DEC 2017 / JAN 2018
+ SOUTH AFRICAâ€™S STUDIOS
An Audit of TV, Film and Commercial Space
+ THE GROWTH OF THE INDUSTRY Shared Learnings from Industry Insiders
+ WRAP PARTY VENUES
From Elegant Spaces to Out of the Ordinary Locations
WE ARE RELOCATING 02 | 01 | 18 Block A, Stonewedge Office Park, cnr William Nicol & Wedgelink Road Bryanston Sandton Finetune Studios is pleased to announce that we are building new Audio and Production facilities to assist with the increase in demand from our loyal and supportive clients. Our new facilities will host world class technology ensuring we deliver award winning audio in every session. We look forward to exceeding your expectations in the New Year at our new address. Feel free to contact us at email@example.com to book your next session.
CONTENTS / 01
02. CPA Survey Results Deconstructed
10 18 22 26
STUDIO SPACE IN SOUTH AFRICA
For every ﬁlm, TV and commercial, SA has got the studio to meet your production’s needs.
04. Sibs Shongwe-La
Mer Feature Picks up International Steam
06. Psychological Thriller
Kruger To Shoot in SA
08. A Wonderful World of Visual Eﬀects
10. South African Studios:
WRAP PARTY VENUES
When the director calls cut on the ﬁnal scene, we understand the need to let your hair down. See our suggestions on page 18.
18. Ideas for the Wrap
Party of the Century
22. Maximise Your Film
26. Film Forecast: Steady
MAXIMISE FILM FESTIVALS IN 2018
With the huge variety of local and international ﬁlm festivals, markets and events to choose from, it pays to do your homework.
30. Roundup of SA
34. Opportunities 38. Uganda: A Wealth of Untapped
WHERE IS OUR INDUSTRY HEADED?
Susan Reynard talks to the experts, and predicts steady growth in 2018, despite increased pressure on budgets.
40. Events to Diarise 42. Associations News 44. Directory of Advertisers
02 / SPOTLIGHT
CPA SURVEY RESULTS DECONSTRUCTED
Reflections on the local commercial production industry by Bobby Amm, Executive Officer, the Commercial Producers Association.
ith South Africa’s unstable commercial production industry, and our currently strained economy, the topic of sustainability has been receiving a lot more attention. This has come sharply into focus via the CPA’s annual survey, which has revealed some noteworthy results this year.
THE ANNUAL CPA SURVEY
The CPA runs a survey every year to better understand the magnitude of the industry and to detect prospects, challenges and local trends. The findings are assembled into two groups of results: 1. The whole group: 40 – 50 contributors per year 2. The control group: 30 South African production companies that participate in the survey every year Even though the number of participants isn’t high relative to the greater industry, most of the heavyweight companies are included, so the results are an adequate reflection of the general industry, we believe. For instance, the control group on its own, turned over R1.25-billion this last year.
THE RESULTS FROM 2017
• Commercials produced: In total, 703 commercials were produced by the survey participants for a little more than R1.6-billion. • Number of filming days: These ads were shot over 1 680 days, with an average daily
budget of over R900 000. • Variety of commercials: More local ads were produced (368) than service ads (305), and South African directors made 30 ads for overseas clients. • Filming landscape: In total, 58% of the ads were shot in the Western Cape, 39% were shot in Gauteng, and only 3% were shot in other regions. • Biggest customers: After South Africa, Germany was our biggest client, with 74 ads made. Next was the United Kingdom with 72, the United States with 51, France with 40, and Scandinavia with 26. • Expense analysis: Almost 50% of production costs go to remunerating the crew and hiring equipment. The other big costs take up: 13% for art and set construction, 5% for location fees, 9% for talent, and 6% for post-production. • Rising location costs: Production is still relatively affordable in Joburg, but the increasing costs in Cape Town are making it hard to shoot commercials there. With accessibility to the area limited to those with deep pockets, the city and its surrounds are quickly becoming service-only regions.
HOW THIS AFFECTS YOU
From these results, it looks like the industry is dipping, mainly thanks to rising production costs and an insignificant change to turnover. This trend is more gradual in the control group,
but it persists – suggesting that production budgets aren’t growing in line with expenses. As this gap gets wider, so does the danger to the production industry. It’s one we should take note of too, as other countries have taken years to recover after experiencing similar trends.
IMPACT ON GLOBAL PROJECTS
Something else we’ve seen is that many CPA members are getting less work from overseas. We think this could be because of variables like: • Universal unease: Trump, Brexit, human trafficking, terrorism - the world is a scary and uncertain place these days, so clients are less likely to travel. • Rate of exchange: The UK is no longer our biggest client, mainly because of Brexit and the weakening Pound. The Rand is also getting stronger against the US Dollar and the Euro, which has the potential to make South African production less affordable this season. • Location fatigue: Clients are on the lookout for novel, exciting locations. South Africa appears to have priced itself out of the market, to a point, so other players like Portugal, Thailand, and a few South American regions are preferred. • Politics and economy: SA isn’t currently stable, both politically and economically, so clients (particularly newer ones) are choosing ‘safer’ countries to film in. Plus, with our local
recession, prices are up too. • Greedy South Africa: Some overseas clients believe that SA’s succumbed to the greed factor. Production departments are growing and our talent want to earn more for working in remote areas. With less inflation in their home countries than we’re familiar here, these clients may struggle to understand our increasing costs • Bureaucracy: While it may be a lot easier to get a visa and process other admin needed for overseas clients to come to SA, it still isn’t ideal; this deters clients from coming to SA. In fact, many jobs are lost annually because an overseas director can’t apply for a visa in person.
THE FUTURE OF OUR INDUSTRY The views on the upcoming season are varied, with notable concern coming from experts who market to overseas clients. But it isn’t all bad. For instance, South Africa has strengths that many other countries don’t, like: 1. A solid reputation in the production world 2. Hard working crews and quick-thinking solutions 3. Great South African hospitality Some of the issues affecting our industry are beyond our control. Of the ones we can affect, however, many can be undertaken with some imaginative flexibility and a specific focus on keeping costs down. By working together, we may be able to secure these jobs and turn this downward trend around - for everyone’s sake.
04 / SPOTLIGHT
SIBS SHONGWE-LA MER FEATURE PICKS UP INTERNATIONAL STEAM
The Sound of Animals Fighting, Sibs Shongwe-La Mer’s second feature film, was picked up by international distributors in late October.
ersatile, a Paris-based international distributor, has boarded The Sound of Animals Fighting, Sibs Shongwe-La Mer’s sophomore feature starring Emile Hirsch and Alice Braga. It is being produced by SA’s Fireworx Media and Brazil’s Los Bragas. XYZ Films represents the project in the US, while Versatile will be its rep in international markets. Both companies began shopping the project at the American Film Market in early November. Shongwe-La Mer made his debut feature with the critically acclaimed Necktie Youth, ushering in a new wave of African cinema. The film premiered at Berlinale, and also screened at Tribeca, AFI, Sydney and London festivals, and won Best Film and Best Director awards at Durban International Film Festivals. The Sound of Animals Fighting follows two young brothers, James and Mickey, who leave their home and country after a close friend dies during a decadent night
Sibs Shongwe-La Mer, courtesy of Fireworx Media
Emile Hirsch of Into the Wild
EMILE’S WORK IN LORDS OF DOGTOWN AND INTO THE WILD CONTRIBUTED A HELL OF A LOT TO MY ADOLESCENCE AND THAT FEELING OF BEING UNDERSTOOD I ONLY FOUND IN FILM. out in Johannesburg. Seeking refuge in the grand metropolis of Sao Paulo in Brazil, they are thrust into a world of hedonism
and danger as they navigate organised crime, drug smuggling and romance. This film, says Sibs, “is in honour of what was
lost and gained in the flames.” Emile Hirsch (Lone Survivor, Milk, Into the Wild) will play the role of James, while Alice Braga, (City of God, Elysium, Queen of the South) will play the femme fatale, Valentina. Principal photography is set to being during the second quarter of 2016, and filming will take place between Johannesburg and Sao Paulo. “I feel truly blessed to work with such incredible talents whom I have deep admiration for,” Shongwe-La Mer says. “Emile’s work in Lords Of Dogtown and Into the Wild contributed a hell of a lot to my adolescence and that feeling of being understood I only found in film and outsider art just as much as Alice’s nuanced performance in City Of God and the lawlessness that film exudes did.” Shongwe-La Mer is represented by LBI Entertainment and Creative Artists Agency, and Casarotto Ramsay and Associates in London, who will be working with the rest of the team to package the film.
Cape Town Studio
Panalux Studios Conveniently located, Panalux Studios in Cape Town and Johannesburg oﬀers newly refurbished stages complete with production oﬃces. Each stage has been carefully designed to adapt to the varying demands of any production; custom built support areas, easy road access and fast WiFi throughout. With onsite camera, grip, lighting facilities and dedicated studio support staﬀ, Panalux Studios has the expertise and equipment ready for your next feature, commercial, television or stills shoot. Come see our oﬃce space for long term or short term rental.
Cape Town Studio
Panalux Studios Cape Town Phase 6, Milnerton Business Park, Racecourse Road, Milnerton, Cape Town, Western Cape, 7441 021 529 4200 Panalux Studios Johannesburg 79 Reedbuck Crescent, Corporate Park, Midrand, Johannesburg, Gauteng, 1685 011 314 5700 www.panalux.biz | www.islandstudios.net
06 / NEWS
KRUGER TO SHOOT IN SA
Actor Craig Conway’s directorial debut comes in the form of Kruger, a psychological thriller to be shot in South Africa in March.
aleidoscope Film Distribution and Goldfinch Studios announced at American Film Market that they are partnering on an upcoming psychological thriller called Kruger, set to shoot in SA in March 2018. The film marks the directorial debut for British actor/producer Craig Conway (Giantland, Mara, Final Score). The project is fully financed by Goldfinch Entertainment, and produced by Kirsty Bell and Craig
Conway of Bird Box Pictures – a Goldfinch Studio company. As the name suggests, the film is set in South Africa’s renowned Kruger National Park, and focuses on a dysfunctional family’s attempts to repair their relationships in a desperate journey to survive this vast, wild place. “We are excited to be working with Goldfinch Studios on this highly commercial genre film that we believe stands every chance
of standing out in the marketplace next year,” said Spencer Pollard of Kaleidoscope. “Craig’s vision and the team behind the film should lead to a lot of interest as we package the film and announce cast in the near future.” Kaleidoscope Film Distribution (KFD) is an established International Sales outfit based in London, offering full UK and international distribution and sales capabilities. KFD specialises in commercial feature films
and branded documentaries. Goldfinch Studios is the umbrella group for Goldfinch Entertainment (the finance and structuring business, established in 2014), Bird Box Finance (BBF) and flourishing production company, Bird Box Pictures (formerly BB88). Goldfinch Studios is able to provide independent, integrated expertise across finance, production and facilities, including editing, post and VFX, to any film or TV projects.
BIG-BUDGET ROM COM SHOOTS IN DURBAN
Durban plays host to SA’s next big-budget romantic comedy, Love Lives Here.
uze Films and Love’s Reject, producers of Mrs Right Guy, are filming another romantic comedy, this time in the sunny coastal city of Durban. The film, called Love Lives Here, features an all South African cast, with 27 actors hailing from KwaZulu-Natal. The film is about Zinhle Malinga, played by Thando Tabethe (Mrs Right Guy), a successful career woman and jaded romantic at heart, whose quest for a picture-perfect Prince
Charming has left her disillusioned about the idea of true love. When she meets Nathi Shange (Lungile Radu), everything changes and she sets out to get him to commit. The only problem is that Nathi has sworn off marriage – taking Zinhle on a journey to discovering the meaning of love and, ultimately, finding the love she deserves. “What excited me about the film is the fact that it’s a true reflection of the struggles women in South Africa face‚ a complex between what their
heart wants and what society or tradition think is right. It is all about that conflict between what people say and what they want for themselves,” Tabethe told Sowetan Live recently. The film was partly funded by the KwaZulu-Natal Film Commission through its film fund, established in 2014. To date the fund has approved 128 projects. “This is really a delightful moment for the KZNFC,” says Carol Coetzee, CEO of the Film Commission.
“We are starting to see a lot of great feature films coming out of the film fund. Recently Keeping up with the Kandasamys made history generating over R16 million in box office earnings – a huge achievement for a local production – and we anticipate the same for this blockbuster.” Love Lives Here is set to spend over 70% of its production budget in the province and will create employment for over 40 local filmmakers and film-related services.
JAWS / 07
JAWS: MARINE FILM AND DIVING SERVICES ABOUT THE COMPANY At the helm of JAWS are Paul Acutt and Steffen Garthoff, who have 30 years of combined experience in the film and television industry. The company’s roots come from Just Add Water which was set up by Paul in 1996, and was the first provider of Marine Services to the industry. Paul and Steff have both worked in the offshore marine industry all over the world as well as the film and television industry, which adds a leading edge in marine services and safety.
SERVICES OFFERED • • • • • • •
Marine Co-Ordination Diving and Underwater Services Marine Safety Management Support Craft Picture Vessels Marine Locations Fabrication
WHAT WE OFFER JAWS offers a comprehensive marine budgeting, sourcing and management service that covers a production’s needs to the fullest, with a large range of support services for both on and underwater. Having strong ties to the commercial marine industry, the company has access to any type of craft from oil rigs to submarines. JAWS has worked in Mozambique, Mauritius, Namibia and Tanzania. No location is too remote. The company has a strong HSE policy and a team of qualified experienced skippers, divers and riggers.
MEET THE TEAM
CV OF CLIENTS Paul Acutt: Owner and Director
CV OF CLIENTS AND PRODUCTION • • • •
Serenity – Mauritius 2017 Lord Of War The Triangle Red Water
• • • •
12 Days of Terror Survivor Mozambique BBC National Geographic
CONTACT US Steffen Garthoff - Tel: + 27 83 769 0246 Email: firstname.lastname@example.org Paul Acutt - Tel: + 258 842 55 8312 / + 27 71 129 6486 Email: email@example.com Website: www.jawsmarinecrew.com | jawsmarinecrew
Steffen Garthoff Owner and Director
08 / FEATURE
WONDERFUL WORLD OF
Visual effects or VFX are part and parcel of almost every film. Experts in this exciting, ever-evolving field chat to Susan Reynard.
Roots Before © Inspired Minority VFX
hen done right, visual eﬀects are imperceptible to a ﬁlm audience. However, to win an Oscar it takes every department across the production collaborating and communicating eﬀectively. Many young people entering the industry think visual eﬀects happen on a computer using soft ware in post production, indicating a lack of understanding of how visual eﬀects are conceived and executed. Simon Hansen, visual eﬀects
Roots After © Inspired Minority VFX
supervisor and executive producer of Inspired Minority’s VFX division, provides a clear deﬁnition, “A special eﬀect is an onset, in camera eﬀect and a visual eﬀect is added to what is shot in principal photography in post production. In contemporary terms this is typically computergenerated imagery (CGI). A lot of misunderstanding occurs when asking what the diﬀerence is between special eﬀects and practical eﬀects, with the more relevant distinction being the
diﬀerence between special eﬀects and visual eﬀects.” Wicus Labuschagne, a fellow VFX supervisor and artist at Inspired Minority, adds, “Special eﬀects are wind elements and snow elements shot on set, for example. Visual eﬀects are when we take over and create the rest of the eﬀects digitally. Almost all ﬁlms have visual eﬀects, from the very spectacular to something as simple as removing a microphone that went into the shot or removing something from
the visual that doesn’t tie into the time period. We’re the happiest when the audience doesn’t know we’ve done anything.” Priest has a small but diverse team of talented individuals who have a sound understanding of the evolution of post production. They have been a part of many diﬀerent campaigns this past year, ranging from international service work, local and Pan Africa TV commercials to local high-end retail client. With less commercial work for broadcast, Priest Production has diversiﬁed into long form and have become better equipped to handle the smaller budgets which are associated with social media advertising. Michelle Barrow, Head of the VFX division at Priest, says, “Shooting on digital has made it very easy to bridge the gap between production and post production. It almost goes without saying that the director would work very closely with post before shooting a VFX shot. Having said so, many of
FEATURE / 09
the ‘new’ directors have some sort of experience in dabbling with post soft ware and therefore have a better understanding of how to plan for a post-driven shoot. With budgets diminishing, collaboration is key. Working with your post team prior to shooting will eliminate potential post issues and often helps the director explore new techniques which can inﬂuence the ﬁnal treatment. Several post studios, like Priest, have adopted a better technical understanding of production which has created a more collective process when planning a post driven shoot. Other skill sets like storyboard artists, researchers and even social media planners, have been incorporated into Post Production business modules. When it comes to how visual eﬀects are storyboarded, Simon says they typically start working with the directors and producers right up front, interpreting the director’s vision and putting it into a framework that will facilitate the best result with the money available. He calls this a tripartite arrangement: director for creative, producers for money, and the visual eﬀects team deciding on a workable technical and ﬁnancial solution to bring to the creative project. “We help determine how much of the storyline is to be done in visual eﬀects. Doing it for real is always the ﬁrst prize, but logistically it seldom plays out the way you would like it to. We play a role in determining this. You need a good application of money
that adds value,” he explains. Creating a fake ocean or making Cape Town look like New York may be necessary but isn’t a value add, whereas creating a monster may be really eﬀective. The work Simon and his team at Inspired Minority do is split evenly between adding value, which is ideal, and ﬁlling in or removing incidentals. Says Nathan Anderson, lead animator at Priest, “Planning shots with VFX in mind is crucial. There is the common phrase “we’ll just ﬁx it in post”. The best kind of VFX is when both the ﬁlm crew and the post team understand what needs to be done and plan the best approach, this means better integration between ﬁlming and VFX, as well as more visually stunning imagery. Inspired Minority works on local and internationally shot projects. Most of their work has been international and with local rebates oﬀered this has shifted a bit, with more interest from international companies looking to do post production in South Africa. Simon says they have a lot of repeat business from directors because of their understanding of the creative process and vision: “We climb into their heads and say, ‘Wouldn’t it be great if…,’ and add to the money box. We crew up for the needs of the production as principal photography does. That makes us quite unique locally as it’s becoming a trend now. We’re very focused on the ﬁlm, not having a post house or facilities or the usual things that have been around,” he notes.
THE BEST KIND OF VFX IS WHEN BOTH THE FILM CREW AND THE POST TEAM UNDERSTAND WHAT NEEDS TO BE DONE AND PLAN THE BEST APPROACH.
Wicus says that when you have an actor interacting with a computer-generated creature you have to have thought it out in advance and this happens in pre production and on set. The VFX team does the same amount of planning as production designers, with a lot of overlap. “This year we were honoured to have worked on The Wound with Urucu Films. The Urucu team have had such an amazing journey and we are very proud to be a part of it”, says Michelle. Says Nathan, “Life is great here at Priest, we work hard but when you enjoy your job it makes working a pleasure. Working through many VFX shots in time to meet a deadline is always a satisfying feeling. One of the challenges of doing 3D animation is time consuming rendering. With easier access to render farms these days we’ve managed to create fully 3D rendered commercials from getting the brief to ﬁnal delivery in just a few days. We’ve also done jobs with 40+ shots with both 3D and 2D animation which we were also able to complete in a couple days. The job that I enjoyed the most was a job for
Liquid Telecom where I created an animation showing Earth from space in order to see where their ﬁbre network connected across Africa. I’m such a space enthusiast. Another job I worked on was for Outsurance. I supervised the VFX scenes on set working closely with director Lee Doig. The script called for an airport and we ﬁlmed at an hotel. I created 3D planes ﬂying past the windows to create that illusion of an airport” Successful projects under Inspired Minority’s belt include The Girl, a BBC/HBO ﬁlm that won the Royal TV Society Award in 2012; Chronicle, a small budget ﬁlm directed by Josh Trank for Fox that did well at the box oﬃce; Roots-Night One for A+E Studios’ History Channel, which made the shortlist for the 68th Primetime Emmy Nominations; and Eye in the Sky, directed by Gavin Hood and starring Helen Mirren, Aaron Paul and the late Alan Rickman. They are currently working on the Red Sea Diving Resort, directed by Gideon Raﬀ (Homeland creator) and are supervising Warrior, the TV show being shot at Cape Town Film Studios. They also have three other international projects lined up for next year, all shot overseas.
See insurance from a new perspective. Specialists in Film & Entertainment Insurance, ensuring that you can focus on the bigger picture.
Contact us for all your insurance needs.
T: +27 87 813 1348 • E: firstname.lastname@example.org • www.mountainstar.co.za
10 / FEATURE
SOUTH AFRICAN STUDIOS 2018 OVERVIEW
As a new year begins, we take a look at the studios that are holding the South African film, television and commercial industries together, from providing quality spaces to innovating in these fast-changing times.
© Studio 26
outh Africa continues to see growth in the studio sphere with major facilities across the country reporting a healthy 2017 and 2018 slate. Some of the major productions to be shot in South Africa’s studios and backlots include Maze Runner: Death Cure and Scorpion King 5 at Silverline Studios, while Pure Flix’s biblical epic Samson was wrapped in mid-2017 in Oude Molen, Stellenbosch. Cape Town Film Studios saw Starz’ hit show Outlander hosted on its premises, and also acquired two international shoots for 2018: the Bruce Lee inspired Warrior series, and The Maze. The muchanticipated Tomb Raider starring Alicia Vikander was shot partly at Cape Town Film Studios and partly at Atlantic Film Studios. Locally, content production has been steady, particularly as the demand for more local programming from broadcasters
increases. Sasani Studios hosted Ochre Media’s sitcom, Rented Family, Rapid Blue’s Take Me Out, and a kykNET sitcom among others. They also achieved a global first by hosting two series of The Voice simultaneously from the same studio complex, according to Linda Titus, Production Manager and Kgolo Sekati, Production Coordinator. The studios also hosted Cat Stevens’ full rehearsal of his first ever SA tour. Atlantic Studios has also had success in local productions, hosting kykNET’s Suidooster. They have comfortably hosted international films and largescale commercial shoots, too. “Now only two years old, Atlantic Studios consistently reinvests into infrastructure and the various attributes which our industry would expect to find when considering a studiolocated production,” says Brad Schmitt, Studio Manager. Global Access has also had
an interesting 2017, journeying with clients as their companies and productions grew. These include Fuel Media’s Inside the Baobab Tree, and Burnt Onion’s Thuli no Thulani, “Sitcoms are keeping our studios quite busy at the moment, and we’re fortunate to have repeat sitcoms find their way back to us year after year,” says Thabisa Mangisa, Global Access Studio Manager. “We think that an area of opportunity is the use of virtual sets which could come at a fraction of the cost.” When it comes to the commercial realm, the Western Cape is still the prime destination for studios and locations, with companies like Studio 26 being used for TVCs and music videos. A shoot that made them proud, says Location Manager Jessica Garvie, was a commercial produced by Egg Films, “directed by the ever-talented Sunu Gonera for Hollard Insurance – Enabling Better Futures.” Although globally studios are in flux as distribution and audience consumption models continue to evolve, South African studios are blissfully untouched thanks to the current industry structure. The sector is not without its challenges, however, with Mangisa explaining that shrinking budgets are affecting the way they do business. “The creative solution for this is to have a mind shift in the way we run our studios with
focusing on adding value and really finding ways to collaborate and help the productions that come into our studios. It is also continuously looking at new technologies and seeing which ones will bring value to our space, our clients and above all else provide cost savings.” Another issue for SA studios is the implications and ripple effects of the state broadcaster and wider political instability. According to Titus and Sekati of Sasani, this has definitely affected their margins. “The challenge is to deliver the same top quality at reduced rates.” Garvie agrees that budgets are tighter as many teams are no longer able to include weather days in their schedules. “It does seem that more and more clients need creative freedom, a space where they can create magic and allow their imaginations to flow,” she adds “We are excited to see that many options and queries are coming in for this upcoming season.”
ATLANTIC FILM STUDIOS
The Atlantic Studio complex consists of over 32 000m2 of which 11 000m2 is under roof. The facilities are broken out into eight studios, of which two are used permanently by Suidooster. Atlantic also offers a range of technical solutions including back-up generators, a broadcast control room, and postproduction facilities including an editing system, a Pro-Tools-HD
FEATURE / 11
system and a cloud workflow. Contacts: +27 (0)21 201 3960
• Studio 3 – 514 m² (sound stage) • Studio 4 – 596m² • Studio 5 – 257m² • Studio 6 – 746m² • Studio 7 The Epic – 3,394m² • Studio 8 The Kitchen – 483m²
• Controlled tanks for underwater filming • 6 camera OB van • Production offices for up to 12 • Fibre uplink • Parking lot for car chases • Post-production facilities
IT DOES SEEM THAT MORE AND MORE CLIENTS NEED CREATIVE FREEDOM, A SPACE WHERE THEY CAN CREATE MAGIC AND ALLOW THEIR IMAGINATIONS TO FLOW. GLOBAL ACCESS
Situated in Johannesburg, Global Access Studios are centrally located and easy to access. They have been used to record and broadcast live a host of projects including
Inside the Baobab Tree Set and Bab puppet © Global Access
local and international soaps, game shows with audience participation, sitcoms, dramas, infomercials and TV ads. Contacts: +27 (0)11 350 6111 email@example.com www.globalaccess.co.za
• Studio 1 – 234m2 • with green screen 13m x 5.5m, entrance of 4.4m height • Studio 2 – 256m2 • with 6m grid, entrance of 4.4m height • Studio 3 – 564m2 • with 5.5m grid, entrance of 4.4m height • Studio 4 – 134m2
• Fully-equipped HD broadcast with facilities support and live connectivity. • Production offices, audition spaces, rehearsal studios, crew rooms, greenrooms, etc. • Green screen cyclorama • 3D animation graphics • Industrial vehicle lifts • Location broadcasting kit with dedicated crew and engineer
12 / FEATURE
Panalux Studios Johannesburg and Cape Town oﬀer newly refurbished stages complete with production oﬃces. Panalux Studios in Cape Town is a ﬁlm and commercial studio complex comprising ﬁve stages, conveniently located just 15 minutes from the city. Johannesburg Studios is a ﬁlm
and commercial studio complex oﬀering two stages. It is located just north of the city. Both complexes feature features drive-in access, cycloramas and on-site lighting, camera, and grip facilities. Contacts: CT: +27 (0)21 529 4200 JHB: +27 (0)11 314 5700 www.islandstudios.net www.panalux.biz
CAPE TOWN STUDIO SPACES
JOHANNESBURG STUDIO SPACES
• Stage 1 – 20.6m x 17.9m x 8.7m cyc, 6m height, 466m2 • Stage 2 – 18.5m x 15m cyc, 6m height, 322m2 • Stage 3 – 16m x 23m x 20m cyc, 6m height, 800m2 • Stage 4 – 8m x 17.5m 21m cyc, 6m height, 466m2 • Stage 5 – 10mx10m cyc, 5.2m height, 278m2
• Stage 1 – 20.6m x 29m 8.1m height • Stage 2 – 14.5m x 29m 7m height, ﬂ exible work space
• Flexible work space • Drive-in access • Cycloramas • On-site lighti ng, camera and grips • Extra oﬃ ce space • Studio hand and painter
Sasani Studios oﬀers a total of 6 800m2 ﬂoor space with 10 stages and studio areas ranging from 64m2 to 1 027m2. They are ﬂexible, sound-proof and cover shoots from dramas and soaps, to reality
TV shows, talk shows, and children’s programmes. All studios feature levelled ﬂoors, air-conditioning, preparation rooms and generator backup. Contacts: +27 (0) 11 719 4000 firstname.lastname@example.org www.sasani.co.za
• Stage 1: 17m x 22.5m x 4.6m height • Stage 2: 427.57m2 with 6.7m height • Stage 3: 182.9m2 with 6.4m height • Stage 5: 454.86m2 with 8m height • Studio A: 59.13m2 with 4.6m height • Includes 2.5m x 2.5m x 4.5m • Studio B: 153.68m2 with 6.2m height
• All studios include live • broadcast faciliti es • Supports a full spectrum of technical faciliti es • Producti on Oﬃ ces, dressing and green rooms, props, etc. • On-site coﬀ ee shop. • Inﬁnity curves of various heights in various studios • Digital control rooms • Analogue control rooms • Set store area of 650sqm • 1.2mw generator
© Sasani Studios
Perfectly positioned in the heart of Cape Town in the vibrant V&A precinct, Silverline Studios oﬀers productions access to over 11 000m2 of studios, workshops, make-up rooms and production
• Stage 1 – 1 142m2, 30m x 37m x 6m height • Stage 2 – 840m2, 26.5m x 30m x 6m height • Stage 3 - 398m2, 20m x 20m x 6m height 10m roof height • 6m gantry with 80kg capacity • Producti on oﬃ ces and prop store • Studio lighti ng and DIT grips • High-speed ﬁle transfers and cloud storage • Post-producti on and VFX
• 10m roof height • 6m gantry with 80kg capacity • Producti on oﬃ ces and prop store • Studio lighti ng and DIT grips • High-speed ﬁle transfers and cloud storage • Post-producti on and VFX
STUDIO 26 LOCATIONS
Studio 26 oﬀers three individual and completely diﬀerent sets. The Open Air Studio is purpose built to oﬀer architectural lines and open sky, The Lake Houses oﬀer versatile looks, while
© Atlantic Film Studios
oﬃces. It also provides an array of support services provided by aﬃliates: Media Film Service, Reﬁnery and MovieMart. Contacts: +27 (0) 21 409 2000 email@example.com www.silverlinestudios.tv
The Farm is made up of hilly farmland. They oﬀer ﬂexible weather solutions, tent options and alternate booking dates. Contacts: +27 (0) 83 368 6216 firstname.lastname@example.org www.studio26.co.za
• The Open Air Studio • The Lake Houses • The Farm: 2 900 000m2
• Studios are ideal for photography and commercials • Easily customisable for any look • Outdoor and producti on-friendly
FEATURE / 13
MAJOR STUDIOS COMPANY
WEBSITE / CONTACTS
Almost Famous Studio
Woodstock, Cape Town
Casting directors, stills, commercial, ﬁlm shoots
Atlantic Film Studios
Film, television content, broadcasting
www.atlanti cstudios.co.za info@atlanti cstudios.co.za
TV productions, commercials, events, ﬁlm club
Cape Town City Bowl
Photographic and ﬁlm studio
Cape Town Film Studios
Film City Boulevard, Cape Town
www.capetownﬁ lmstudios.co.za info@capetownﬁ lmstudios.co.za
Clive Morris Production Studio
Broadcast, commercials, documentaries, creati ve, design, digital, live events, marketing
Woodstock, Cape Town
Stills shoots, castings, ﬁlm and video productions
Daylight Studio (Wavebreak Media)
Cape Town City Bowl
Commercials, television, animation, stills, live events
Paarden Eiland, Cape Town
Photography, ﬁlm and commercials
Gardens, Cape Town
Television content for their 7 channels
Fleet Street Studios
TV, commercials, ﬁlm, music videos
www.ﬂ eetstreetstudios.co.za Lebohang@quizzical.co.za
StudioAD2.3.pdf 1 2017/11/23 08:16:32 AM
14 / FEATURE
© Atlantic Film Studios
© Sasani Studios
© Studio 26
WEBSITE / CONTACTS
Television, radio, commercials, corporate videos, live events
Garden Route Film Studios
Film, television, commercials
Television sitcoms, dramas, talk shows, game shows, commercials
Observatory, Cape Town
Food related and tabletop filming, predominantly TVCs
MagnaTude Studios & Post (Okuhle Media)
Mowbray, Cape Town
Television content, also used as broadcast centre with news and/or sports live crossings
Media Film Service (Part of Silverline 360 Group)
Cape Town and Johannesburg
Film, television and commercials equipment rentals
www.mediafilmservice.com Johannesburg: email@example.com For Cape Town, contact Silverline Studios
M-Net Broadcast Services
Television content for their 24 channels
Overberg Film Studios (Imagenheart)
Kleinmond, Western Cape
Film, live events, music videos
www.overbergfilmstudios.com Cape Overberg Film Office: firstname.lastname@example.org
Cape Town and Johannesburg
Film, TV, commercials
TV, commercials, music videos, stills, visual effects
Photo Hire (Cine Photo Tools)
Zonnebloem, Cape Town
TV, film, music videos, stills, commercials
TV, film, commercials, stills
FEATURE / 15
WEBSITE / CONTACTS
Broadcast and television content
Red Pepper Pictures
TV content, animation, broadcast, production
Roodebloem, Cape Town
Film, stills and commercials, music videos, live events
Durbanville, Cape Town
Photographic and commercial studio
South African Broadcast Corporation (SABC) Broadcast Facilities
Throughout South Africa
Content for SABCâ€™s public broadcast channels via radio and television
South African Broadcast Corporation Henley Television Facilities
Auckland Park, Johannesburg
Television content predominantly for the SABC
www.sabc.co.za/wps/portal/SABC/ SABCHENLEY email@example.com
Salt River Film Studios
Salt River, Cape Town
TV, film and commercials
Highlands North, Johannesburg
Reality TV, talk shows, game shows, sitcoms, photo shoots, special events, training, interviews, feature films, TV content, soapies
Television, film, commercial and stills production area as well as corporate and private events
www.shinestudios.co.za firstname.lastname@example.org email@example.com
V&A Waterfront, Cape Town
Film and television, post-production, new media platforms
Sky Rink Studios
Film, television, commercials
Stark Studios (Stark Films)
Television content creators
FIVE STUDIOS Contact Us BRAD SCHMITT +27(0)83 261 1904
YOUR SPACE firstname.lastname@example.org TO CREATE
SAKKIE FERREIRA +27(0)82 606 0616 email@example.com LUHANN GROENEWALD +27(0)60 991 5392
7 Montague Drive, Montague Gardens, Cape Town, South Africa +27(0)21 201 3960 | w w w .at l ant i cst udi os.co.za | firstname.lastname@example.org
16 / FEATURE
© Studio 26
© Silverline Studios
WEBSITE / CONTACTS
Photographic and film studio space
Studio 9 (@ Camera Facilities)
TV, film and video
www.studio9rental.com email@example.com firstname.lastname@example.org
Television content and broadcast services
The Bello Studio
Woodstock, Cape Town
Film, documentaries, travelogues, stills, TV content, event hosting, private screenings, art gallery
The Daylight Studio (Wavebreak Media)
Cape Town CBD
Space for hire as film and photographic studio, or for events and functions
The Media Hive (Visual Impact)
Gardens, Cape Town
Film, television and commercials equipment rentals
The Production Works
TV and film
Urban Brew Studios
Broadcast and media content for community, commercial, spiritual, African and environmental genres
Wembley Square, Cape Town
Photographic studio space
White Wall Studios (Tintoy Productions)
Film and television studios with sound design and video services
www.whitewallstudios.co.za email@example.com www.tintoy.tv firstname.lastname@example.org
Brooklyn, Cape Town
TV content, stills, commercials and documentaries
Disclaimer: Due to space constrictions in the Callsheet magazine, we have only listed the major operational studios in South Africa’s film, television and commercial sectors. We apologise if your studio space has not been mentioned and encourage you to contact us for future coverage options.
Your Complete Studio and Post-Production Solution
18 / FEATURE
IDEAS FOR THE WRAP PARTY OF THE CENTURY
Wild, wonderful, glamorous or just plain gorgeous – these beautiful South African venues are ideal for hosting your next wrap party. Kim Crowie explores.
here’s nothing like an sophisticated, stylish or trendy venue to set the scene for a successful wrap party. Not only can venues make or break an event, but one’s choice should also be informed by a variety of options and oﬀerings –from décor and planning to whether there’s connecti vity or if the venue has a sustainable menu that caters to even the pickiest eaters. If you’re looking for inspiration for
your next wrap party venue, here’s a taste of some of the most beautiful and soughtafter venues in Cape Town, Johannesburg and Durban.
OUT OF THE ORDINARY ASOKA
A specially curated space with mystical lighting, soulful music and charming décor, Asoka is ideal for those looking for an event with extra pizazz. Guests can choose from a
selection of spaces, including celebrations in a private room, on the deck, or can even book the restaurant out exclusively. It has a sister venue called Kloof Street House complete with a fairy-lit garden and a collection of interesting rooms to explore. Asoka also oﬀers a delicious menu to match its edgy ethos. Location: 68 Kloof Street, Gardens, Cape Town Contacts: www.asoka. za.com | email@example.com | +27 (0)21 422 0909
An extraordinary venue oozing with North African ﬂavour, Moroccan House is sure to wow the most cynical of guests with its exotic traditional décor and welcoming atmosphere. It boasts a gorgeous guest house and striking function venue, a handcraft showroom, and an exquisite rooftop café area. “Hospitality and authenticity are key in the success of Moroccan House, and… our patrons are promised a matchless
FEATURE / 19
experience,” the owners say. Location: 435 Atterbury Road, Menlo Park, Pretoria Contacts: www.moroccanhouse. co.za | info@moroccanhouse. co.za | +27 (0)12 346 5713
For those in search of a laid back, yet upmarket vibe, The Chairman has you covered. Not only is it reminiscent of jazz bars of old, but manages to bring the opulent leather couches and cigar-loving brethren into the 21st century with a live music line-up and an elegant bar to match. There are all sorts of nooks in which to have private conversations – and just as many open spaces for shaking the ever-mounting stress of production schedules away. Location: 146 Mahatma Gandhi Rd, Point, Durban Contacts: www.thechairmanlive. com | info@thechairmanlive. com | +27 (0)31 368 2133
Asoka © Claire Gunn Photography
ELEGANT AND GLAMOROUS HYATT REGENCY
Cosmopolitan and, as the name suggests, rather regal, the Hyatt Regency is ideal for those in search of an elegant and modern party venue to seal the deal. Situated in Rosebank, this luxury hotel has an Afro-inspired design celebrating local culture and heritage. Their contemporary restaurant oneNINEone has an extensive wine list of over 170 labels, while their selection
Pro Events is the leading specialist in professional & personal security solutions for the Film Production, VIP Protection and Special Events
Guarding Canine unit and armed escorts VIP Security and special events Mobile operations unit with fully fitted CCTV control room High risk tactical support units
WESTERN CAPE: , 6 Karoo Street, Bellville, 7530. Tel: +27 21 425-2170 Cell: +27 (0)83 252 1151 GAUTENG : 311 Surrey Avenue, Randburg, Gauteng, 2194 Tel: +27 11 326 4684 Cell: +27 (0)82 825 1299 E-Mail: firstname.lastname@example.org Website: www.proevents-sa.co.za
20 / FEATURE
The Lobby Lounge at Hyatt Regency
The Silo Hotel Willaston Bar
of function rooms are ideal for larger groups – and come complete with a delightful menu to match the setting. Location: 191 Oxford Rd, Rosebank, Johannesburg Contacts: www.johannesburg. regency.hyatt.com | johannesburg.regency@hyatt. com | +27 (0)11 280 1234 Nasdak © Media 24
View of Durban from Roma Revolving Restaurant
A sleek and swanky venue with a stunning rooftop to boot, NASDAK is situated at the top of the Media24 Centre in Cape Town’s busy Foreshore. Its 360 degree views of the city and mountain, and world-class facilities make it easy to host extraordinary events. NASDAK can hold up to 200 guests at a time and includes an indoor space complete with the buzzing Crous Bar and Terrace – ideal for sunset cocktails. Location: 71 Waterkant Street, Cape Town Contacts: www.nasdak.co.za | email@example.com | +27 (0)76 336 2130
Established in 1973, Roma Revolving Restaurant offers unparalleled 360 degree views of the Durban skyline, paired with their famous Italian cuisine. It is the only revolving venue in the southern hemisphere, and is situated on the 32nd floor. Its modern look and feel combined with The Silo Hotel
its exquisite views make for a beautiful backdrop to any themed of party. The restaurant also provides dance floors, lighting and other options for special functions, including its exclusive River Gold wine. Location: 146 Mahatma Gandhi Rd, Point, Durban Contacts: www.roma.co.za | +27 (0) 31 337 6707
RAVISHING ROOFTOPS THE SILO ROOFTOP
As a venue on Condé Nast Traveller’s 2017 Hot List, The Silo is not to be missed. Not only is it located atop one of Cape Town’s most talked about function venues – the Zeitz MOCAA – but its magical setting far above the V&A Waterfront is sure to charm any party-goer. In addition to its incredible views, the rooftop also offers a relaxing poolside lounge, complemented with treats from the tempura bar – fresh oysters, pulled pork sarmies, and, of course, some bubbly to celebrate your production wrap. Location: The Silo Hotel, Silo Square, V&A Waterfront, Cape Town Contacts: www.theroyalportfolio. com/the-silo | dining@thesilohotel. com | +27 (0) 21 670 0500
TJING TJING ROOFTOP BAR
For those in search of a more laid back, hipster environment, Tjing Tjing will be right up your alley. Having said that, this bar
FEATURE / 21
Tjing Tjing Rooftop Bar
goes the extra mile to offer something unique in terms of both luxury and service, and comes complete with an extensive wine and cocktail list, and a food menu to match its on-fleek-flavour. The only downside to this gem is that they are an operational bar from Tuesday to Saturday, so can only accommodate private
The Living Room
events on Sundays or Mondays. Location: 165 Longmarket St, Cape Town City Centre, Cape Town Contacts: www.tjingtjing.co.za | firstname.lastname@example.org | +27 (0)21 422 4920 / +27 (0)21 422 4374
THE LIVING ROOM
Host your next wrap in high style at The Living Room Rooftop
Café. Not only does this rooftop bar cater to events and come complete with a capable team of event planners, but their swanky, yet laid back venue in Maboneng is ideal for kicking back after a hard-working few months. Designed with greenery and sustainability in mind, it’s not called Joburg’s
premier eco urban venue for nothing. And its views of the city are just the cherry on top. Location: 20 Kruger Street, 5th Floor Main Change Building, Maboneng Precinct, Johannesburg Contacts: www.livingroomjozi. co.za | info@livingroomjozi. co.za | +27 (0) 84 529 9006/ +27 (0) 82 370 9284
22 / FEATURE
© MIPTV 2017
MAXIMISE FILM FESTIVALS IN 2018
With the huge variety of local and international film festivals, markets and events to choose from, it pays to do your homework, perfect your pitch and team up with the right people. Susan Reynard reports.
ajor film events locally and around the world are many and varied and mostly known by their acronyms. Individually and collectively they offer a wealth of marketing, distribution and funding opportunities, but how does the average filmmaker tap into these potentially lucrative events? Carol Coetzee, CEO of the KwaZulu-Natal Film Commission, says they have a marketing and
communication strategy split into market segmentation in which they identify which markets and festivals to attend. Preference is given to: • Countries with existing treaties in place to promote co-productions and grow distribution • Potential markets for SA content, which in Africa include Kenya, Nigeria and Ghana
• Markets that offer expertise and skills and industry development opportunities in animation and special effects • Events at which to promote specific types of SA content, such as MIPTV for TV shows; • Cannes Film Festival is a must as the whole world attends, providing a wider market and audience • Berlinale and BFI London Film Festival: three local
productions were presented last year and next year they will focus on SA. BFI also has a development focus for minority filmmakers and opportunities to share ideas • Natural ties between KZN and India have seen the film industry gain traction there, with attendance at IIFTC and MIFF providing opportunities to take business meetings and present projects.
FEATURE / 23
DISCOP JOHANNESBURG IN NUMBERS
© DISCOP Johannesburg
Monica Rorvik, head of film and media promotion at the Cape Town and Western Cape Film Promotion, a division of Wesgro, says attending international and regional events is based on budget and mandate. “Wesgro has a mandate to promote and facilitate the region and at the moment we have budget to attend about three international film festivals and the major in country events. The National Film and Video Foundation of SA (NFVF) supplies support for filmmakers to attend one market a year and the Department of Trade and Industry (dti) can likewise support companies going into market, depending on the company’s ranking e.g. Tier One, Tier Two or Tier Three and how many markets they have gone to in the past,” she explains. “Wesgro tries to upskill producers before they go into market and offer advice on possible meetings.” “We have to share the love and other film commissions around the country attend certain events,” Monica notes.
She reports that Discop Johannesburg was good and busy as was CTIAF, CTIFM&F, DIFF/DFM and Encounters. Wesgro will be attending Berlinale’s African Film Hub for the next few years because of the strong ties with South Africa. And Canada has special projects on the go so Wesgro is planning to attend TIFF for a fourth year in a row; these missions also feed into CTIAF and recent announcements of the proposed Telefilm-NFVF significant development fund make this a major focus. Monica says sometimes they get pushed into a market and sometimes they get pulled into a market. Her goal is to continue focusing with the nine co-production partner countries, the BRICS countries and the USA. Getting into Africa with Tunis’s Carthage Film Festival and Egypt’s El Gouna film festival also helps drive a Pan Africa MENA pipeline into SA. “When in market we present South Africa’s national offerings such as incentives, and then
move on to describe our specific region’s unique selling points, because each region is keen to develop their filmmakers and attract more projects.” she adds. Carol says, “We go over as the KZN Film Commission to market the region as a destination and also promote films we are funding. We also take over filmmakers whom we are funding, with projects in production stage and who have something tangible to present.” The Gauteng Film Commission reports that while they would like to attend the big established festivals, it depends on their budget allocation, which for the past three years has not allowed for this. However, they will be supporting the Durban Film Festival and FilmMart, where this year they took 10 Gauteng-based filmmakers.
“We give filmmakers market readiness preparation beforehand and help them decide which is the most appropriate market for them,”
• 25 - 27 October • 6th edition of the entertainment content market • 1 506 attendees (record high) • 81 countries represented including 37 from subSaharan Africa • 35 sessions and 82 international speakers at Next Gen conference and workshop • 50% increase in companies selling content “Made in Africa” • National and regional pavilions hosted delegates from guest country Germany and France, US, China, Francophone Africa and the Middle East • International content distributors and producers felt more competition from their African counterparts • Deals confirmed by Iroko, Aforevo, RTI, Diffa • Two new Discop markets announced: Zanzibar aimed at Eastern Africa to premiere from 11 to 13 July 2018; and Lagos focusing on Nigeria, the fastest growing entertainment content marketplace in the world • 35% growth in sub-Saharan Africa marketplace forecast within the next five years, or around 10 000 producers, distributors and programmers For more information go to www.discop.com.
Carol explains. She says before a production commences, the filmmaker must be able to identify who the target audience is. “If you look at what we do at festivals from a promotion and marketing point of view, it’s branding and distributing material on the South Africa stand.
24 / FEATURE
FESTIVALS AT A GLANCE Keep an eye on the Events to Diarise and Association News sections of the Callsheet magazine for a full lineup of upcoming local and international festivals, events and markets. Some of those at which local filmmakers and productions have had a recent presence include: • American Film Market & Conferences (AFM) • Berlinale • BFI London Film Festival • Bokeh SA International Fashion Film Festival • Cannes Film Festival with Marche du Film • Cannes Lions International Festival of Creativity • Cape Town International Animation Festival (CTIAF) • Cape Town International
• • • •
• • •
• • •
Film Market & Festival (CTIFM&F) Discop Durban FilmMart (DFM) Durban International Film Festival (DIFF) Encounters South Africa International Documentary Film Festival European Film Market (EFM) Gamescom HotDocs Canadian International Documentary Festival India International Film Tourism Conclave (IIFTC) International Broadcasting Convention (IBC) International Documentary Film Festival Amsterdam (IDFA) International Film Festival Rotterdam (IFFR) Joburg Film Festival
• • • • • •
• • • • • • • • • • •
MIPCOM MIPDOC MIPTV Ottawa International Animation Festival (OIAF) Mumbai International Film Festival (MIFF) Pan-African Film and Television Festival (Fespaco) Sheffield Doc/Fest shnit Worldwide Shortfilmfestival Silwerskermfees Sundance Film Festival Talents Durban Toronto International Film Festival (TIFF) Tribeca Film Festival Venice International Film Festival Visions du Réel Wavescape Surf Film Festival Writers Guild of SA
GETTING COMPANIES MARKET-READY IS CRITICAL TO AWAKENING THE BEST PROSPECTS FOR THE COUNTRY AND THE REGION. THIS INCLUDES PRODUCING MARKETING MATERIAL AIMED AT THE TARGET MARKET.
© DISCOP Johannesburg
We already have a fully booked agenda before we arrive. We know who we’ll be meeting with so may take along locations managers or marketing managers; our team of delegates depends on who we will be speaking to,” Carol notes. Presenting on what KZN has to offer at producers’ networking forums is a huge opportunity for the region. Organisers provide details on participants attending events so that delegates may see who the people of interest are for their particular offering or speciality. Set meetings are interspersed with ad hoc meetings as the event unfolds. Monica agrees that getting companies market-ready is critical to awakening the best prospects for the country and the region. This includes producing marketing material aimed at the target market, preparing delegates to pitch and present, helping them secure good meetings and ensuring they know what a particular market needs. She also likes to introduce other players from South Africa, including members of government, so that people know who to approach. “We pull in the same direction and hunt in packs,” she adds.
SILVERLINE STUDIOS / 25
ABOUT SILVERLINE STUDIOS Perfectly positioned in the heart of Cape Town in the vibrant V&A precinct; five minutes from great hotels, restaurants and shopping, and sports and recreation facilities. The facility gives you access to over 11 000 m2/118 500 ft 2 of studios, workshops, makeup rooms and production offices; and offers an array of support services provided by our affiliates: Media Film Service, Refinery and MovieMart. Recent projects include: Scorpion King 5, Strike Back, Dominion, 24 Hours to Live, The Empty Man, Maze Runner: Death Cure and a wide range of commercial productions. Onsite facilities for all studios include: • • • • • •
Media Studio Lighting Base camp Catering Cloud Storage Consumables Sales DIT
• Grips • High-speed File Transfers • Post Production • Storage • VFX
STAGE 1 Area: 1 142m² / 12 290ft 2 Dimensions: 30m x 37m x 6m (height) Roof Height: 10m / 33ft Gantry Height: 6m / 20ft Gantry Capacity: 80 kg/m² / 16.5 lb/ft2 Lighting Grid: 50mm steel tube network, covering the stage area. Access to ladders, gantries and walkways. Power: Total of 1 000 amps/phase, Marechel and Powerlock connectors. 2 x ground level distribution boards with 700 amps/phase Air-conditioning: Sound attenuated with running noise of NR40
STAGE 2 Area: 840 m² / 9 050 ft 2 Dimensions: 26.5m x 30m x 6m Roof Height: 10m / 33ft Gantry Height: 6m / 20ft Gantry Capacity: 80 kg/m² / 16.5 lb/ft2 Lighting Grid: 50mm steel tube network, covering the stage area. Access to ladders, gantries and walkways. Power: Total of 1 000 amps/phase, Marechel and Powerlock connectors. 2 x ground level distribution boards with 700 amps/phase Air-conditioning: Sound attenuated with running noise of NR40
CONTACT US Address: V&A Waterfront Precinct, 1 Port Road, Cape Town, South Africa Tel: +27 21 4092000 | Email: email@example.com Website: silverlinestudios.tv
Area : 398m² / 4 284 ft 2 Dimensions: 20m x 20m x 6m Roof Height: 10m / 33ft Gantry Height: 6m / 20ft Gantry Capacity: 80kg/m² / 16.5 lb/ft2 Air-conditioning: Sound attenuated with running noise of NR40
26 / FEATURE
STEADY GROWTH EXPECTED IN 2018
The film industry anticipates steady growth next year in film productions and co-productions.
SNAPSHOT OF 2016
30 COMMERCIALS MADE BY
LOCAL DIRECTORS FOR INTERNATIONAL AGENCIES
TOP 5 CLIENTS ARE GERMANY, UK, US, FRANCE AND THE SCANDINAVIAN COUNTRIES All icons made by Â© Freepik, ( www.flaticon.com)
COST TO PRODUCE
COST TO PRODUCE
58% OF COMMERCIALS FILMED IN THE
39% OF COMMERCIALS FILMED IN
50% OF COSTS DERIVED FROM CREW REMUNERATION AND EQUIPMENT HIRE, FOLLOWED BY SET CONSTRUCTION AND ART, LOCATION FEES, TALENT AND POST-PRODUCTION
ELSEWHERE IN SA
JOHANNESBURG CONSIDERED MORE AFFORDABLE AND
EXPENSIVE ALL ROUND
FEATURE / 27
High Fantasy, directed by Jenna Bass, is one of South Africa’s four productions that premiered at the Toronto International Film Festival in September © Gabriella Achadinha
ilm commissions report that 2018 is looking good from a production and coproduction perspecti ve. Carol Coetzee, CEO KwaZuluNatal Film Commission, conﬁrms they have at least nine productions taking place in the province next year, from drama series to documentaries and feature ﬁlms. Carol says that projects that were at the developmental
stage three years ago when the KZN Film Commission started are now reaching fulﬁlment. Next year a lot of exciting projects are moving from development to production, she notes. “Linking with our counterparts in government in other countries is also important. There is often a lot of beneﬁt to be derived from these relationships as
they give us support and open up new development opportunities,” Carol explains. Monica Rorvik, head of ﬁlm and media promotion unit at Wesgro, says forward bookings for commercials have been a bit soft due to good weather in Europe but are currently picking up, as is usual for this time of year. She understands the many ﬁlm studios in Cape Town are booked up and busy.
“We have world-class facilities, locations, craft and talent and everything you could ever want to rent. That’s what we’re hearing and that’s standard operating procedure now. We’re stepping oﬀ from a big base and we’re hoping we’ll keep on a nice easy slope up so that we can have organic growth than continues from strength from strength,” she says.
BODYGUARD SERVICES SERVICES PROVIDED NATIONALLY
Tel: 011 824 0334 | Cell: 082 820 5363 | 082 415 7048 | Email: firstname.lastname@example.org | Website: www.bodyguardservices.co.za
Table Mountain © Jess Novotna
Security Drivers VIP Protection Film Shoot Security Personal Protection Security Transfers
28 / FEATURE
Monica says there are more than 500 TV series looking for homes globally and they often have to look at ten different places on the planet before they choose. South Africa needs to compete at this level and be ranked in the top ten globally by maintaining a low risk environment to attract people with budgets looking for locations. The variety of TV productions is also increasing, including live series like those focused on cooking, cars and reality shows, with two or three in country at a time.
Another positive indicator for next year is the fact that South Africa had four productions (three features and a documentary) premiere at the Toronto International Film Festival in September, which is impressive considering there were over 12 000 entries. These included The Number directed by Khalo Matabane; Five Fingers for Marseilles directed by Michael Matthews; High Fantasy directed by Jenna Bass; and Silas directed by Anjali Nayar and Hawa Essuman (Canada/ SA/Kenya co-production). KZN
Silas, a co-production directed by Anjali Nayar, Hawa Essuman
CO-PRODUCTIONS ARE GROWING. THE INCENTIVES ARE WORKING AND WE’RE ATTRACTING LONGER FORM TV AND WORKING WITH LESS SEASONALITY, AND IN BETWEEN DOING INDEPENDENT PROJECTS, OUR FILMMAKERS ARE ENTERING PROJECTS TO FESTIVALS, PACKAGING THEM PROPERLY, WINNING PITCHES AND SIGNING DEALS.
SHARED LEARNINGS The KwaZulu-Natal Film Commission is working with their counterpart in London in the UK on a draft document on ways to include people living with disabilities in the film sector. At any given time about 10% of the population are living with a disability, making this a worthy and financially viable area to explore. CEO Carol Coetzee says the Royal London Society for Blind People is far ahead of South Africa in this regard and there is much to learn about their success to fast-forward initiatives here at home. She says they are particularly keen to get on board with audio description functionality. Audio description is offered to the visually impaired in which a television programme, film or other visual media is described through audio technology.
© The Number
Vuyo Dabula as Tau in Five Fingers for Marseilles . Photo by Graham Bartholomew
FEATURE / 29
Film Commission is proudly one of the funders of this film. Monica says the quality of the industry in SA is noted and independents are getting stronger every year as the industry grows. In addition to top films being shot with high profile actors and directors, she says South Africa is also picking up producer credits. “The reason to apply incentives is to attract work, grow the industry and grow capacity and allow this capacity to develop projects where some of it can be owned locally,” she notes.
“Co-productions are growing. The incentives are working and we’re attracting longer form TV and working with less seasonality, and in between doing independent projects, our filmmakers are entering projects to festivals, packaging them properly, winning pitches and signing deals,” she adds. The Gauteng Film Commission has one local film Johannesburg currently in pre-production and expects applications for permits to pick up from late 2017 onwards. High Fantasy © Gabriella Achadinha
FLOURISHING IN FLUX The annual survey conducted by the Commercial Producers Association of SA (CPA) indicates that the commercial production industry is in flux as the economy continues to show signs of strain. Executive officer, Bobby Amm noted that the apparent dip in industry is “mainly due to a rise in production costs and no notable change in turnover” in her column in MarkLives. Costs are increasing but budgets less so, widening the gap and increasing the risk to industry. The result is mixed views from industry on the prospects for the year ahead.
High Fantasy © Gabriella Achadinha
The survey polls about 50 participants, 30 of whom are South African production houses that regularly participate and accounted for around R1.25bn in turnover in 2016. A quick overview of results based on those polled: • 703 commercials made • R1.6bn cost to produce • 368 local commercials shot • 305 service commercials shot • 30 commercials made by local directors for international agencies • 58% of commercials filmed in the Western Cape • 39% of commercials filmed in Gauteng • 3% of commercials
filmed elsewhere in SA • Top five clients are Germany, UK, US, France and the Scandinavian countries • 50% of costs derived from crew remuneration and equipment hire, followed by set construction and art, location fees, talent and post-production • Johannesburg considered more affordable and Cape Town expensive all round Bobby also cited the stagnation of the industry as worrying. Aggravating factors locally include political and economic instability, red tape (e.g. visas and permits),
destination fatigue, exchange rate fluctuations and perception by international clients that SA has become expensive and “greedy”. “Going forward there is a choice to be made: either we will turn the industry around by becoming more negotiable and competitive or we will continue to widen the gap until it becomes untenable. We ask that everyone consider this carefully as our collective future depends upon it,” Bobby said in a letter to industry from the CPA. For more information go to www.cpasa.tv or follow the CPA on its new Facebook page.
The Night Runners (Five Fingers For Marseilles) Photo by Graham Bartholomew
30 / SPOTLIGHT
SA AWARD WINNERS South Africa’s film, television and commercial work continues to stand out both locally and internationally. Here’s a roundup of the highlights in 2017.
outh Africa continues to rake in awards both locally and internationally, demonstrating its ability to create outstanding content across the television, commercial, and film industry. We bring you a look at some of the highlights in 2017; and who’s moving to greater heights through their stellar creations.
LOCAL AWARD WINNERS
Akin Omotoso’s latest film, Vaya was a strong contender in the local field, winning Best South African Film at Durban International Film Festival, as well as Best Screenplay and Best Director at the African Movie Academy Awards. Making waves both locally and internationally was The Wound (Inxeba) which won John Trengrove a Best Director accolade at DIFF. The SAFTAs brought some rising stars to the fore, most notably Dann-Jaques Mouton who bagged Best Actor for Noem My Skollie, while Oliver Schmitz won Best Director for Shepherds and Butchers. Pieter-Dirk Uys’s story, Nobody’s Died Laughing, won Best Documentary, while other television productions of note included The Road, Heist, and Puppet Nation ZANews.
Strike A Rock, the story of two South African mothers and best friends who live in Marikana, took home the award for Best Local Film at Encounters this year. The film had its world premiere at Sheffield International Documentary Film Festival in June. Last Broken Darkness by William Collingson won the Best Feature at the SASC Visual Spectrum Awards, while Vaselinetjie and Vuil Wasgoed bagged Best Film and Best Director (Morné du Toit) respectively at Silwerskermfees.
INTERNATIONAL AWARD WINNERS
Triggerfish Studios have done exceptionally well in 2017. Hot on the heels of their Annecy Crystal award and BAFTA nomination for their previous collaboration with Magic Light, Stick Man, they won Best Animation at the BAFTA Children’s Awards in late November for Revolting Rhymes. They also picked up Best Storytelling at Shanghai, Best Animation at BANFF, Best Animated Short at TIFF and are also an International Emmy nominee. Controversial local film Krotoa was widely acclaimed
EGG FILMS AND ARCADE CONTENT DIRECTORS HAVE HAD A PARTICULARLY GOOD SEASON, WINNING A WHOPPING 60-ODD AWARDS ACROSS NINE AD CAMPAIGNS.
internationally and scooped nine awards since its release, including Best Narrative Feature at the Montreal International Black Film Festival. Another film of note lifting SA’s industry to greater heights in the international sphere is The Wound (Inxeba). It won two awards at DIFF – Best Actor (Nakhane Touré) and Best Director (John Trengrove) as well as a slew of awards at festivals globally, including BFI London, Taipei, Valencia, Sydney, Frameline, Saratosa and others. To top it off, Inxeba was nominated as SA’s Oscar entry for 2018.
COMMERCIAL, ADVERTISING AND SHORT FORMAT WINS
NATIVE VML made waves with their outstanding One Source Campaign for Absolut, directed by Egg Films’ Sunu. In addition to winning multiple Loeries, being the most nominated campaign at the Bookmarks (and scooping seven awards), the campaign also bagged a Gold Lion at Cannes Festival of Creativity. Hot on the heels of their win, they were named the Entertainment Agency of the Year according to the 2017 Cannes Global Creativity Report. They’ve just launched a follow up campaign called Africa On Fire (also directed by Sunu) for their One Source Live festival in March 2018. Egg Films and Arcade Content directors have had a particularly good season, winning a whopping 60-odd awards across nine ad campaigns. These include Loeries, Creative Circle Ad of the Year, African Cristals, One Show awards, Bookmarks, and Clios.
They also signed Dan Mace, who went on to win his third Young Director Award in two years at Cannes Lions – a South African record. Another winner of note was Terence Neale’s Your Future Is Not Mine/Original Is Never Finished campaigns for Adidas Originals which won 11 awards including the Entertainment for Music Grand Prix at Cannes. 7Films’ SJ Myeza made history in 2017 as the winner of The One Club’s first ever Young Guns Creative Choice Award. He beat a record number of entries from 44 countries, judged by 50 top creatives from around the world. 7 Films also won two Loeries with Y&R South Africa for Salt and Everybody Knows. Zwelethu Radebe has also done well for himself with his short The Hangman winning Best Made in SA Film at shnit, as well as Best Short at Zanzibar, DIFF and Jozi Film Festival among others. In music videos, Kyle Lewis’ Bad Hair for Nasty C brought him a Loerie, with Cinematographer Pierre De Villiers taking Gold and Grand prix at the Visible Spectrum Awards for its striking visuals. Wicked Pixels also did well with a Craft Gold at the Loeries for Best Special Visual Effects working on NotGet for Bjork. Disclaimer: Due to space constraints, this by no means covers all award winners, however they do offer a sense of the high calibre of films, television shows and commercials coming out of SA today.
Come and take these items for a test drive! THE SONY FS5 WITH RAW LICENSE & SHOGUN 4K RECORDER BUNDLE • • •
4K (4096x2160) RAW output at 23.98p, 25p, 29.97p, 50p and 59.94p. 2K (2048x2160) RAW output at 100, 120, 200 or 240 fps as 23.98p, 25p, 29.97p, 50p, and 59.94p. 4 seconds cached 4K RAW at 100 or 120 fps
ARRI SKYPANEL S60-C • • •
adjust the correlated colour temperature anywhere between 2,800 K and 10,000 K With CCT control, vivid colour selection and saturation adjustment is possible. Brighter than a 2 kW tungsten soft light or a 6 kW tungsten space light.
ANGLEBIRD 1TB SSD • • • • •
DEVELOPED EXCLUSIVELY FOR ATOMOS 4K RAW WORKFLOWS. Records high frame rates and raw CDNG files with ease. Sustained read 560 MB/s. Sustained write 520 MB/s. Ready for anything your Atomos recorder can throw at it.
ASTRA’S • • • • •
Adjustable (daylight to tungsten), accurate color temperatures up to four times brighter than traditional LED panels Flicker-free at any frame rate or shutter angle CRI rating of 96 425 fc / 4577 lux @ 5.0’ at 5600K
ARRI/ZEISS ULTRA PRIMES •
Set of 5 lenses available in 16, 24, 32, 50, 85mm
Camera & Production Equipment Rental Contact us for more information: Tel: 27 (0) 11 886 1122/3/4 Fax: 27 (0) 86 681 8623 Email: email@example.com firstname.lastname@example.org Web: www.pumavideo.co.za
32 / WESGRO
STAKEHOLDER ENGAGEMENT IN Q2 & Q3 2017
Engagement with industry, both locally and abroad, continues to spell success for Wesgro’s film and media promotion unit.
High Fantasy © Gabriella Achadinha
THE SOUTH AFRICAN DELEGATION AT TIFF
The South African delegation to the 2017 Toronto International Film Festival (Tiff) and Industry Show (6-17 Sept 2017), was officially headed by the Consul General Nyameko Goso and included officials from the Department of Trade and Industry (Dti), SA’s National Film and Video Foundation (NFVF), Wesgro (the Official Tourism, Trade & Investment Promotion Agency for Cape Town and the Western Cape), the Industrial Development Corporation (IDC) as well as the filmmakers and actors from the films in and out of selection. Two South African’s made it into the TIFF’s professional programmes, including Kim
Williams from Cape Town’s Boondoggle productions, whose Borderlands was selected for the International Festival Forum programme. The NFVF hosted a country stand in the TIFF industry conference area where numerous meetings took place. As part of the TIFF Industry programme, Canada and South Africa co-hosted a breakfast to celebrate the 20 th anniversary of the Audio-visual Co-Production treaty. Since 1997, Canada and South Africa have completed 24 co-production projects with budgets of over $230-million. Canada has over 54 treaties and MOUs and the treaty with South Africa has been in the top ten partner country for Canada in terms of numbers of projects over the last decade. At the
same event, the Canada Media Fund and the NFVF announced the signing of an agreement to establish a dedicated incentive for the co-development of audio-visual projects between
Canadian and South African producers. The Canada Media Fund’s Valerie Creighton noted that the NFVF has been a strong international partner for quality content and the development incentive being designed will increase co-production opportunities. Soft funding in the development finance arena is a welcome initiative and should drive a pipeline of co-producible projects During TIFF, the Canada Media Fund released a South African market report. The report covers Canadian deals in South Africa, successful genres, major broadcasters, other delivery platforms, trade agreements with Canada, advice on the regulatory environment, marketplaces and trade events. One of the obvious highlights of the large SA presence at TIFF was the world premieres
AS PART OF THE TIFF INDUSTRY PROGRAMME, CANADA AND SOUTH AFRICA CO-HOSTED A BREAKFAST TO CELEBRATE THE 20TH ANNIVERSARY OF THE AUDIO-VISUAL CO-PRODUCTION TREATY. SINCE 1997, CANADA AND SOUTH AFRICA HAVE COMPLETED 24 CO-PRODUCTION PROJECTS WITH BUDGETS OF OVER $230-MILLION.
WESGRO / 33
SOUTH AFRICA ALSO SENT A DELEGATION OF OVER 10 ANIMATION SOUTH AFRICA COMPANIES TO THE OTTAWA INTERNATIONAL ANIMATION FESTIVAL IN LATE SEPTEMBER, WITH THE SUPPORT OF THE DTI.
DISCOP JOHANNESBURG Five Fingers For Marseilles. © Photo by Graham Bartholomew
of three South African feature films. Two of them have Western Cape production connections High Fantasy (Big World Cinema/ Proper Films), Five Fingers for Marseilles (Bephat Motel). The documentary Silas saw its world premiere and was also produced by Cape Town’s Big World Cinema. There was a wellattended side bar a ‘cast and crew’ screening of the official Canada-SA co-production romantic comedy Love Jacked which was co-hosted by the Consulate General of South Africa in Canada and the High Commission of Canada in South Africa. This commercial romcom film, directed by Alfons Adetuyi of Toronto’s Inner City Films, and co-produced by Cape Town’s Spier Films, is being touted for international release in February 2018. South Africa also sent a delegation of over 10 Animation South Africa companies to the Ottawa International Animation Festival in late September, with the support of the dti. Many projects are in development and some will be announced by the next Cape Town International Animation Film Festival in early March.
EL GOUNA EGYPT FILM FESTIVAL
Wesgro was invited to the inaugural El Gouna Egypt (22 to 29 Sept) festival in order to
take part in the project market where 16 projects pitched for prizes and for partnerships. The festival curated films in competition (prizes from $5 000-30 000) and in official selection around the theme of “Cinema For Humanity” and it was excellent to see that one of the films in selection was Dabka, an unofficial Canadian - South African (Kalahari Films) produced film shot in Cape Town and Toronto based on the Canadian journalist Jay Bahadur’s book and New York Times best seller The Pirates of Somalia. Projects from El Gouna initiatives will help to drive a Pan African, MENA co-operation pipeline. The opportunities and funding in MENA region will help unlock large territories and should attract some of the North African and Middle East film funds.
RESEARCH REPORT – UPDATE
The Cape Town & Western Cape Film & Media Sector Study Situation Analysis Report 2017 data has been highlighted in the EPIC Economic Performance Indicators for Cape Town: Sector Focus on the Film and Media Industry http://resource. capetown.gov.za/documentcentre/ Documents/City%20research%20 reports%20and%20review/ CCT_EPIC_2017_Q2.pdf The full report will be released soon.
DISCOP had a smaller footprint this year with events on only one floor at the Sandton Convention Centre. The proximity meant there was more time to connect and to drop into the various film discussions in one of the three enclosed conference venues. Most exciting was to see such quality animation projects for a guaranteed spot into two pitch sections of the Annecy MIFA – one in the project market and one in the Animation du Monde section. Germany was the host country and marketed the Berlinale African Film Hub opportunities among many discussions. It boded well for the local industry to see there was also Canadian participation in the DISCOP TV and Film market in Johannesburg as well as the Cape Town International Film Market and Festival (CTIFM&F). Market presence included XYZ’s Todd Brown who announced shortly before TIFF the Bephat Motel – XYZ development project Apocalypse Now Now, based on the bestselling Charlie Human book. The short film teaser was shot at the Cape Town Film Studios.
WAVESCAPE SURF AND CONSERVATION FILM FESTIVAL
Wavescape Surf and Conservation Film Festival is the next event on the national Calendar and should have a rousing industry session along with the well-attended roster of film, art and conservation events. www.wavescapefestival.com
THE FILM FUND
The NSRI launched the The Film Fund-supported surf rescue ski ‘Rescuer One’ on October 28th and was provided by the generous support of the industry. This donation was valued at R250 000 NSRI Station 16 situated at Strandfontein beach covers an area from Monwabisi to St. James which is a significant portion of False Bay and also an area inundated with bathers in the summer season. This area is also an area which contains many beaches often used by the Film Industry. Film Industry Fund ‘Rescuer One’ will allow Station 16 to put up a satelite station at Monwabisi for the festive season and have a unit at Strandfontein which will mean that their response time to potential drownings will improve significantly.
ITALIAN FILM FOCUS
The Italian Film Focus is the largest showcase of Italian films in Africa, and took place in late November and early December. One of the highlights included a seminar with the Italian delegation with a special presentation on Italian co-production incentives by Professor Antonio Falduto of Controluce, an association of producers in Italy. Controluce organises the annual Italian Film Focus, which provides the opportunity to discuss South African/Italian incentives, and allowed our local industry to connect and engage with their Italian film counterparts. For more information on the festival, visit http://italianfilmfocus.co.za/home2.
34 / OPPORTUNITIES
BOKEH, ZIFF, REALNESS CALL FOR ENTRIES
Bokeh SA International Fashion Film Festival, Zanzibar International Film Festival and Realness Scriptwriters Residency have all extended a call for submissions to the film industry.
BOKEH OPEN FOR 2018 SUBMISSIONS
Submissions are now open for the Bokeh South Africa International Fashion Film Festival, which takes place from seventh edition of the Luxor African Film Festival, which takes place over two days and nights. Bokeh is renowned for attracting some of the most prestigious local designers, filmmakers, producers and clients in the fashion world, and delivers a world-class platform for guests, speakers and filmmakers to mingle and be inspired by the latest fashion films. Bokeh 2018 will take the form of 10 satellite events throughout the year, culminating in a Gala Red Carpet event both in Cape Town and Johannesburg in April 2018. Filmmakers are invited to submit their films for consideration, along the themes of fashion, beauty, cool brands and products, lifestyle and trends. Film types include international, narrative, documentary, shorts, experimental, and music videos. The film length should be between one and 90 minutes. Bokeh also offers an award in an Emerging Talent category for films by students produced on budgets of less than $1 000. The closing date for submissions is 28 February 2018. For more information, visit www.bokehfestival.co.za.
ZIFF SUBMISSIONS NOW OPEN
The 21st Zanzibar International Film Festival, which takes place from 7-15 July 2018 to the theme of ‘Speak Up and Be Heard’, has opened submissions for next year’s event. ZIFF has announced two new categories for 2018: Best African TV Series and Best African Web Series, and will have an increased focus on television and digital – and the breaking down of barriers between content types. At least three episodes must be submitted for consideration in either category, and will be open to any African-produced or coproduced project broadcasted within the last two years. “ZIFF 20 th marked a turning point in the history of our festival,” says Festival Director Fabrizio Colombo. “We are geared up and focused on both the business and the passion of what we all love: cinema. With the big step this year of ZIFF’s partnership with DISCOP Zanzibar, we are ready and excited to welcome all the players in the business of film, television and content production. TV and digital communication will gather, transforming ZIFF into a great platform to boost the East Africa industry.” Other categories are Best Feature Film, Best Short Film, Best Documentary, Best Feature – Dhow Countries, Best Short – Dhow Countries, Best Film – International, Best Animation and
2017 Realness Writers in residency. Courtesy of Urucu Media
Best East African Film. A host of other special awards will also be given out during the festival. The deadline for submissions is 15 March 2018. For more information, visit www.ziff.or.tz.
URUCU CALLS FOR REALNESS SUBMISSIONS
The Realness Scriptwriters’ Residency programme, which seeks to nurture the best African screenwriting talent across the world, opened its submissions on 1 November 2017. The residency is platform by which emerging talent is identified and was founded by Urucu Media under the mentorship of Berlinale Talents and in partnership with Nirox Foundation, Durban FilmMart, the French Institute of South Africa, and La Fabrique des Cinémas du Monde, TorinoFilmLab, Locarno Filmmaker’s Academy, Cocoon, The CNC ,TIFF and EAVE. Applicants are required to
submit a screenplay in progress, and the call for entries is open to fiction feature film scripts only. There is no restriction on age, script length or genre, and submission is free, regardless of geographical origin. The five selected writers will participate in a programme that begins with five weeks at Nirox Foundation in the Cradle of Humankind, followed by an immersive experience at Durban FilmMart where residents will have the opportunity to present their projects to potential producers and financiers. The most promising projects will be awarded and funded to participate in La Fabrique des Cinémas du Monde in Cannes, receive an EAVE Producers’ Workshop Scholarship, invitation to TorinoFilmLab Meetings Event and Locarno Filmmakers Academy. The deadline for submissions is 31 January 2018. For more information, visit www.urucumedia.com/realness.
THE CAPE TOWN INTERNATIONAL FILM MARKET AND FESTIVAL / 35
CTIFM&F: A GREAT SUCCESS Cape Town played host to hundreds of delegates over 10 days, and featured a plethora of experts and industry leaders sharing their stories.
he Cape Town International Film Market and Festival took place in October with ten days of ﬁlm screenings, workshops, master classes and exhibitions. Hundreds of local, national, and international ﬁlmmakers and industry professionals gathered at venues across the V & A Waterfront to share, learn and network. With collaboration as its key vision, the CTIFM&F included a diversity of master-classes, workshops and discussions with both local and international experts on hand to share their experiences, advice and best practice. A stellar line-up included Oscar-winning Aron Warner (Shrek), Sharlto Copley, the Snake Nation collective from the USA, local animators Hilton Treves and Stuart Forrest and many others. This collaborative vision of the festival was realised through a number of key partnerships that were also formalised. The Festival saw the oﬃcial launch of the China Africa International Film Festival, and closer to home, the team signed partnership agreements with the newly formed Limpopo Economic Development Agency, emphasising the need not just for international co-productions, but also inter-provincial and regional co-productions and ﬁlm development opportunities. The CTIFM&F also announced a pan-African relationship with What’s Good Studios in Kenya as well as the Nairobi Slum Film Festival. Additionally, the Festival has entered into discussions with DISCOP Markets, the Black Filmmakers Festival, and
Donovan and Sharlto Copley with a guest (centre).
the Zanzibar International Film Festival, amongst others. With access to all industry events made available for free to ﬁlm students amongst others, the next generation of ﬁlmmakers were well represented. The daily programmes that included screenwriting workshops, pitching sessions, master-classes on distribution, cinematography, special eﬀects, animation, blockchain, crypto currencies, and funding amongst other topics, were supported by a series of Couch Conversations that looked at a range of topics of interest to those both in and out of the industry. These intimate sessions focused the spotlight on ﬁlm festivals, casting, ﬁlm critics and journalism, music, and closed with an in-depth and passionate discussion on the issue of sexual harassment in the industry, with key insights from Canada’s Todd Brown, South African
Hollywood based actor Sharlto Copley, and international model Josie Borain amongst others. The CTIFM&F has also committed itself to supporting the Western Cape ﬁlm industries through its Expo, a free-toattend event that took place for the ﬁrst time this year from Oct 18th -21st. This unique event ﬁlls a much-needed gap within the industry- namely a place for production houses and producers to engage directly with the myriad support services required to successfully bring any ﬁlmed content to market. Unlike many other existing content markets, the CTIFM&F Expo is an inter-industry businessto-business event aimed at developing the core platforms and relationships necessary for Cape Town and surrounds to eﬀectively market itself as a ﬁlm-production hub. Local (and especially other South African companies) often do not know where to start
in terms of securing all of the services required within the Cape. The Expo was developed as an opportunity for the allied industries such as transport, logistics, location scouting, set-building, prop hire, make-up, wardrobe, post-production etc. to market themselves locally, regionally, and internationally. On the ﬁlm side, Ster Kinekor Cinema Nouveau and Nu Metro hosted 10 days of screenings of a diversity of ﬁlms from around the world, with truly something for everyone. South Africa was very well represented however with over a dozen feature and documentary ﬁlms from SA, many of which had their World or African premieres at the festival. Some of the South African ﬁlms were the most popular and well-attended screenings, with packed houses for both Kagiso Lediga’s ﬁlms, Catching Feelings (Winner of the festival’s Best South African Feature Film), and Matwetwe. The dates for the 2018 edition of the Cape Town International Film Market & Festival have been announced as October 11th – 20th and the planning and outreach to stakeholders and interested parties will begin within the next few weeks. Anyone interested in working with the project is encouraged to email info@ﬁlmfest.capetown.
36 / SPACE ROCK STUDIOS
SPACE ROCK STUDIOS ABOUT THE COMPANY Space Rock Studios was started by musician, artist and sound engineer Dan Thackwray, who worked in the industry for 10 years (Rooftop Studios and Big House Studios) before starting his own studio with long-time friend and business partner Stephen Gardiner. He studied at City Varsity, qualifying top of his class. His achievements include ﬁnal music mix for Marikana Shot Down which went on to win an Emmy. Combining his love for Science Fiction and Sound Engineering, Space Rock is something unique, embracing the future of digital whilst harnessing the soul of analogue as well, with multiple boutique preamps and microphones.
SERVICES OFFERED • • • • •
High quality voice-over recordings Final mix and master Sound design Comprehensive original music composition. High quality recordings for musical artists
MEET THE TEAM
WHAT WE OFFER Space Rock Recording Studios is committed to the highest quality sound production. We strive to create an environment that is both comfortable and professional which rings true in our product. We oﬀer complete professional services for all your sound needs whether its recording, mixing or mastering. With many years experience in the industry we have produced high quality content for TV, radio, ﬁlm and online.
CV OF CLIENTS • • • • •
Jeremy Loops Xcite Mobile Universal Music group SABC 3rd Floor
• • • • •
Bubblegum Philip Miller In Tune For Life KFM Visual Content Gang
CONTACT US Tel: +27 72 736 8072 | Email: email@example.com Address: 29 Sir Lowry Road, Woodstock Website: www.spacerockstudios.co.za
Dan Thackwray, Head Engineer and Music Producer
Stephen Gardiner, Manager and Music Producer
SIZE DOES MATTER
It’s been said that size doesn’t matter, but when it comes to creating extraordinary experiences for your guests, delegates or attendees, we have to disagree. That’s why we recently expanded the CTICC with the sole aim of giving our clients and guests more…
More space. More flexibility. More award-winning cuisine. More attention to detail. More convenience. More breathtaking views. More parking. More facilities. All of which give you more opportunity to transform your meeting, event, conference or show into a truly extraordinary experience.
To discover the massive positive impact our bigger and better convention centre can have on your brand or business, contact the CTICC today on +27 21 410 5000 or email firstname.lastname@example.org
38 / LOCATION SPOTLIGHT
Grey Crowned Cranes in Masindi, Uganda © Luz D. Montero Espuela
Queen Of Katwe © 2016 Disney Enterprises inc. All Rights Reserved
The Nile upstream of the Murchison Falls in Uganda © Bernard Dupont
UGANDA A destination only recently recognised for its film potential, Uganda has a wealth of untapped talent and locations just waiting to be explored.
beautiful country with a variety of locations for filmmakers to explore, Uganda is often called the Pearl of Africa thanks to its diversity in landscapes and wildlife. The country is the source of the majestic Nile River and home to the highest mountain range in Africa – the Mountains of the Moon, located in Rwenzori National Park. Other locations of interest can be found in Uganda’s traditional villages, rural areas, and estates. The region is lush and boasts gorgeous lakes, roaring waterfalls and rivers, and tranquil forests, as well as agricultural looks. “Beautiful landscapes
aside, Uganda’s rich history and old architectural buildings reminiscent of post-colonial era have also played a huge role in making it a great country to scout film locations,” says Bildad Koske, Producer and Fixer at Seamless Uganda. “The 1991 film Mississippi Masala starring Denzel Washington, directed by acclaimed film Director Mira Nair was partly shot in Uganda – Kampala City to be exact.” Uganda has an emerging film industry and although still relatively small, it is as vibrant as Nollywood, with audiences attending video halls where VJs narrate over feature films. “There’s been a huge growth
in expertise, from makeup artists and stylists to gaffers, production assistants, directors, and producers. The local talent here is in abundance.” Some films are funded through NGOs or cultural grants, while the Uganda Communications Commission organises the Uganda Film Festival to promote the local film industry. The Pearl International Film Festival is also held annually in Kampala.
FILMS SHOT IN THE COUNTRY Uganda’s film history dates back to 1931 when MGM filmed Trader Horn in the country, while the hugely successful 1950s King Solomon’s Mines was
also shot at the breath-taking Murchison Falls. Uganda has serviced a number of high-profile international films in recent years, and is best known for The Last King of Scotland and The African Queen. Last year saw the release of Disney’s Queen of Katwe starring Lupita Nyong’o and David Oyelowo, along with breakout star Madina Nalwanga as the film’s genius chess player. Other local films of note include Who Killed Captain Alex? (2010), Sipi (2015), and Love Faces (2017).
FILMING ON LOCATION
As with most African countries, it’s important to allow as much time as possible to obtain the
LOCATION SPOTLIGHT / 39
CLIMATE A landlocked country in central Africa, Uganda has a tropical climate with two dry seasons. It is semi-arid in the northeast. Average Annual Temperatures in Entebbe, Uganda 320C 24 0C 160C 8 0C 0 0C
Courtesy of Bildad Koske
Jan Feb Mar Apr May Jun Max temp
Aug Sep Oct
Min temp www.weather-and-climate.com
Average precipation (rain/snow) in Entebbe, Uganda 300 mm 250 mm 150 mm 100 mm 0 mm
Mar Apr May Jun
Oct Nov Dec
ACCESS Gorilla Tracking in Uganda © Dylan Walters
correct press accreditation, work permits and location permits. Uganda Media Council requires any foreign journalist and all film crew to be accredited. Local crew and infrastructure is limited, and roads aren’t the best, according to Koske. “The other big challenge is access to high-end equipment,” he says. “This equipment is outsourced from Kenya and South Africa. However, with proper preproduction planning ahead of time, equipment can easily be availed without a hitch. Drone laws in Uganda are also not unique from what is followed in other countries. Permits
are issued by the local Civil Aviation Authority (CAA) with recommendation from police.” Uganda has a wet, tropical climate with dry seasons from December to February and June to August. These are also the best times for capturing wildlife as they congregate around water sources. Filming in any of the country’s national parks requires a filming contract or MOU, as well as permits from Uganda Wildlife Authority, all of which a fixer can obtain for you. Filmmakers should also note that shooting mountain gorillas costs more than other wildlife.
THERE’S BEEN A HUGE GROWTH IN EXPERTISE, FROM MAKEUP ARTISTS AND STYLISTS TO GAFFERS, PRODUCTION ASSISTANTS, DIRECTORS, AND PRODUCERS. THE LOCAL TALENT HERE IS IN ABUNDANCE.
Entebbe International is the country’s main airport, while three domestic airports offer connecting flights to the rest of the country: Arua, Gulu and Loyo Airport. Major carriers with regular flights to Uganda include: • South African Airways • Emirates
• Qatar Airways • Etihad Airways • Kenya Airways
• Turkish Airlines • Ethiopian Airlines • RwandAir
POPULATION 39,570,125 (July 2017 est., CIA World Factbook)
CONTACTS Uganda Communications Commission Head Office: Plot 42-44, Spring Road, Bugolobi, Kampala, Uganda Tel: +256 414 339 000 / +256 312 339 000 Email: email@example.com Website: www.ucc.co.ug East African Film Network Head Office: Ngong Road, Ngong Hills, Kenya Tel: +254 722 486 531 / +254 733 703 374 Email: firstname.lastname@example.org Website: www.eastafricanfilmnetwork.org
FIXER Seamless Uganda Contact: Bildad Kokse Tel: +256 782 737 311 / +256 783 194 529 Email: email@example.com / firstname.lastname@example.org Website: www.seamlessug.com
40 / EVENTS TO DIARISE
JANUARY DECEMBER FESTIVAL INTERNATIONAL DU FILM DE MARRAKECH 1–9 Marrakech, Morocco DELHI INTERNATIONAL FILM FESTIVAL 4–9 New Delhi, India DUBAI INTERNATIONAL FILM FESTIVAL 6 – 13 Dubai, UAE MONACO INTERNATIONAL FILM FESTIVAL 7 – 10 Monte Carlo, Monaco WAVESCAPE FESTIVAL 7 – 10 Cape Town FESTIVAL INTERNACIONAL DEL NUEVO CINE LATINOAMERICANO (HAVANA FILM FESTIVAL) 8 – 17 Havana, Cuba
PALM SPRINGS INTERNATIONAL FILM FESTIVAL 2 – 15 Palm Springs, USA WILD AND SCENIC FILM FESTIVAL 11 – 15 Nevada, USA LONDON SHORT FILM FESTIVAL 12 – 21 London, United Kingdom GOLDEN GLOBE AWARDS 7 Beverly Hills, USA
SUNDANCE FILM FESTIVAL 18 – 28 Park City, USA SLAMDANCE FILM FESTIVAL 18 – 25 Park City, USA GERARDMER FESTIVAL INTERNATIONAL DU FILM FANTASTIQUE 24 – 28 Paris, France
NEW YORK JEWISH FILM FESTIVAL 10 – 23 New York, USA
CINEMA ON THE BAYOU 24 – 31 Lafayette, USA
LONDON SHORT FILM FESTIVAL 12 – 21 London, United Kingdom
INTERNATIONAL FILM FESTIVAL OF ROTTERDAM 24 – 4 February Rotterdam, Netherlands
DHAKA INTERNATIONAL FILM FESTIVAL 12 – 20 Dhaka, Bangladesh
GÖTEBORG FILM FESTIVAL 26 – 5 February Gothenburg, Sweden
BAHAMAS INTERNATIONAL FILM FESTIVAL 10 – 17 Harbour Island and Nassau, Bahamas
TROMSØ INTERNATIONAL FILM FESTIVAL 15 – 21 Tromsø, Norway
METRO MANILA FILM FESTIVAL 25 – 1 January Manila, Philippines
WORLD INTERNATIONAL FILM FESTIVAL (TORONTO) 19 – 20 Toronto, Canada
SAN DIEGO BLACK FILM FESTIVAL 31 – 4 February San Diego, USA SANTA BARBARA INTERNATIONAL FILM FESTIVAL 31 – 10 February Santa Barbara, USA
EVENTS TO DIARISE / 41
FEBRUARY BENGALURU INTERNATIONAL FILM FESTIVAL 2–9 Bengaluru, India
OXFORD FILM FESTIVAL 7 – 11 Mississippi, USA PAN AFRICAN FILM AND ARTS FESTIVAL 8 – 19 Los Angeles, USA ANIMA – BRUSSELS ANIMATION FILM FESTIVAL 9 – 18 Brussels, Belgium BERLINALE INTERNATIONAL FILM FESTIVAL 15 – 25 Berlin, Germany PORTLAND INTERNATIONAL FILM FESTIVAL 15 – 1 March Portland, USA EE BRITISH ACADEMY FILM AWARDS (BAFTAS) 18 London, United Kingdom
CHENNAI INTERNATIONAL SHORT FILM FESTIVAL 18 – 24 Chennai, India BEAUFORT INTERNATIONAL FILM FESTIVAL 21 – 25 Beaufort, USA GLASGOW FILM FESTIVAL 21 – 4 March Glasgow, Scotland ATHENA FILM FESTIVAL 22 – 25 New York City, USA DUBLIN INTERNATIONAL FILM FESTIVAL 22 – 4 March Dublin, Ireland SEDONA INTERNATIONAL FILM FESTIVAL 24 – 4 March Arizona, USA ZAGREBDOX 25 – 4 March Zagreb, Croatia
Photo by Jeremy Bishop on Unsplash
CLERMONT-FERRAND INTERNATIONAL SHORT FILM FESTIVAL 2 – 10 Clermont-Ferrand, France
42 / ASSOCIATIONS NEWS
SAGA AND SWIFT RESPOND TO SEXUAL HARASSMENT AND ABUSE IN FILM INDUSTRY Sisters Working in Film and Television (SWIFT) and the South African Guild of Actors (SAGA) both issued statements in late October regarding the recent reports of sexual abuses by Hollywood mogul Harvey Weinstein. The sad stories emerging merely highlight the struggles that many in the entertainment industry across the globe – women in particular – have endured for generations. SAGA “recognises that sexual predators target the most vulnerable among us and believes it is incumbent on those with a voice to speak up and speak out,” they said. One of SWIFT’s missions is to expose sexual and racial abuse and discrimination in the workplace and, furthermore, to prevent such occurrences from taking place in the ﬁrst instance. A recent survey undertaken in the local industry found almost 70% of respondents felt they had been discriminated against based on gender, and over 23% disclosed they had been violated. As such, their ongoing #ThatsNotOkay campaign will see a series of short ﬁlms being produced in coming months. SWIFT is also in the ﬁnal stages of drafting a viable Code of Conduct to be implemented throughout the industry. “We are in the process of encouraging broadcasters and funding bodies to support the Code of Conduct initiative. We
are currently in discussions with key industry organisations around creating a neutral point of contact where these types of issues can be safely and appropriately addressed,” they said in a statement. As a member of the International Federation of Actors, SAGA is participating in research around the subject, to be presented to the International Labour Organisation in coming months. They are working with SWIFT on the Code of Conduct and urge leading industry stakeholders to stand up and enforce the polocies outlined in the Code. “In an industry such as ours, with its scant regulation, discriminatory gate-keeping practices, unstable employment tenure and contractual inequities, abuse will continue to ﬂourish unchecked in the absence of a Code of acceptable conduct; perpetrators will forever be shielded from scrutiny and remain unaccountable for their conduct,” they said. “The actors’ Guild ﬁrmly believes that to remain silent is to tacitly endorse the kinds of abuse currently being spotlighted in news coverage and social media campaigns.”
SAGE 2016 SURVEY RESULTS RELEASED The South African Guild of Editors has released its 2016 survey results, which was run in early 2017 and looked at post-production across the country. The survey ran for four months from March to June 2017 with 20 producer and 80 editor respondents in all. According to results, ﬁnding work continues to be dominated by past relationships and word of mouth among both editors and producers, while nearly a third of editors work on informal verbal contracts. This remains concerning to see, says SAGE. “It is easy to turn a verbal contract into a written one: just summarise the agreement in an email and receive a response. There really isn’t an excuse for a verbal contract!” 40% of editors are hired during the pre-production process, and an additional 25% in scripting, while 40% of producers say they always include editors in discussions on style before editing begins – yet 40% of editors say they are either rarely or never included. For the full report, visit www.editorsguildsa.org.
ASSOCIATIONS NEWS / 43
SOS COALITION, FXI, MMA VICTORY
Animation SA has welcomed Isabelle Rorke to their board, bringing fresh energy and ideas to a new portfolio called Industry Transformation. Ms Rorke will also take over the reins of the Skills Development Committee from Wynand Lens. Lens will continue organising the association’s monthly AnimationXChange events in Cape Town.
The SOS Coalition, Media Monitoring Africa (MMA) and Freedom of Expression Institute (FXI) welcome the judgement in the SOS/FXI/MMA vs SABC/ Minister of Communications/ Hlaudi Motsoeneng matter. This was with regards to the Minister’s authority to appoint executive members of the SABC board. The court has ruled that executive members are to be appointed by the Board, following an open and transparent process, and without the Minister’s approval. The Board has also been given rights to constitute any disciplinary proceedings against the GCEO, CFO and COO. The second issue was the illegal removal of SABC directors by the Minister, which the
court has declared is unlawful, except through the provisions of sections 15(1) and 2 and 15(A) of the broadcasting act. “We are extremely pleased that the court, through this judgement, has validated our argument that the Broadcasting Act, which was speciﬁcally intended to govern the public broadcaster, trumps the Companies Act, which made the Minister of Communication the sole shareholder in the SABC and kept an opened door for political interference,” SOS Coalition said in a statement.
NFVF AND PARTNERS HOST SA PAVILION AT DISCOP The National Film and Video Foundation (NFVF) in partnership with the Gauteng Film Commission (GFC), Durban Film Ofﬁce (DFO), KwaZulu Natal Film Commission (KZNFC) and the Film and Publication Board (fbp) hosted the South African Pavilion at DISCOP Johannesburg from the 25-27 October 2017 at the Sandton Convention Centre. The NFVF awarded 31 ﬁlmmakers with an opportunity to attend DISCOP Johannesburg and utilised the market to launch the South African Movie Database (SAMDB), a Video on Demand (VoD) site, created to assist with the distribution of the South African ﬁlm and television content locally and internationally. The NFVF also hosted a two-part presentation focusing on TV formats in an effort to improve the quality of applications by clearly deﬁning TV formats and the evaluations criteria.
Photo by Sergey Shmidt on Unsplash
ASA ANNOUNCE NEW BOARD MEMBER
44 / DIRECTORY
DIRECTORY OF ADVERTISERS COMPANY
+27 21 201 3960
Cape Town International Convention Centre
+27 21 401 5000
Cape Town International Film Market and Festival
+27 21 556 3204
Fine Tune Studios
+27 82 493 1066
Inside Front Cover
Global Access Studios
+27 11 350 6111
Global Bodyguard Solutions
+27 11 824 0334
+27 11 280 1234
Juliet Alpha Whiskey Solutions (Pty) Ltd
+27 83 769 0246
Lion & Safari Park
+27 87 150 0100
Outside Back Cover
+27 11 963 3049
+27 87 813 1348
+27 11 885 2042
+27 21 529 4200
Priest Post Production
+27 21 201 4777
+27 21 425 2170
+27 11 886 1122
+27 21 421 0015
Inside Back Cover
+27 11 719 4200
+27 11 799 7800
Southern Brothers Tracking (Pty) Ltd
+27 76 147 7641
Space Rock Recording Studios
+27 72 736 8072
+27 83 368 6216
Outside Front Cover, 11
+27 21 487 4844
32 - 33
+27 21 461 9334
CONTACT US Cover Image: Peter Schreiber 2017 www.peterschreiber.com
Special Projects Designer/Illustrator: Lauren Smith lauren@ﬁlmeventmedia.co.za
Publisher: Lance Gibbons lance@ﬁlmeventmedia.co.za
Junior Designer: Caitlin Perrett caitlin@ﬁlmeventmedia.co.za
Editor in Chief: Katie Reynolds-Da Silva katie@ﬁlmeventmedia.co.za
Writer: Susan Reynard susan@ﬁlmeventmedia.co.za
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
Account Executive: Jennifer Dianez jennifer@ﬁlmeventmedia.co.za
Account Executive: Karen Barnes karen@ﬁlmeventmedia.co.za Production Manager: Aayesha Parker aayesha@ﬁlmeventmedia.co.za Traﬃc Manager: Tamlyn Peters tamlyn@ﬁlmeventmedia.co.za Database Manager: Ricky Ortell info@ﬁlmeventmedia.co.za Regent Square, Ground Floor, Block A, Doncaster Road, Kenilworth, 7745 Tel: +27 21 674 0646
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.
Published on Dec 13, 2017
Published on Dec 13, 2017
The Callsheet Issue Dec 2017/Jan 2018 is brought to you by Film & Event Media. This issue explores South Africa's studios, the growth of the...