

Sukuma Media

Department of Water & Sanitation, Hollards Insurance

www.sukumamedia.co.za www.thebigpicture.co.za

The Big Picture Company

McDonald’s, Doritos, Lidl

The Bomb

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

www.thebomb.co.za

The Kinetic

Transnet, Grolsch, Samsung

www.thekinetic.co.za

The Network

LG, Toyota, Panasonic

www.thenetwork.co.za

The Shooting Gallery

Lindt, Unilever, Saudia Airlines

www.theshootinggallery.co.za www.they.za.com

They

Chicken Licken, Barclays, Ster Kinekor, Hyundai

Trike Films

Magnum, Bridgestone

www.trike.co.za

Waterston Entertainment

Discovery Vitality, Ford, Nikon Africa Trust

www.waterston.tv www.wickedpixels.com

Wicked Pixels

All Gold, Design Indaba

Your Girlfriend

Stimorol, Kitkat, Metropolitan

www.yourgirlfriend.tv

Yum Yum TV

TGI Fridays, Lucky Star, Nedbank

www.yum-yum.tv

Disclaimer: Although there are many successful production companies servicing the local and international commercials sector, due to limited space in the Callsheet we are unable to include them all. Please get in touch if you would like your business added to the list.

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THE SCRUMPTIOUS WORLD OF

TABLETOP PRODUCTIONS

Over the last decade, South Africa established itself as one of the ultimate destinations for tabletop work – but reduced budgets and a host of additional challenges are squeezing this niche sector.

© Yum-Yum.tv

S

outh Africa has developed a reputation for producing top-quality tabletop commercials. Companies like WeShootFood, Grinder Films, and Yum Yum have all secured their spots on international ‘go-to’ lists where it comes to filming technically proficient food spots. Commercials for major international food and supermarket brands have all been

filmed in South Africa. However, this niche has been weathering major storms in the last year or so as a number of unforeseen challenges have arisen.

Rob Payton, of WeShootFood, said: “Like the whole commercials sector, the tabletop studios have definitely been negatively impacted by the strength of the Rand, overseas producers’ perceptions of the drought in

the Western Cape, and the political uncertainties that prevailed earlier in the year.”

As Payton himself points out, these challenges were not unique to the world of tabletop; the entire commercial industry in South Africa had to deal with them. However, tabletop studios face additional turmoils.

The first of those is the general, worldwide trend away

from close-up, tabletop style commercials. “There has been a definite move away from traditional tabletop product commercials to lifestyle commercials, where everything is about family and provenance.

So a lot more scripts are location based, where the product is incorporated within the live action story,” says Payton.

This means that studios and directors who had previously focused exclusively on tabletop are having to diversify. “At WeShootFood we are not simply a tabletop company or a studio. We are food specialists, whether that be on location, at a clients’ premises or in the controlled environment of a tabletop studio,” said Payton.

That sort of ‘can-do’ attitude is vital in order to survive in this increasingly competitive arena.

Part of this increase in competition stems from the changing times that come with internet culture. “There is a huge upturn in the number of people marketing themselves as tabletop food specialists, we see this as a direct result of the age of Instagram and food bloggers, where there must be close on a million images of plates of food being uploaded daily,” said Payton. This type of engagement is changing the landscape of the

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BECAUSE CGI TECHNOLOGY ALLOWS FOR MORE LAST-MINUTE REVISIONS AND REPACKAGING THAN TRADITIONAL LIVE ACTION SHOOTS. IT’S POSSIBLE FOR THE CLIENT TO CHANGE THEIR MIND AND MAKE EDITS WITHOUT HAVING TO GO BACK INTO STUDIO.

industry, and changing clients’ expectations around the final product. Clients increasingly look to hiring influencers as opposed to studios, and get additional exposure for their product. Moreover, many of these new-age tabletop professionals – working with Insta-ready equipment rather than in traditional tabletop studios – can market themselves at lower prices than their more experienced colleagues. Alain Proust, a director with Yum Yum, says, “Pricing is very difficult. It seems that most final decisions are taken on pricing not quality. Creativity is being hampered by budgets.”

The notion that budgets for tabletop work are shrinking is certainly cause for some concern. But not all news on the budget side is dire. “I have

© Yum-Yum.tv

been lucky enough to continue my work with innovative retailers like Lidl, and Dunnes Stores in Europe,” said Payton, “and despite lower budgets, we have been able to come up with some really creative solutions, and done work that both the client and ourselves are happy with.”

Payton generally finds the recent shifts in the industry to be somewhat exciting. He says, “There is a really healthy trend in the way that agencies are adapting to the needs of client for fast turn around quality content for web, viral and social media. Its not enough just to deliver a film from a script anymore, we all have to see the potential of value-added uses for that material in different formats and across different platforms.” Tabletop specialists are now having to increasingly

© Yum-Yum.tv

expand their product offerings, and are producing multi-media experiences for consumption across a range of platforms.

According to Proust, this more fast-paced nature of content in the internet age might actually be partly to blame for the shrinking budgets: “The short life of campaigns does not warrant a big investment from the client.”

Another trend – and challenge – in the tabletop sector is the growing use of CGI. “There has been an increase in the amount of CG imagery being used, where a few years ago these products would have been shot as live action in a tabletop studio,” says Payton. This is because CGI technology allows for more last-minute revisions and repackaging than traditional live action shoots. It’s possible for the client to change their mind and make edits without having to go back into studio.

“As a purist, I can still see the difference, particularly in CG Liquids,” Payton adds. But he does see a possible partnership developing between the live action sector and the CGI teams. At WeShootFood, the team has been working towards striking that balance: “Often a live action tabletop shoot

combined with CG elements provides the best creative options. We have great CG guys we work with here to achieve the best result from script to screen.”

While the commercial service sector in South Africa has generally had a difficult year, tabletop productions have had to battle more. But the trends that could put the sector out of business – increasingly fast turnaround times, a heightened focus on multi-media and multiplatform content, shrinking budgets and a move towards CGI – could also be seen as opportunities. As Instagram shows us daily, people love looking at food almost as much as they love eating it.

Yet as all of the above has shown, the forecast is far from bleak. “We are seeing enquiries coming from new areas, not just the traditional agency route,” says Payton. “In the last year I’ve been approached by TV stations, food manufacturers, restaurants and even lobbying companies to create strong visual stories centred around food.” Perhaps that ought to be the takeaway for the tabletop sector and the industry as a whole. If you tell compelling stories about and featuring food, consumers will watch – and, hopefully, walk away hungry!

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THE STATE OF

POST-PRODUCTION

South African post-production houses are technically advanced and produce work at an impeccable, world-class standard – making this the perfect destination for finishing your commercial.

I

s South Africa an attractive destination for post-production work? Matthew Swanepoel, one of the country’s critically acclaimed editors (he recently took home a SAFTA for his work on Inxeba), has a clearcut opinion on the matter.

“Absolutely!” he exclaims, “We not only have the creative ability, technical knowledge and infrastructure, but are the most beautiful country in the world.”

While many sectors in the film industry have been shrouded by a cloud of worry following the political instability, rising

© Priest

cost of living, and the water shortage in the Western Cape, post-production houses remain decidedly optimistic. Part of this is due to the incredible quality of professionals. “We have true talent across the board,” says Michelle Barrow, Head of Production at Priest. “From incredible story-telling editors, to master colourists, animators who put many internationals to shame and compositors who thrive on beauty and perfection. Not to forget our incredible sound gurus,” she adds. The calibre of talent gets clients interested,

and keeps them coming back.

In the past, the technical knowledge of local postproduction teams has been questioned – especially when compared to the standards expected internationally.

Historically, South Africa has had fewer training institutions and post-production houses, and smaller budgets, than destinations in the developed world. Nathan Anderson, a Houdini artist at Priest, says that this should no longer be a concern. “Nowadays there is an abundance of resources

and training available on the internet which gives us access to the same information as anyone else overseas,” he says, “I don’t think we can complain about any lack of skills here.”

Barrow adds that industry has become more willing to spend money. “Many studios and facilities are willing to make large investments in equipment, and training thereof, to keep up to date with the latest technology,” she says. This willingness to invest in equipment and skills development has gone hand-in-hand with a more positive, collaborative spirit running throughout the sector.

“With the need to remain on par with our international competitors, we are seeing more of a collaborative synergy between the post studios… Sharing knowledge and skill so that we are able to compete on an international level,” Barrow explains.

While the collaborative spirit no doubt is related to a need for professional growth, it’s also most likely the result of a smaller sector than others in the film industry. “Having worked in post-production across Europe our facilities are of equal standard, just fewer of them,” says Swanepoel.

Post-production facilities are dotted around Cape Town and Johannesburg, with an even small number in Durban.

But the facilities that do exist – from Priest, to Refinery, to

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Bladeworks, The WorkRoom and Maker Moving Pictures – are producing work that’s of an impeccable, internationallyacclaimed standard.

As with any sector in any industry, there are challenges.

“The investment [on training and equipment] often outweighs the return, unfortunately,” says Barrow. Reasons for this include the fact that technology generally has to be purchased from abroad, and unfortunately the exchange rate does not favour spend in Rand. Another problem, she notes, is the trend towards smaller budgets across the film industry – while cost of living in South Africa continues to rise. Still, Barrow does not find herself getting despondent about these facts. She explains the bright side: “this creates a determination to overcome these obstacles, therefore making it an affordable and collaborative destination for Post-Production.”

Jessica Cash, a content producer at Priest, notes that international collaborations are also becoming increasingly common, and these lead to skills development and results that surpass expectation. She recounts: “Last year we shot our biggest TVC commercial yet for a South African brand that had up until that point never advertised on television. The production was collaboration between South African and French post production houses, so it was very exciting for the Priest team to work so closely with creatives

© Priest

from Europe.” These sorts of opportunities not only serve to develop the sector – through skills share and skills transfer – but tend to result in beautiful outputs.

As such, the future of such collaborative projects looks bright.

“South Africa offers the full post-production pipeline with the latest technology and resources available to accommodate every post requirement,” says Barrow.

No matter what the vision, South African post-production professionals are always willing rise to the challenge. Anderson recounts his most challenging

– and exciting – project to date: “We did a project for Puma where we had to create a 3D animation of the new Blue Bulls kit. We decided to try out the photogrammetry approach of taking photos of the actual shirt from all perspectives and then using that information to reconstruct it in 3D. It was a first for us and it came out looking great.”

Anderson’s anecdote demonstrates the willingness of the South African postproduction world to experiment: to try out new things, learn

and adapt to new technologies, and at the end of the day, to produce a phenomenal endproduct that leaves the client satisfied. This willingness to please has been noted across all film service sectors, and is one of the major reasons international clients keep returning to sunny South Africa.

Cash, for one, sees a bright future for her industry, and the country as a whole: “We are a dynamic, vibrant and young country that has the skills and resources to compete on a global scale.”

LAST YEAR WE SHOT OUR BIGGEST TVC COMMERCIAL YET FOR A SOUTH AFRICAN BRAND THAT HAD UP UNTIL THAT POINT NEVER ADVERTISED ON TELEVISION. THE PRODUCTION WAS COLLABORATION BETWEEN SOUTH AFRICAN AND FRENCH POST PRODUCTION HOUSES, SO IT WAS VERY EXCITING FOR THE PRIEST TEAM TO WORK SO CLOSELY WITH CREATIVES FROM EUROPE. THESE SORTS OF OPPORTUNITIES NOT ONLY SERVE TO DEVELOP THE SECTOR – THROUGH SKILLS SHARE AND SKILLS TRANSFER – BUT TEND TO RESULT IN BEAUTIFUL OUTPUTS.

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© Tulips and Chimneys

ANIMATED SUCCESSES! While much of the South African commercial service industry has struggled in the past year, animation is still at the top of its game.

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he 2017 Commercial Producers Association of South Africa’s (CPA) annual survey found that the local service industry is in decline, with many international clients choosing other (cheaper) destinations. The Cape Town water shortage further resulted in a loss of jobs within the film service industry. However, while live-action producers are struggling, the animation industry continues to attract a lot of lucrative projects from around the world.

This could be attributed in part to the meteoric rise of long-form animation in South Africa, as evidenced by the award success Triggerfish Animation Studios has seen with Revolting Rhymes and their earlier features. Studios

like Triggerfish have secured South Africa’s place on the international map. But the success demonstrates a deeper level of development within the industry.

Firstly, the industry is fortunate to have an active association and regular governmental assistance.

Founded in 2006, Animation South Africa (ASA), the country’s official animation industry body, provides a huge amount of support through numerous events, funding and other opportunities for both upcoming and established animators, artists and other creative working in the field. ASA states its motivations very explicitly: “Our vision is to nurture a vibrant, sustainable and transformed Animation and VFX industry for South

Africa, offering a diverse range of content and services that is unique and globally competitive.”

So far, ASA has clearly been successful in achieving its mission.

Events like the annual Cape Town International Animation Festival (CTIAF), which last took place in March 2018, had over 2 000 people in attendance and 60 panel speakers. This is no surprise given that the busy line-up included business-to-business sessions, producer events, networking opportunities, workshops and government panel discussions in addition to a student competition and outreach programme.

That student competition is sponsored by Nickelodeon – aptly showing how CTIAF has become a major hallmark on the world animation stage.

As a result of this growing number of opportunities and increase in visibility, the animation industry keeps on improving. Ree Treweek, of Cape-Town-based studio Tulips & Chimneys, notes: “I think [our industry’s] getting better and better. Our pool of artists and talent is expanding and we are producing top-quality work.” Jean Mortlock, of Lung Animation, also thinks the industry’s heyday is only just beginning. “Our talent is incredible, she says, “we go above and beyond to produce the best content. We’re eager to be the best and are always researching to stay ahead of the game.”

There are a number of successful short-form animation studios around South Africa.

These include Tulips & Chimneys, Lung, Wicked Pixels, Masters

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& Savant and Black Ginger.

All of these companies bring together a number of elements to ensure their success: creativity, talent, skill, artistry and – as Mortlock points out – continued determination to please their local and international clients.

The growing pool of talent can make it harder for smaller (and younger) animation studios to break through. “[There are] more studios all going for the same piece of pie,” says Mortlock.

It’s not just Lung feeling this pressure. “It can be a very competitive industry,” adds Treweek. And another problem facing local animators is access to software and the constant updates required to stay on par with international competitors, which is especially difficult for upcoming studios. Still, all these everyday problems can, of course, be viewed in a positive light too.

“The daily challenges keep us on our toes,” Mortlock says.

Tulips & Chimneys is renowned for its distinctive character design and unusual, otherworldly artistry.

This allows them to collaborate with brands that consistently strive for extraordinary aesthetics – from the CTIAF, whom they’ve partnered with previously, to

© Lung Animation

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Hendrick’s Gin. On the latter campaign, Treweek says: “We really pushed the envelope in terms of illustration, depth, atmospherics and created subtle moments of surprise in the animation. It’s a brand we wanted to work with for years and really was a dream job. Their Victorian aesthetic and the surreal dreamlike world we were able to explore was fantastic!”

Lung’s animated characters are quirky too. They create stylised, computerised figures that have worked extremely well in their adorable campaigns for Lufthansa and All Clear Travel Insurance. “We’ve worked on a few incredible international campaigns lately. From creating all the moving content for the Mobile World Congress in Barcelona, Shanghai, and Los Angeles,” says Mortlock, “to creating all the animations for Strait Access Technologies which specialises in heart devices for cardiologists.” This wide range of possible companies to work for aptly demonstrates the depth of talent available in the South African animation landscape.

The growing interconnectedness of the world is helping local animators.

Mortlock notes that Lung, for instance, has travelled extensively in the past year.

They sent delegations to the Ottawa Animation Festival in Canada, the World Mobile Congress in Barcelona and are planning to attend the Annecy Animation Festival in June. The ASA is instrumental in creating additional opportunities for locals to travel; in September 2018 they will be sending a fully funded delegation to Ottawa.

The National Film and Video Foundation has also assisted by providing funding to cover the travel costs of young animators.

On top of traditional animation projects, Lung Animation also does a lot of work in virtual reality (VR) and visual effects. “VR is gaining a lot of attention at the moment and we’re intrigued

by the the possibilities it has to offer so [we are] experimenting a lot with animation in the VR space,” Mortlock says, with great excitement. It’s not only experimentation, though: “We’ve completed a number of VR campaigns for Woolworths and Volkswagen.” These have both been extremely effective. Again, international travel is imperative for local creatives to discover the growing trends – and to pick up new (and hone old) skills.

Treweek also notes the growing trend towards virtual and alternate realities. “VR and AR are of course opening up great platforms to experiment and develop,” she says. “We are very excited about this field and hopefully will have some exciting projects to share in the near future.”

WE REALLY PUSHED THE ENVELOPE IN TERMS OF ILLUSTRATION, DEPTH, ATMOSPHERICS AND CREATED SUBTLE MOMENTS OF SURPRISE IN THE ANIMATION.

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ON LOCATION We discover some of versatile locations available for commercial shoots around South Africa.

A

ccording to the 2017 annual survey done by Commercial Producers Association of Southern Africa (CPA) almost 58% of commercials are filmed in the Western Cape, 39% are made in Gauteng and a mere 3% are filmed in other provinces. While Cape Town and the Western Cape are, indeed, attractive destinations for commercial work, this is a pity as many of the other destinations around South Africa are beautiful too – and can double as all sorts of other international spots!

Below are just a couple of these easily accessible locations.

GAUTENG

Johannesburg, Gauteng © SA Tourism

While the survey does show that clients know about Gauteng, the area has a lot left to discover.

“We’ve got a very safe option for Africa,” says Deon du Preez, an award-winning location scout working in South Africa.

Johannesburg’s gritty, urban

cityscapes can represent cities almost anywhere in the developed or developing world – from Mombasa to generic USA. The historic, colonial buildings within the city centre can even be used to represent Europe or be the set for a period piece. And the city’s

Knysna Heads, Western Cape

famous, sprawling townships can be used to represent almost anywhere in Africa.

But the truly unusual, diverse spots lie beyond the safety of Pretoria and Johannesburg.

These hidden gems, as identified by the Gauteng Film Commission, include landscapes such as the various historic mining towns and attached decommissioned mines, geological formations and caves nicknamed the Cradle of Civilisation due to the fossils found here, a number of precolonial settlements, farmland, wetlands, lakes and much more. One of the most unusual finds is a large Buddhist complex in the village of Bronkhorstspruit called Nan Hua Buddhist Temple. This complex can be used to ‘cheat’ for various locations in Asia!

Gauteng has a subtropical highland climate and is well-known for its clear skies all year round.

The weather is always temperate owing to the area’s high elevation.

KWAZULU-NATAL The longform film industry in KwaZulu-Natal is growing rapidly, in part due to the proactive attitude of the KZN Film Commission, and the area is wonderful for commercial work as well. “There is a range of unique unspoiled ‘never-filmed-before’ locations,” says Carol Coetzee, CEO of the KZN Film Commission.

Despite the untouched nature of the area, it is easily accessible.

King Shaka International Airport in Durban is serviced by a range of international airlines, which fly from major global airports including Heathrow, Dubai, Doha and Istanbul – making the destination one connect away from most places.

There are also regular flights from the major South African airports like OR Tambo and Cape Town International.

The unique, vibrant locations range from the sprawl of the Durban metropolis (which can in

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parts be “cheated” for India) to the Drakensberg mountain range – with its perfectly preserved San rock art – and to tropical forests elsewhere. Should you be looking to feature wildlife in your commercial, KwaZuluNatal has an abundance of game, birds, other small animals and flora. If you film here in winter, you’ll find the Drakensberg mountains are shrouded in snow – opening a whole new range of location possibilities.

Another major advantage is that location costs here are cheaper than in the Western Cape or even in Gauteng, while skilled crews are still widely available. Coetzee notes the abundance of “willing service providers in different regions of the province” and the “fastgrowing talent pool” as major benefits for service clients.

The climate is subtropical. In summer, temperatures often rise above 30 degrees Celsius. The rainy season is from October to April, with tropical thunderstorms in the afternoon. In coastal areas, winters are mild to warm, the temperatures on average are over 20 degrees, and the probability of rain is low – while the weather in the Highlands gets much colder.

WESTERN CAPE The most developed region for the

Cape Town, Western Cape © SA Tourism

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Drakensberg Mountains, KwaZulu-Natal © SA Tourism

film industry in South Africa has earned its reputation as a leading commercial destination for a number of good reasons. While the CPA reports international clients complaining about the surging prices in the area, the fact remains that there are few places on the planet that can double as so many others as the Western Cape can.

From the South of France in the Winelands to the Middle East in the Cape Town city centre, as well as the Caribbean on its sandy beaches, the Western Cape has probably featured as just about every continent. The stunning

WESGRO IS RUNNING A CAMPAIGN TO PROMOTE WATER-WISE TOURISM AND INDUSTRY, AND CAN PROVIDE TIPS TO MAINTAIN COMFORT WHILE PREVENTING ADDITIONAL DAMAGE. mountains, glorious beaches and many colonial buildings ensure the area is extremely versatile. On top of the spectacular locations available here, there are a vast number of studios and postproduction facilities. The crews here are incredibly technically skilled, having worked on a range of big-budget international films and commercials, and the infrastructure overall is world-class. While many international clients have grown wary about coming here due to the water shortage, Wesgro is running a campaign to promote water-wise tourism and industry, and can provide tips to maintain comfort while preventing additional damage.

The climate in the Western Cape is Mediterranean, and characterised by warm, dry summers and mild, rainy winters.

While local film professionals speak of ‘the season’ as the summer months, production can take place here year-round.

EVERYWHERE ELSE Again, while one of the main challenges facing the film service industry in South Africa is the increase in pricing in the Western Cape, much of the country remains affordable – especially for those whose budgets are in foreign currency. Recently, the Eastern Cape hosted a Film Indaba where they resolved to start a film commission for the area. The Eastern Cape has a number of completely untouched, affordable locations for budgetfriendly yet creative commercials.

This largely rural province is easily accessible via Cape Town, and is welcoming and hospitable to visitors. Additionally, drone shots from across the country have been used by international films and commercials.

In short, South Africa offers more than just the Western Cape – and shooting your commercial anywhere in the country is bound to be a wonderful experience.

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THE

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CLIENT SAYS IT BEST

So you’re still not sure why you should shoot your next commercial in South Africa?

We think the following clients have said it best.

HARRI GRACE

Senior Producer, Grain Media

“Allan and the team at Glo Films were absolutely wonderful to work with. We needed a team in South Africa to produce and shoot a complicated sequence, which we needed to stitch seamlessly with other footage from around the world. The preproduction stage required location scouting and talent sourcing, and then the shoot day required a combination of following our instruction and providing their own creativity. Throughout the whole process they were professional, communicative and creative. They went above and beyond what we asked for them, and delivered a perfect film. I would recommend them highly.”

Absolut One Source © Sunu (Egg Films)

The Most Interesting Man © AFS Productions

Terence Nealle’s work for Adidas

DON BLOCK

Owner/Executive Producer, Gartner

“I am a Los Angeles based producer and have owned and operated my company Gartner for 30 years. In that time we have produced thousands of commercials in the U.S and in every corner of the world and with many production partners. As far as I’m concerned, when it comes to shooting with AFS it simply doesn’t get any better anywhere in the world that I have experienced, including LA. I always leave Cape Town marveling at what they’ve managed to pull off on our productions and with the grace and style with which they do it. AFS is as good as it gets, ANYWHERE!” Absolut One Source © Sunu (Egg Films)

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AN AMAZING CREW, WITH A KEEN SENSITIVENESS AND ATTENTION TO DETAIL - THE VERY BEST SERVICE YOU COULD WISH FOR.

Terence Nealle’s work for Adidas

MARK WHITTOW-WILLIAMS Producer, Academy Films

“We regularly come to South Africa and predominantly Cape Town. They consistently seem to have good weather.

Great crews, good selection of British and European looking locations, and with the added advantage of it being nearly the same time zone, one sleep on the plane and you are there! The exchange rate, although it bounces around, is still a viable option for cost effective production. There are multitudes of facility houses that are all of the highest quality for service and production expertise, but for me the one that stands out is Egg Films. It’s a very well established and trusted company that has a very good standing with local government for permits and obtaining the correct permissions.

With scripts changing and being updated right up to the days prior to shooting, you need a company with the experience and depth of knowledge that knows the right people to talk to and make sure things run smoothly. They hold good standing with crews and always seem to have the right Head of Department for the script being shot. What’s not to like?”

Absolut One Source © Sunu (Egg Films)

© AFS Productions

FERDINAND RACZ

Assistant Producer, Markenfilm Crossing

“An awesome production with the best service an absolute recommendation. Egg Films supported us in numerous expansive productions throughout South Africa, a massive undertaking handled with the highest quality of professionalism. They didn’t just help in Cape Town, but travelled with us to the most secluded corners of South Africa. Wherever we went, they went.An amazing crew, with a keen sensitiveness and attention to detail - the very best service you could wish for. We will be back again and again…”

Absolut One Source © Sunu (Egg Films)

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THE SECRETS OF

GREAT ADVERTISING

Andrew Human, CEO, The Loeries

C

reati vely awarded work is 11 times more effecti ve in generating a market share increase – a reality the region’s advertising industry can use to its advantage ahead of this year’s Loeries.

Yet, if advertisers did only what market research recommended, advertising wouldn’t be creati ve and it would certainly not win any awards.

Would it matter? Undoubtedly yes, says Andrew Human, CEO of the Loeries Africa Middle East.

There is a clear link between creati vely awarded advertising and commercial success. In a landmark 2010 whitepaper, The Link Between Creativity and Effectiveness, the Institute of Practi tioners in Advertising (IPA) merged data from ten years of its Effecti veness Awards (which rigorously assess marketing ROI) with scores over the same period from The Gunn Report (an annual publication ranking the most creati vely-awarded advertising). The result showed

the relationship between ‘greater’ creati vity and better results.

It found overall, creati velyawarded campaigns are 11 times more efficient than non-awarded ones at driving market share growth. They are also more successful across business metrics like sales volume gain, market penetration, customer acquisition and loyalty.

After 12 years at the Loeries, Human has seen the best work the industry has produced and offers these tips for creati ves looking for regional recognition.

“Innovation is the most important ingredient. Without a great idea you have nothing, and you can’t fi x a bad idea – no matter how much money you throw at it, it remains a bad idea,” he says.

The quality of execution also matters – it’s one thing having an idea, but it takes a lot to do it properly. Human follows this with three words for would-be winners: relevance, relevance, relevance.

“First you’ve got to be relevant to the audience. Second, you’ve got to be relevant to the brand. And third, you’ve got to be relevant to the chosen medium.”

To reach this level and master advertising, according to Human, agencies have to work hard: “To be effecti ve, great advertising doesn’t need to be prett y. It doesn’t even need to be visual.

It certainly doesn’t need to be expensive. What is does need – and here’s the real secret – is a quality of unexpectedness.

Advertising that is memorable and truly delights the audience is unpredictable, a litt le outthere, and sometimes crazy.

It’s important not to forget to have some fun,” says Human.

Human believes that advertising needs to be everywhere the customers are, and today’s customers are in wildly different places. Our attention is divided by multiple platforms and it’s very difficult to att ract our focus. This means that brands need to work a great deal harder to engage with us, putting award-winning creati vity front and centre for the foreseeable future, he said.

“Purchase decisions are often based on emotion not logic,”

says Human. “And it’s the role of advertisers to sway those emotions in favour of your product. Humour is really good at delivering a compelling message, and any time people share your advertising, you’re onto a winner.”

From this year, in August, the Loeries is now including points for Finalists in its Official Rankings across Africa and the Middle East.

In the past the Loeries only awarded points for Bronze awards and above. From 2018, ten Finalists awards will be equivalent to one Bronze award, and Finalist points will be capped to a maximum of 30 Finalists – equivalent to three Bronze awards. This is good news for Kenya, as more agencies have more chances to better represent their creati ve performance and once the annual Loerie rankings are announced Kenyan agencies will know how they are performing against their peers.

The awards take place during Loeries Creati ve Week Durban from 13 to 19 August. More information can be found on loeries.com

INNOVATION IS THE MOST IMPORTANT INGREDIENT. WITHOUT A GREAT IDEA YOU HAVE NOTHING, AND YOU CAN’T FIX A BAD IDEA – NO MATTER HOW MUCH MONEY YOU THROW AT IT, IT REMAINS A BAD IDEA.

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LOERIES

JURY PRESIDENTS ANNOUNCED

T

he Loeries 2018 jury presidents bring global leadership and experience to Loeries Creati ve Week taking place in Durban in August. Four of the world’s top creati ve leaders will guide over 160 judges in the process of selecting the best of brand communication from across Africa and the Middle East.

The jury presidents are: Fabian Frese, chief creati ve officer at Kolle Rebbe, in Hamburg Germany; Nicolas Courant, executi ve creati ve director at Ogilvy & Mather, Singapore; Sebastian Padilla, co-founder of Anagrama in Mexico; and chief creati ve officer Swati Bhatt acharya from FCB ULKA in India.

The four jury presidents will also speak at the DStv Seminar of Creati vity during Creati ve Week.

Loeries CEO, Andrew Human, says the Loeries is globally recognised and the jury presidents are selected from the world’s top creati ves.

“We have jury presidents who represent the creati ve diversity of three continents and

four countries,” said Human.

“Each is a leader in their fields and cover the range of film, radio, digital, out-of-home, print and design sub-sectors of the advertising and brand communication industry.”

A total of 18 countries from across Africa and the Middle East entered the Loeries in 2017 – the benchmark for creati ve excellence in the advertising and brand communication industry.

Human adds: “The DStv Seminar of Creati vity is a once-off opportunity to hear these industry leaders speak and anyone involved in marketing, advertising and design should attend.”

The jury presidents are four of the eight speakers in the DStv Seminar of Creati vity which takes place on Friday, 17 August 2017 at the Durban International Convention Centre (ICC) and forms part of Loeries Creati ve Week which runs in Durban, South Africa 16 – 19 August.

For more information visit loeries.com

The Loeries Awards

Fabian Frese, Chief Creative Officer at Kolle Rebbe, Germany

Sebastian Padilla, Co-founder of Anagrama, Mexico

Swati Bhattacharya, Chief Creative Officer from FCB ULKA, India

Nicolas Courant, Executive Creative Director at Ogilvy & Mather, Singapore

WE HAVE JURY PRESIDENTS WHO REPRESENT THE CREATIVE DIVERSITY OF THREE CONTINENTS AND FOUR COUNTRIES,... EACH IS A LEADER IN THEIR FIELDS AND COVER THE RANGE OF FILM, RADIO, DIGITAL, OUT-OF-HOME, PRINT AND DESIGN SUB-SECTORS OF THE ADVERTISING AND BRAND COMMUNICATION INDUSTRY.

18/05/2018 10:43

Ap_Mip_Com_advert_203x276.indd 1

36 / PRODUCTION COMPANIES, SERVICES AND SUPPLIERS

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CAPE DIRECT

CELEBRITIES CASTING AGENCY

HAPPY CAT FILMS

Cape Direct is a film production service company specifically set up to work with international film production companies, organising and coordinating film shoots in Southern Africa. We offer a full range of services from casting to post production.

We have an extensive portfolio of loyal clients who have worked with us over the past 20 years at Cape Direct.

CCA has all races and ages with a dedicated department specialising in Asians. Representing over 500 Oriental models, actors, stuntees, talent, translators, extras & kids in Cape Town, JHB & Durban. With international models from Shanghai, Beijing Hong Kong.

Our collective experience stretches across commercials, stills photography, feature films, documentaries and all types of TV programming. We work with you, as a part of your team, always thinking creatively and strategically. It’s our business to assist YOU in turning YOUR ideas and vision into a physical reality.

23 Grebe Crescent, Flamingo Vlei, Table View, Cape Town T: 021 461 4691 / 082 550 6911 W: www.capedirect.com

17 Nobel Park, 6 Old Paarl Road, Bellville, Cape Town T: 021 826 8268 E: briefs@celeb.co.za W: www.celeb.co.za

T: +27 21 422 2795 M: +27 82 497 75 36 E: rachel@happycatfilms.co.za W: www.happycatfilms.co.za

AQUILA PRIVATE GAME RESERVE

SILVER BULLET FILMS

KAYOS CASTING DIRECTORS

Aquila Private Game Reserve lies in a valley between the Langeberg and Outeniqua Mountains, where the 10 000 hectare conservancy is home to the Big 5 and wild game. Dramatic Karoo landscapes make the reserve a vision of red hues, hills, pans, rock formations and desert-scapes, reminiscent of the ‘Wild West’.

Silver Bullet Films brings a combination of experience from feature films, documentaries and commercials to major live events, extreme sport and digital media. From concept to delivery, we create our own content and help you to make yours.

We’ve got your casting covered!

R46, Touws River T: +27 21 430 7260 E: res@aquilasafari.com W: Aquilasafari.com

1st floor, 73 Rose Street Bo-Kaap, Cape Town T: (021) 424 3575 E: diana@silverbullet.co.za W: www.silverbullet.co.za

Combine seamless systems and technology with incredible teamwork and trusted industry relationships, and you’ve got yourself a Kayos Casting.

And a massive dose of peace of mind.

Now casting Cape Town and Joburg!

H101 The Hills Building, Buchanan Square, 160 Sir Lowry Road, Woodstock 7925 T: 084 457 1341 E: monique@kayos.co.za W: www.kayos.co.za

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7 FILMS

LOCATION GALLERY

SETS NON STOP

We are a passionate eclectic team of filmmakers driven to create innovative, entertaining and interesting content.

Our company philosophy is story first, which we see as our greatest strength.

Based in Cape Town, Location Gallery is one of the city’s leading location agencies providing a wide range of properties for the international and local production industry. Each season, clients have inspiring, unique and dynamic location choices, from beach houses to bars, rooftops to modern & classic homes.

An inspired set construction company Creative vision is the elixir, a drug that beckons with it’s obsession, irresistible Ideas come to life in three-dimensional space, intoxicating A concept evolves, a channel of expression extends, a form materializes – life imitates art Shadows paint graphic planes, the animated textures The artists critical gaze, uncompromising

27 Landskroon Street, Bellville, Cape Town, 7493 T: +27 21 913 6594 E: Nina@7films.co.za W: www.7films.co.za

140 Waterkant Street, Greenpoint, Cape Town, 8005 T: +27 21 418 1714 E: info@locationgallery.co.za W: www.locationgallery.co.za

T: +27 11 882 8822 / +27 83 268 3194 E: action@setsnonstop.co.za W: www.setsnonstop.co.za

THE NETWORK PRODUCTIONS INTERNATIONAL

BIRDFILM

GINGER PICTURES

The Network’s production philosophy revolves around two key factors to answer production enquiries as fast as possible and - to operate in a way that keeps our clients financial risk to a minimum. This means reliable advice, realistic budgets and a clear understanding of the ‘actual’ cost of your productions.

Outstanding technical expertise and great logistics allow us to foster favourable relationships with suppliers and crew which results in your getting the most bang for your budget for commercials, music videos, stills and long form. Simply put: our job is to make you look good.

Kim White - Executive Producer T: +27 82 417 8608 E: kim@ntwk.co.za W: www.thenetwork.film / www.thenetwork.film/jp

Unit 305 Salt Circle Building, 19 Kent Street, Woodstock, 7925 T: +27 21 448 8771 / +27 82 920 6033 E: alan@birdfilm.com W: www.birdfilm.com

Ginger Pictures is a production and a servicing company based in Johannesburg, South Africa. We operate in English, French, Italian, Dutch, German and we specialise in TV commercials, animation, print, digital, AR/VR and radio advertising. We have shot in over 30 countries all over the world (Africa, USA, India, Europe).

139 Wilson Street, Northcliff, Johannesburg, South Africa T: +27 76 030 7284 E: julie@gingerpictures.tv W: www.gingerpictures.tv

38 / PRODUCTION COMPANIES, SERVICES AND SUPPLIERS

www.thecallsheet.co.za

CAN-CAN FILMS

GEO TRACKS

NAMIB FILM

Under the dynamic leadership of Di Britz, one of South Africa’s most experienced commercials producers, Can-Can offers local expertise and an innovati ve approach to facilitating international commercials in Cape Town, Southern and East Africa and the Indian Ocean Islands. Please contact Di for further information.

Manufactured from super-tough industrial-strength sheeting, Geo Tracks makes traveling over mud, sand or lawns a breeze and reduces environmental damage and repair costs. Geo Tracks have been used for makeshift roads, landing pads for helicopters as well as parking platforms for heavy-duty machinery.

“Never underestimate the advantage of local knowledge” the slogan for the Namibian film company Namib Film, has served visiting producers well. Combining local knowledge with a high standard of service delivery and experience, Namib Film is the ideal partner to facilitate feature films, commercials, music videos, stills productions, etc.

Di Britz (Executive Producer) M: +27 83 227 3041 E: di@can-canfilms.co.za W: www.can-canfilms.co.za

Morten Nielsen M: 072 376 4405 E: geotracks1@gmail.com Donovan Roberts-Baxter M: 072 103 1871 E: geotracks2@gmail.com W: www.geotracks.co.za

62 Nathaniel Maxuilili Street, Swakopmund, Namibia T: +264 64 463 371 E: info@namibfilms.com W: www.namibfilms.com

GEO TRACKS A Complete Temporary All Terrain Road Access System

FROG SQUAD

METAL TIGER

THE POUND

The Frog Squad: Marine and Commercial diving services, Underwater cameras and operators for marinebased films shooting in Southern Africa and Mauritius. #Teamfrogsquad

Metal Tiger Productions is a streamlined production company offering huge experience without the expensive frills.

With Liz O’Shaughnessy at the helm, they do it all to avoid unnecessary costs. Genres of film production include commercial service, stills, music video, features and documentary.

Doing a Car Shoot?

Jason Martin M: +27 82 349 6688 E: jason@frogsquad.co.za W: www.frogsquad.co.za

PO Box 13693, Mowbray, 7705 M: +27 82 45 44 100 T: +27 21 448 8794 E: liz@metaltigerproductions.co.za W: www.metaltigerproductions.co.za

Need experienced car crew that: • Think on their feet?

• Have all the right tools?

• Access to specialist vehicles?

• Skilled drivers?

• Competent mechanics?

• Killer detailers?

Make it easy for yourselves….

Call The Pound now on 0826845575 E: mary@thepound.co.za W: www.thepound.co.za

RE

AL

CA R S FO R F

IL M

DIFF

19-29 JULY

20-23 JULY

20-24 JULY

39 durban

THE

TH

film festival www.durbanfilmfest.co.za

full house

DIFF

international

40 / EVENTS TO DIARISE

www.thecallsheet.co.za

JUNE BROOKLYN FILM FESTIVAL 1 – 10 New York, USA SYDNEY FILM FESTIVAL 6 – 17 Sydney, Australia SHEFFIELD DOC/FEST 7 – 12 Sheffield, United Kingdom DANCES WITH FILMS 7 – 17 Hollywood, USA THE BANFF WORLD MEDIA FESTIVAL 10 – 13 Banff, Canada ANNECY INTERNATIONAL FILM FESTIVAL AND MARKET 11 – 16 Annecy, France PROVINCETOWN INTERNATIONAL FILM FESTIVAL 13 – 17 Provincetown, USA

AMERICAN BLACK FILM FESTIVAL 13 – 17 Miami, USA MIDNIGHT SUN FILM FESTIVAL 13 – 17 Sodankyla, Finland SAN FRANCISCO INTERNATIONAL LGBTQ FILM FESTIVAL 14 – 24 San Francisco, USA RIVER FILM FESTIVAL 15 – 30 Padua, Italy

INTERNATIONAL FESTIVAL OF CREATIVITY (CANNES LIONS) 18 – 22 Cannes, France NANTUCKET FILM FESTIVAL 20 – 25 Nantucket, USA EDINBURGH INTERNATIONAL FILM FESTIVAL 20 – 1 July Edinburgh, Scotland SERIESFEST SEASON THREE 22 – 27 Denver, USA

NEW MEDIA FILM FESTIVAL 16 – 17 Los Angeles, USA

SUNNY SIDE OF THE DOC 25 – 28 La Rochelle, France

SHANGHAI INTERNATIONAL FILM FESTIVAL 16 – 25 Shanghai, China

BERLIN SHORT FILM FESTIVAL 28 – 1 July Berlin, Germany

NATIONAL ARTS FESTIVAL 28 – 8 July Grahamstown, South Africa TAIPEI FILM FESTIVAL 28 – 14 July Taipei, China CAYMAN ISLAND INTERNATIONAL FILM FESTIVAL 29 – 2 July The Cayman Islands KARLOVY VARY INTERNATIONAL FILM FESTIVAL 29 – 7 July Prague, Czech Republic

EVENTS TO DIARISE / 41

www.thecallsheet.co.za

AUGUST SAN ANTONIO FILM FESTIVAL 1–5 San Antonio, USA LOCARNO FILM FESTIVAL 1 – 11 Locarno, Switzerland

JULY ZANZIBAR INTERNATIONAL FILM FESTIVAL 7 – 15 Zanzibar City, Tanzania MADRID INTERNATIONAL FILM FESTIVAL 21 – 28 Madrid, Spain PLETT FOOD FILM FESTIVAL 9 – 11 Plettenberg Bay, South Africa

MELBOURNE INTERNATIONAL FILM FESTIVAL 2 – 19 Melbourne, Australia MAINE INTERNATIONAL FILM FESTIVAL 13 – 22 Maine, USA SAN FRANCISCO FROZEN FILM FESTIVAL 19 – 22 San Francisco, USA PERIPHERY OF EMPIRE SHORT FILM FESTIVAL 23 – 29 Sessa Aurunca, Italy

MZANSI WOMEN’S FILM FESTIVAL 6–8 Johannesburg, South Africa RHODE ISLAND INTERNATIONAL FILM FESTIVAL 7 – 12 Rhode Island, USA

SARAJEVO FILM FESTIVAL 10 – 17 Sarajevo, Bosnia and Herzegovina LOERIES CREATIVE WEEK 13 – 19 Durban, South Africa ATLANTA UNDERGROUND FILM FESTIVAL 19 – 21 Atlanta, USA SILWERSKERMFEES 22 – 25 Cape Town, South Africa SOUND ON SCREEN FILM FESTIVAL 24 – 26 Cape Town, South Africa MONTREAL WORLD FILM FESTIVAL 24 – 4 September Montreal, Canada

DURBAN FILMMART 20 – 23 Durban, South Africa

GUANAJUATO INTERNATIONAL FILM FESTIVAL 25 – 29 Guanajuato, Mexico

THE ADVENTURE TRAVEL FILM FESTIVAL LONDON 10 – 12 London, United Kingdom

ODENSE INTERNATIONAL FILM FESTIVAL 27 – 2 September Odense, Denmark

ODESA INTERNATIONAL FILM FESTIVAL 13 – 21 Odessa, Ukraine

TRAVERSE CITY FILM FESTIVAL 31 – 5 August Traverse City, USA

POPCORN FRIGHTS FILM FESTIVAL 10 – 16 South Florida, USA

VENICE INTERNATIONAL FILM FESTIVAL 29 – 8 September Venice, Italy

Photo by Analise Benevides on Unsplash

FINGAL FILM FESTIVAL 10 – 12 Fingal, Ireland

DURBAN INTERNATIONAL FILM FESTIVAL 13 – 23 Durban, South Africa

42 / ASSOCIATIONS NEWS

The National Film and Video Foundation (NFVF), an agency of the Department of Arts and Culture was pleased to once again lead the delegation representing South Africa at Cannes Film Festival. The NFVF officially co-hosted the South African Pavilion and proudly flew the South African flag, with the Industrial Development Corporation (IDC).

The following five South African films were included in the official programme.

1. Rafiki 2. The Harvesters/Die Stropers 3. Miles from Nowhere 4. The Colour of the Skull 5. Inxeba/The Wound The NFVF provided support to seven South African filmmakers to attend the festival through the markets and festival travel grant. The purpose of this grant is to provide financial support for South African filmmakers to attend local and international film festivals to promote their projects.

“International film festivals are platforms that help promote South African content to the world and to see proudly South African films being selected to form part of the 71st Cannes official programme goes to show that the film industry in South Africa is doing something right,” said NFVF CEO, Zama Mkosi.

For more info visit www.nfvf.co.za

DOCUMENTARY FILMMAKERS OFF TO SHEFFIELD Nineteen local filmmakers have been approved to represent the Documentary Filmmakers’ Association at the Sheffield Doc/Fest in June in the UK with the financial assistance of the Department of Trade and Industry’s EMIA scheme.

Additionally, one South African team (How to Steal a Country, directed by Mark Kaplan) will be participating in the MeetMarket component of the festival. Only 65 docmaking teams participate in these 1:1 pitch meetings.

The festival received over 550 submissions, a figure that highlights Kaplan’s achievement. The opportunity to apply to the DFA’s trips abroad is only available to paid-up members, although training sessions for market readiness are open to all interested filmmakers.

The market readiness sessions are advertised on the DFA’s social media.

For more info visit www.docfilmsa.com

LACK OF ACTOR PROTECTION ALARMING The recent death of Odwa Shweni, on a film-set in the Drakensberg has left the acting community reeling; it once again highlights the absence of statutory protections for those who work in the performance industries.

Without pre-empting the outcome of official investigations, SAGA believes important questions must be asked and answered. On the face of evidence compiled by SAGA, it appears that there may be reasonable grounds for criminal prosecutions and civil claims to be instituted.

Questions of direct liability aside, SAGA is distressed at the glaring shortcomings in the legislative framework that have facilitated this unnecessary sacrifice of a life.

The legal status of an actor in South Africa is that of an ‘atypical worker’; performers are considered to be ‘independent contractors’ rather than ‘employees’.

For this reason, they are specifically excluded from the protections afforded other workers by the raft of labour legislation, that includes the Basic Conditions of Employment Act, the Unemployment Insurance Act, the Compensation for Occupational Injuries and Diseases Act and, importantly, the Occupational Health and Safety Act. As long as actors and other freelancers are denied their right to access this framework, they will remain at the mercy of a handful of unscrupulous producers who either pay lipservice to safety regulations or flout them altogether.

#THATSNOTOKAY Sisters Working in Film and Television (SWIFT) hosted a workshop on 10 May 2018 to work through sexual harassment in the industry and address the #MeToo campaign.

The event featured a panel of experts and was open to all women in the industry, but closed off to press.

SWIFT stands with all women in film and TV who come forward with allegations of sexual misconduct against others in the industry.

They work with legal and psychological support structures to provide such women with the appropriate support. Whilst they advocate for the legal process to take its course, they are aware that in many instances it is the women’s voice that is silenced and the burden of proof weighs heavily on the women. It is for this they say #ThatsNotOk. As SWIFT’S research, carried out in 2017 shows, a culture of sexual harassment is far more prevalent in our industry than would appear on the surface. Too many women have had to endure the violence of sexual harassment, violation and rape, not only in Hollywood, but in South Africa as well.

Any women who would like to contact SWIFT can do so at advocacy@swiftsa.org.za.

All communication received is treated with the utmost confidence and discretion.

For more info visit www.swiftsa.org.za

Photo by Irina Kostenich on Unsplash

THE 71ST FESTIVAL DE CANNES SOUTH AFRICAN PRESENCE

www.thecallsheet.co.za

44 / DIRECTORY

www.thecallsheet.co.za

DIRECTORY OF ADVERTISERS COMPANY

TELEPHONE

EMAIL

WEBSITE

PAGE

7 Films

+27 21 447 4523

jason@7films.co.za

www.7films.co.za

37

AFS Productions

+27 21 424 9999

info@afsproductions.com

www.afsproductions.com

17

Annecy

+33 04 50 10 0900

info@citia.org

www.annecy.org

43

Aquila Private Game Reserve

+27 21 430 7260

res@aquilasafari.com

www.aquilasafari.com

36

Bird Film

+27 21 448 8771

alan@birdfilm.com

www.birdfilm.com

37

Can Can Films

+27 21 461 7950

di@can-canfilms.co.za

www.can-canfilms.co.za

38

Cannes Lions

+44 203 033 4012

marianb@lionsfestivals.com

www.canneslions.com

Inside Back Cover

Cape Direct

+27 21 461 4691

dianne@capedirect.co.za

www.capedirect.com

36

Cape Nature

+27 21 200 0764

locations@permitz.co.za

www.permitz.co.za

05

Celebrities Casting Agency

+27 21 826 8268

briefs@celeb.co.za

www.celeb.co.za

36

CTICC

+27 21 410 5000

info@cticc.co.za

www.cticc.co.za

03

Durban Film Mart/DIFF

+27 31 311 4243

sharon.ngcobo@durban.gov.za

www.durbanfilmmart.co.za

07 - 09, 39

Fine Tune Studios

+27 10 020 8400

producer@finetunestudios.com

www.finetunestudios.com

Inside Front Cover

Frog Squad

+27 82 349 6688

jason@frogsquad.co.za

www.frogsquad.co.za

38

Geo Tracks

+27 72 103 1872

geotracks2@gmail.com

www.geotracks.co.za

38

Ginger Pictures

+27 76 030 7284

julie@gingerpictures.tv

www.gingerpictures.tv

37

Global Bodyguard Solutions

+27 11 824 0334

saint@intrigue.co.za

www.bodyguardservices.co.za

04

Happy Cat

+27 21 422 2795

rachel@happycatfilms.co.za

www.happycatfilms.co.za

36

Imwe Namibia Holdings

(+264) 64 46 3371

guy@imwe.com.na

www.namibfilms.com

38

Kayos

+27 84 457 1341

monique@kayos.co.za

www.kayos.co.za

36

KwaZulu-Natal Film Commission

+27 31 325 0200

lungiled@kwazulunatalfilm.co.za

www.kwazulunatalfilm.co.za

11

Location Gallery

+27 21 418 1714

info@locationgallery.co.za

www.locationgallery.co.za

37

Loeries

+27 11 772 1220

info@loeries.com

www.loeries.com

32 - 34

Metal Tiger Productions

+27 82 454 4100

liz@metaltigerproductions.co.za

www.metaltigerproductions.co.za

38

MIPCOM

+33 17 971 9617

mathieu.pesin@reedmidem.com

www.mipcom.com

35

Pro Events

+27 21 425 2170

info@proevents-sa.co.za

www.proevents-sa.co.za

19

Robot (Pty) Ltd

+27 71 564 2286

liam@therobot.tv

www.therobot.tv

12

Sets Non Stop

+27 11 882 8822

stef@setsnonstop.co.za

www.setsnonstop.co.za

37

Silver Bullet Films Pty Ltd

+27 21 424 3575

wayne@silverbullet.co.za

www.silverbullet.co.za

36

Smoking Gun’ Productions

+27 72 432 6065

info@smokingun.co.za

www.smokingun.co.za

Outside Back Cover

The Network Productions International

+27 21 448 0335

kim@ntwk.co.za

www.thenetwork.film

37

The Pound

+27 82 684 5575

mary@thepound.co.za

www.thepound.co.za

38

CONTACT US Cover Image: Photo by Prince David on Unsplash

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

Business Development Manager: Karen Barnes karen@filmeventmedia.co.za

Publisher: Lance Gibbons lance@filmeventmedia.co.za

Junior Designer: Caitlin Perrett caitlin@filmeventmedia.co.za

Production Manager: Katlego Molele katlego@filmeventmedia.co.za

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

Writer: Natasha Skoryk tash.skoryk@gmail.com

Assistant Editor: Kim Crowie kim@filmeventmedia.co.za

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

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

Business Development Manager: Jennifer Dianez | jennifer@filmeventmedia.co.za

Traffic Manager: Tamlyn Peters tamlyn@filmeventmedia.co.za Regent Square, Ground Floor, Block A, Doncaster Road, Kenilworth, 7745 Tel: +27 21 674 0646

www.callsheet.co.za

JOIN US 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.

18 – 22 June 2018 Cannes | France