The Callsheet Issue 11

ISSUE 11 | 2015

CAMERA SHOOTOUT

SA’s top DOPs put the Best Cameras to the Test

STILLS PHOTOGRAPHY The State of the Industry in 2015

BROADCAST STUDIOS

Spotlight on Broadcasting in South Africa

CONTENTS / 01

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02. Cape Town City Studios

04 10 16 24

04. The Screenwriter on 93 Days

05. A Tribute to

93 DAYS

Grant Cinnamon

Paul S Rowlston, the screenwriter of the Ebola saga 93 Days, on pulling off the writing feat of a lifetime.

06. Trevor Noah Breaks Records at Comedy Central

08. Zig Zag and Urban

Brew Studios Announce Production Partnership

09. Bryan Little

CAMERA SHOOTOUT

The leading DOPs and DITs in South Africa descend on Media Film Service to test the latest and greatest film cameras.

Celebrates Urban Africa Maker Culture for Vigo

10. Camera Shootout 2015

16. The State of South

Africa’s Stills Industry

21. SA Broadcast Studios 24. Keep Calm and shnit On…

26. TV vs Film vs

Commercials: Part 2

STILL PHOTOGRAPHY Kim Muller unpacks the fascinating stills photography industry, and finds out who is leading the pack. Turn to page 16.

SHNIT INTERNATIONAL SHORTFILM FESTIVAL The Callsheet team was there to witness the glory and the weirdness of this short film festival like no other.

© Mads Nørgaard Photography (www.madsnorgaard.net)

28. MIPCOM 2015 30. Photo & Film Expo 2015

32. Indies and Shorts 34. In Production 36. DISCOP 2015 38. Ivory Coast: Home

of the Francophone Film Industry

40. Events to Diarise 42. Opportunities 43. Associations 44. Directory of Advertisers

02 / NEWS

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CAPE TOWN CITY STUDIOS

by Jannie van Wyk

O

n 1 November 2015, Cape Town City Studios (CTCS) opened its doors to the purpose built sound-proof studios for its first long term production for Home Brew and Kyknet.

The studio opportunity came about as a result of what can happen only when passionate film industry and property people get together and exchange ideas. It created a perfect storm for collaboration.

Jaco Loubser from Home Brew had a project coming up and was looking for a facility to move into for three years.

Most of the available facilities were either unavailable or not suitable for the duration of the production. The idea of building a world-class shootready studio solution in eight weeks seemed to be completely unrealistic. After a few loose discussions, a consortium of very specific investors were put together - each with their own strengths to contribute to the project, and together a strategy was hatched to go on risk and create a dedicated industry asset that hopefully will become the place to be when you are out shooting!!

The focus was to try obtain the Old Makro building in Montague Gardens as it was the best suited building in Cape Town for this studio project. This building has always been the most perfect all-round film-type building because it was close to the city, ready built, had masses of parking, huge interior floor space, lots of future development potential and was on all the public transport routes and the My City Bus stops right outside.

The overall building is

11 400m2 and the property is close to 40 000m2, it has an interior eight metre ceiling height and the first three sound stages are 500m2 of uninterrupted floor space with control rooms, airconditioning, gantries, dressing rooms, production offices, hair and make-up, and catering space.

The first phase has been extremely frenetic. Access to the building was only granted on 1 August with some pretty impossible deadlines to meet.

Quickly, specialist teams were brought in to work 24/7 for 45 days with sometimes over 200 people on site.

Magic happened. There have been a number of innovative solutions that were pooled together, tested and delivered all within this time pressure.

With the first phase nearing completion and the first production underway, phase 2 can begin to be formulated together with industry input. The initial idea is to continue building

10 more similar studios with a few smaller studio spaces attached, but as industry players have visited the space, the idea is open to reconsidering the final lay-out, as there could be an opportunity in leaving the remaining space as two or three 2000 or 3000m2 spaces with only two more 500m2 stages. The need is to get some production into the space as soon as possible, but also to really listen to the industry to ensure we deliver something unique and super-functional.

The current ideals are to complement existing industry studios by offering more overall specialised film and TV studio capacity in Cape Town. The studio lot will be mixed spaces of sound-proof and semi-sound proof “plug and play” stages, available to TV soaps and drama, sport, commercials, and feature films. There is a plan to build a 3000m2 stage with completely open floor space on the site.

Part of the parking area will be

developed to provide secure 24 hour parking with lock-up storage facilities for crew equipment and vehicles that can be rented, similar to a mini-storage facility, but just for industry members.

We are applying for permission for a helipad, so that camera rigging and aerial equipment storage can be close to the city.

We also intend to lead the industry with the first “green studio” that will be predominantly powered by solar during the day.

All new generation lights require very low energy in comparison to the past. So this will bring a new dimension to Green Screen!

We invite you down to come and view the space and make some suggestions. We trust that you will become as excited as we are.

CONTACT:

Marius Maritz: 083 634 4460 marius@redpepper.co.za Jannie van Wyk: 082 554 4400 jannie@vanwyk.tv

MOVIEMART / 03

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MOVIEMART ANNOUNCED AS A RED AUTHORIZED DEALER IN SOUTH AFRICA

M

oviemart is proud to announce that it is now an authorized dealer for RED Digital Cinema, offering the full line of RED® products to local customers.

In 2006, RED Digital Cinema began a revolution with the 4K RED ONE® digital camera— altering the future of filmmaking.

Two years later, RED broke the mold by debuting a camera that could shoot both cinema and still with a new DSMC® (Digital Still and Motion Camera) system. This breakthrough allowed the same camera used to shoot feature films and episodics—including

The Hobbit trilogy and the Emmy-winning series House of Cards —to also capture two-page spreads for magazine. In 2014, RED introduced a systemized broadcast solution enabled for today’s high-definition studio market with the capability to extend to tomorrow’s 4K market.

Powered by the amazing color science and dynamic range of the 6K RED DRAGON® sensor, RED’s camera line provides a solution for every situation— whether you’re a photographer, cinematographer, or broadcaster.

Moviemart’s commitment to providing world-class film

equipment to South African customers has only been solidified through a partnership with RED. With the RED DRAGON sensor receiving the highest DxO sensor rating ever, it was a natural choice for Moviemart to feature this innovative brand’s products.

Moviemart will provide local support for customers to gain hands-on experience with RED products. Additionally, customers will be able to learn about the latest product innovations as well as receive assistance with RED upgrade paths.

For further details please contact: colinb@moviemart.co.za

04 / NEWS

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93 DAYS... OR HOW WE ACCIDENTALLY IMPRESSED A MAJOR MOVIE STAR.

by Paul S Rowlston - Screenwriter

A

t the end of 2014 I was contacted via e-mail by a Nigerian offering me a seemingly incredible opportunity. Now, usually, these stories do not end well - but this one was eventually to take an unexpected and altogether astonishing turn.

The Nigerian in question was Steve Gukas, a film director who had just recently won an award for his last film and was looking at a new film that he wanted to move fast on. The project was the story of how Ebola came to Nigeria in July 2014 and, over the course of 93 days, was managed and contained with incredible – you might even say miraculous - success.

This story had been, and indeed remains, a big story in Nigeria and in particular in Lagos – a city of 21 million people and pretty much the last place on earth you would want Ebola to arrive. Gukas wanted to move fast. He wanted me to come to Lagos, meet the survivors, meet the family of some of the dead, meet some of the government people involved in containing the outbreak and then get him a script written so he could make a frankly impossible deadline.

After some due diligence, I travelled to Lagos and met with Steve and his coproducer Dotun Olakunri.

It was quickly clear that Steve and Dotun were exactly what they claimed – not princes, but princes among men. And the story they wanted to tell was both more amazing and more complex than I ever imagined when they sent me the first magazine and newspaper material to read.

This was a human story of

great tragedy and triumph. It was the story of a small team of medical people who found themselves dealing with a terrible disease that they ‘had never’ met, while also fending off diplomatic pressure and growing fear – both internally and in the surrounding city, as news that Ebola had come to town quickly spread.

It was a story of the people who died and the people who lived, a story of the people who sacrificed so that their city and their country could live. It was an epic story told on a tiny canvas, against the backdrop of massive global events. It was an Ebola story that the world could relate to. It was a fundamentally human story and, perhaps most glorious of all, it was an important story about an African success story that will be studied for years to come. Oh, and it was all true.

Loaded with more material than I could ever fit into one feature film script (the first draft was a scant 175 pages long) I set about working out how to best serve this amazing story about real people – some of whom died in the telling of it. Barely a scene in the film was pure fiction – and even then fiction

in service of a visual representation of the absolute truth. The first was written in under a month all while I was delivering episodes of Isibaya, my day job. And yes, the deadline remained insane.

After hammering away at the second draft, Steve and I managed to butcher it down to an almost anaemic 150 pages and that draft was dispatched to Danny Glover.

Steve worked with him on a film in Namibia and could get the script directly to him. With that in mind we had written up an American character into a nice little cameo that he might conceivably play.

But then the bad news. Danny didn’t want to play the cameo.

Not at all interested. But he did want to play one of the leads.

He felt the script was ‘great’ and ‘important’ (I obviously agree!) and it was a story he wanted to tell.

With Danny on board and the script of 93 Days finally wrangled down to an almost sarcastic 116 pages, the project quickly gained momentum. Lagos Patron of the Arts, Bolanle Austen-Peters signed on to produce, as did American producer Permon Rami. They secured the services of Tim Reid (WKRP in Cincinnati, Treme) and

British actor Alistair Mackenzie (Monarch of the Glen). They also locked down an absolutely steller cast of Nigerian actors and started shooting at a breathless pace.

The eight week shoot is still happening, it will be followed by a frantic post production period so that the film can premier in December this year, less than a year after that initial trip to meet a strange Nigerian about an incredible opportunity.

And, as if that is not enough, I even got invited up to Lagos at the start of September to take part in the official press conference that introduced the world, and me, to Danny Glover. His smile and thumbs up at my introduction in front of the world’s press is a highlight of my professional career – and seeing and hearing him and the amazing cast say my words, in service of such a powerful story, seems like something from a writer’s fever dream.

But, gushing aside, this is the true truth. Ebola came to Lagos.

The world should have held its collective breath, but we didn’t even know about it at the time.

Now, because my Nigerian princes don’t take no for an answer and don’t play, and because Danny Glover said no to a cameo part in the film, maybe the world will see what took place during those remarkable 93 days and they will also celebrate, like I do, the amazing efforts and the tragic sacrifice of the people who worked so hard to keep their city, their country and perhaps even the world safe.

And no, that is not marketing hype. That is the true truth. If you don’t believe me? See the film. You won’t have to wait long, we’re on a deadline here.

NEWS / 05

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THE INDUSTRY MOURNS

GRANT CINNAMON T

he South African film industry is still reeling from the tragic passing of Grant Cinnamon, a highly experienced locations manager and beloved friend and family man. Sadly, some people have made links between his passing and the long working hours that are synonymous with the film industry. The Callsheet contacted the producers of

My Father’s War, the film that Grant was working on at the time, to clear up the rumours.

The producers expressed that “Grant Cinnamon was an extraordinary locations manager and could find and lock down just about any location you desired. He was an asset to any team and one could rest easy knowing that Grant was a part of your film. Grant always

had an infectious smile and he absolutely loved his job.

Grant’s passing was not due to unfair treatment on the set of My Father’s War, as the film shot continuous days consisting of 10.5 hours. On the day that Grant passed away, the shoot hours were also 10.5 hours, but being in Locations & Unit, Grant did have a longer day and a unit move at the end of

the day. On his way home from visiting a friend, Grant tragically passed away in a car accident.

The My Father’s War producers made the decision to dedicate a full shoot day to Grant on Monday the 21st of September, which allowed his friends and colleagues to attend his funeral and take some time to grieve. Grant was at the top of his game, and his death is a huge loss to the industry”.

SCOT COOPER, STAR OF

RECONNECT, CHATS TO THE CALLSHEET Was it always your ambition to be an actor?

Without me knowing it, yes...

After a couple of gap years after school I knew I had to pursue something. And then realised that in my school years I really enjoyed acting on stage. So then I decided to go to film school for three years. And my passion for the craft has grown ever since. My future aspirations is to continue getting better as an actor, I want to be great. And work with the best of the best consistently, whether it’s in Hollywood, or South Africa.

Your choice of Meisner technique studies is interesting. Why did you decide that this was the best method for you?

Meisner is more a technique than a method. It’s great to use in rehearsal, and really it requires another actor to bounce off. But in preparing for role you can also delve into ‘method’, so they don’t conflict each other at all. When I read Master Meisner, teacher Bill Esper’s book on the technique, it caught my attention because

it really helps you find the core truth of the moment, and that’s what us actors strive for to connect with a character, and the audience. And I believe it’s made me a better actor.

Let’s chat about Reconnect.

Though it is a South African film, it definitely has an international feel to it. Shooting it we were on a tight schedule, only 21 days. So every day was a full one with its challenges.

But it was great to spend time in the North West province

filming with people so passionate about this project.

What advice would you give to young talent entering the industry? Passion, patience, positivity, and persistence.

Those four golden words I recommend to anyone. I have to remind myself of them daily. It’s a tough industry, with more rejection than success. So you’ve got to be passionate about it to survive.

And it takes time to be good, and even longer to be great.

06 / NEWS

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TREVOR NOAH

BREAKS RECORDS AT COMEDY CENTRAL

T

he Daily Show with Trevor Noah broke Comedy Central record ratings – the highest ever achieved by the channel in South Africa. The new incarnation of the show, hosted by local comedian Trevor Noah, scored a rating of 2.6, beating the Comedy Central Roast of Steve Hofmeyer, also hosted by Noah in 2012. Added to his great start on the show, #DailyShow and #TrevorDay were trending as number 1 and 2 respecti vely in SA, beating conversation about the Rugby World Cup with over 100 000 original posts across social media.

The US premiere performed well, too, scoring a total of 7.5 million viewers across Viacom Media Networks’ brands.

On Comedy Central, ratings amongst 18-34 year olds soared by 41%, dropping viewers’ median age by six years to 46.

The second episode scored even better, with double-digit gains across the board compared with the premiere telecast. The episode featured segments on presidents Barack Obama and Vladimir Putin at the UN, and the attempts of Hillary Clinton and Ben Carson to pander the youth

Trevor Noah on his first episode of The Daily Show © Comedy Central

vote, according to Media Update.

The audience increased by 13% total viewers for this show.

“Compared to the final quarter of The Daily Show with Jon Stewart, the second episode of The Daily Show with Trevor Noah saw ratings gains of 21% with adults aged 18 to 49, 71% with adults aged 18 to 34, and nearly doubled the men aged 18 to 34 rating to 92%,” they explained.

Online has also seen great results, with Noah’s full episode premiere streamed over 750 000 times and clips from the episode recording about four million views across platforms.

At only 31 years old, Trevor Noah now runs one of the most powerful institutions of satirical media, and is part of a new wave of African diaspora speaking out and changing

stereotypes of the continent, one joke at a time. Since beginning, the show has received mixed reviews from critics, with some worries such as stilted interviews and laughing too much at his jokes cited. Overall he’s been finding his feet on the show and should be a natural soon – with a natural capacity of appealing to a much larger global audience in the future.

The world leader in the provision of completion guarantees for the film and television industry.

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Tel: +27 11 513 3563 | Mobile: +27 82 411 4088 | www.filmfinances.com Contacts: Jane Fry: jane@filmfinances.co.za | Thandeka Zwana: thandeka@filmfinances.co.za Head Offi ce: 9000 Sunset Boulevard Suite 1400 Los Angeles, California 90069 Tel: 310.275.7323

LONDON | TORONTO | SYDNEY | JOHANNESBURG | STOCKHOLM | COLOGNE | SHANGHAI

VISUAL IMPACT / 07

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THE BEST OF

NEW RELEASES

Stefan Nell, Head of Digital Imaging at Visual Impact South Africa, shares his insights on new releases from Sony, Video Devices, The Light and more.

S

ony continues releasing game-changing products with this month’s release of the smaller, handheld form factor to Sony’s line of digital cinema cameras. The PXW-FS5 XDCAM Super 35 Camera System captures UHD video using a Super 35mm-sized sensor for cinematic imagery. Though small in size, it incorporates professional features differentiating it from consumer and DSLR/mirrorless cameras, making it suitable for productions as diverse as cinéma vérité-style documentaries, reality TV, and commercial and corporate applications. I expect this camera to do really well in both the rentals and sales market

as it sits perfectly in the gap between the mirrorless range and the hugely popular PXW-FS7.

Video Devices (previously Sound Device) are synonymous with quality video recorders that are unrivalled, and with the release of the PIX E7 and PIX E5 4K onboard recorders, they have once again confirmed their status.

PIX-E series include an impressive suite of monitoring tools, such as TapZoom™ for unrivalled focusing speed, false colours and zebras to help set exposure, guide markers for framing, and a range of scopes, including waveform, histogram, and vectorscope. The PIX E5 has been out for a few months but the E7 has been eagerly awaited

and is now available in SA. Natural, soft wraparound lighting is the essence of beauty and natural portrait cinematography. Achieving this has never been more att ainable than now with the use of the Velvet range of lights from The Light. Velvet Light and Velvet Power LED Panels were designed

by Spanish cinematographer Javier Valderrama for DOPs by a DOP. They are more than just a tungsten or daylight lamp. One can precisely dial in your required colour temperature from 2700 to 6500K. This combined with a robust and rainproof build quality and the fact that they can be powered using any battery

from 12-35V DC, makes Velvet Lights a must for any DOP or Gaffer on set. The Light will soon be releasing a ½ x ½ Panel for News/Documentary use.

Constant and stable power is the one thing all cameras require to perform at optimal, as their manufacturers intended.

BLUESHAPE battery systems are the essential complement to ensure that your chosen camera never fails or lets you down due to power issues. The BLUESHAPE Splash Granite series are the best complement to the Velvet LED lights as they are also rainproof (IP65) and have the highest energy density of all the batteries currently available in the market.

08 / NEWS

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ZIG ZAG AND URBAN BREW STUDIOS ANNOUNCE PRODUCTION PARTNERSHIP

UK/ South African independent production companies announce agreement.

L

eading UK independent TV Production Company Zig Zag Productions announced a co-production agreement with South African producer and content creator Urban Brew Studios.

The agreement is designed to pool each company’s creativity, expertise and production facilities to create cross genre programming for the South African, UK and international markets.

Urban Brew Studios is established as a leading TV production business in South Africa. The company, with eight fully equipped studios, produces over 50 hours of original content

per week for local platforms including SABC, DStv and e.tv.

Urban Brew is also a channel broadcaster, managing and producing content for domestic channels including Soweto TV, Glow TV and 1 KZN TV and broadcasting over 500 hours of content per week.

Urban Brew Studios also has a strong track record in adapting international formats for South Africa. BBC format Friends Like These is now in its record 14th season.

The two companies will be developing shared IP and entering into option agreements for their respective programme formats. The first of which sees

Urban Brew Studios option Zig Zag’s Strike a Match format for the South African market.

Strike a Match is Zig Zag’s studio show where the game is to weed out the real couples from a hilarious line-up of misfits. Contestants have to try and keep their relationships a secret when being grilled by a comedic panel.

Zig Zag has taken an international option for Urban Brew’s The Virus Hunter that follows the world’s leading virologists as they travel to the world’s most remote areas to pre-empt the next deadly virus. Zig Zag and UBS are also co-creators of iServed and

Survived: a re-enactment series that explores modern day heroes serving mankind despite the risk to their own lives.

The agreement also sees the companies partner on the development of a production carousel hub in South Africa for large studio based game show formats.

Zig Zag and Urban Brew Studios also plan to develop co-productions on factual entertainment series, offer production and post services on South African location shoots and harness Urban Brew Studios technology capabilities in apps and second screen development.

LIFETIME ACHIEVEMENT AMAA FOR

TONIE VAN DER MERWE T

Courtesy of Gravel Road Entertainment Group.

onie van der Merwe, the father of the ‘black’ film industry in South Africa, went home with the Lifetime Achievement award at the Africa Movie Academy Awards (AMAAs) in Port Elizabeth in late September. The award is well-deserved, with van der Merwe having created some 400 films in the 70s and 80s including Joe Bullet , one of South Africa’s first all-black cast films.

His productions have launched the careers of many African actors and nurtured a generation of African production

crew, with most films distributed through informal rural networks reaching hundreds of thousands.

Joe Bullet was banned by the Apartheid government in 1973 after its second screening and was restored and rereleased in 2013 by Gravel Road Entertainment. In 2014 it premiered at DIFF. Since then, the film has screened at the Carthage International Film Festival in Tunisia, and the 65th Berlinale in Germany.

“I’ve had a good inning as a filmmaker and it’s probably time to pack away the cameras

and lights, but I want to make one last film with an African producer. Hopefully in the near future,” Tonie said on receiving his award. He also received the prestigious Heroes and Legends Award last year at the second Simon ‘Mabhunu’ Sabela Awards, for his contribution to hundreds of indigenous language films.

The AMAAs were established in 2005 to facilitate and develop African cinema and filmmakers through their rewards and recognition platform. Africa currently has the third largest film industry in the world.

NEWS / 09

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BRYAN LITTLE CELEBRATES

URBAN AFRICA MAKER CULTURE FOR VIGO

F

ly On The Wall’s Bryan Little directed The World Needs More of You, an Adforce spot for Vigo, Namibia Breweries’ non-alcoholic malt drink.

A celebration of urban Africa’s emerging maker culture, the spot brings together creatives from across the continent to collaborate on the Vigo VCloud, an installation that converts biometrics into music, turning people’s pulses, brain waves and muscle movements into deconstructed instruments.

Designed by South Africanborn artist Daniel Hirschmann and his London-based design and technology consultancy Hirsch

© Suicide-Monkey

& Mann, the VCloud is currently traveling around southern Africa, harnessing the sound of African cities to be remixed by top DJs. “The ad looks futuristic,

but everything you see in it is already available,” says Bryan, who loved the opportunity to play with the latest maker toys, from PixelStick to projection mapping,

from animated LED bike wheels to hacked xbox kinect imagery.

While Pixelstick’s already popular in photography, this ad marks one of its first uses in video.

Fly on the Wall co-produced the spot with Cyclone Films and With Milk, bringing together an allstar team of production designer Jeremy Argue, wardrobe stylist Cherize Ross (K-Word) and DOP Grant Appleton, who made the most of shooting on the muchcoveted Panasonic E-series lenses.

Tumi, Nonku Phiri, Simphiwe Tshabalala from The Brother Moves On, and sound designer Simon Kohler (aka Sylvan Aztok) collaborated on the soundtrack.

LEBOGANG RASETHABA’S PANTSULA ORCHESTRA MUSIC VIDEO

A

rcade Content’s Lebogang Rasethaba directed In the Castle of My Skin, a new music video for award-winning UK jazz band Sons of Kemet.

Shot in Tembisa, the music

video features the Indigenous Dance Academy’s pantsula dancers as a black-tie orchestra, conducted by choreographer Jarrel Mathebula. It’s a study in contrasts: a convergence of the chaotic energy of

pantsula with the controlled sophistication of an orchestra.

“Pantsula and jazz aren’t things that people were ever meant to see together; they both have rich histories with very different cultural

and aesthetic values,” says Lebo. “But framing ideas within a different context can give them new life.”

The music video was shot

by Motheo Moeng and edited

by Xolelwa ‘Ollie’ Nhlabatsi.

10 / FEATURE

BROUGHT TO YOU BY MEDIA FILM SERVICE

CAMERA SHOOTOUT 2015 BROUGHT TO YOU BY MEDIA FILM SERVICE

The Sony F55, the ALEXA, the Red Epic Dragon, and the AMIRA take centre stage in the Callsheet’s annual camera showdown. Media Film Service generously hosted some of South Africa’s leading DOPs, DITs and cinematographers for an evening of camera testing. Karl Schmidt and Christian Denslow give their thoughts on four of the industry’s most popular cameras.

SONY F55 IT IS A GOOD, SMALL, HANDY CAMERA, VERY LIGHT-WEIGHT, AND SHOOTS 4K RAW. I THINK IT’S A GOOD DOCUMENTARY CAMERA IF ONLY ONE CAMERA PERSON IS WORKING WITH IT. SPECS:

Karl: It is a good, small, handy camera, very light-weight, and shoots 4K raw. The camera has a slight plasticky feel and the menu is quite complicated. The main settings like colour, temperature, shutter speed, frame rates, base frame rates, etc., should be together in one section. It isn’t on this camera, you have to go to different sub-menus. There are too many buttons to press, which makes it quite complicated if you want to work fast on set. It is very lightweight; it’s good for certain things like 3D. I think it’s a good documentary camera if only one camera person is working with it.

Christian: The F55 is a lightweight camera well suited for documentary or broadcast shooting, offering high frame rates and 4K resolution in a plastic shoulder-able form. It is

equipped with fairly well-placed buttons with all your common settings for solo shooting, however, when you dig deeper, Sony menus are not that well designed on any of Sony’s cameras. They are pretty much similar across the board on all their cameras, so you can jump from one camera to the next and know where you are or have a rough idea. They have the same feel, but it’s not user-friendly.

Digging through several sub menus to change a single setting gives you the feeling that this camera is designed by technicians and not operators, so take the time to familiarise youself with this one before a shoot. It should also be noted that this camera has Sony’s very versatile lens mount that allows for adaptors to various cine and stills lenses, which helps it suit a wider range of budgets.

• Sony 4K sensor for gorgeous, super-sampled HD, 2K and 4K. • The PMW-F55 CineAlta camera shoots spectacular images with its 8.9 megapixels (effective) Sony 4K image sensor. You get superb dynamic range, the widest colour gamut, and pristine image quality, whether you shoot in HD, 2K, QFHD or 4K. • Multiple recording formats includes HD/2K/QFHD/4K on SxS memory and 16-bit RAW 2K/4K on AXSM™ media • Multiple recording formats include MPEG-2 HD422, MPEG4 SStP, XAVC 2K/HD, XAVC QFHD/4K and 16-bit RAW 2K/4K*. You can have simultaneous recording on internal high-speed SxS PRO+ memory cards and RAW 2K/4K recording on sleek AXSM™ memory cards using the optional bolt-on AXS-R5

recorder, designed specifically to attach seamlessly to the F55 and F5 cameras. There is also high speed shooting up to 240 fps RAW 2K and 60 fps in RAW 4K recording onto the AXS-R5. Recording directly in Apple ProRes codec and Avid DNxHD codec are also available options.** * Recording onto the optional AXS-R5 recorder. ** Requires CBK-55PD codec board.

Recording Format (Video): • XAVC (AVC/H.264 High 4:2:2 Intra Profile) • 4K: VBR, 600 Mbps max.

• HD: SMPTE RP2027 Class100 compliant • MPEG2 HD (MPEG2 Long GOP) • HD 422 mode: CBR, 50 Mbps max., MPEG-2 422P@HL *2 Recording Format (Audio): LPCM 8CH (2CH recording/ playback), 24-bit, 48-kHz

FEATURE / 11

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ALEXA IT HAS A SOLID METAL FORM, SO IT’S NOT THE LIGHTEST BUT IT MAY BE THE STRONGEST, MOST RELIABLE MEDIA, EFFICIENT INDUSTRY STANDARD CODECS THAT ALLOW FAST POST TURNAROUND, AND A VERY USER FRIENDLY INTERFACE. Karl: The ALEXA prett y much set the standard in digital cinematography, there are different versions. The normal ALEXA shoots up to 2K in a Pro-Res in a 4444 (12 Bit) Codec in 16:9 or 4:3 aspect ratio, then you also get the ARRI XT version which can shoot ARRI RAW with a higher resolution.

RE raw, uncompressed sensor data, which results in more lattitude and retaining natural color response. Weight-wise, it’s prett y comfortable to handle and operate. Sometimes, the view finder will bleed, mostly green, which means it has a slight green shimmer in the view finder after time, which is just a matter of aging of the EVF (Electronic View Finder). It’s definitely the most used digital camera in commercial and cinema productions today.

Christian: This is fantastic!

My favourite for commercial work. It is a solid, well designed camera. I feel like Arri digital

set an example in functionality with this camera and a lot of other cinema camera brands have been influenced by the ALEXA. It has a solid metal form, so it’s not the lightest but it may be the strongest, most reliable media, efficient industry standard codecs that allow fast post turnaround, and a very user friendly interface. Well suited for commercial work because of its ProRes and DNxHD codecs at 2K resolution while maintaining a beautiful image quality. Later vesions of the ALEXA offer raw output for feature film use where you may have time and budget for post production. The Red Dragon obviously tops all of these cameras for resolution (6K) but for some reason, the image from this camera looks really beautiful. It’s something you feel and not something you read on the specs sheet, although technicians may be able to explain with LUT’s (Look Up Tables) and colour science.

SPECS: Camera Type 35 format filmstyle digital camera with an electronic viewfinder, a 16:9 active sensor area, integrated shoulder arch and receptacles for 15 mm lightweight rods.

Sensor 35 format ALEV III CMOS sensor with Bayer pattern colour filter array.

• Smallest and lightest ALEXA camera • Most affordable ALEXA camera • 16:9 sensor • SxS ModuleProRes or DNxHD recording to SxS

PRO or SxS PRO+ cards • Dual recording: same footage simultaneously onto two cards • ARRIRAW T-Link Frame rates: • 16:9 • ARRIRAW 0.75 - 60 fps • ProRes HD 0.75 - 120 fps • ProRes 2K 0.75 - 60 fps • DNxHD HD 0.75 - 120 fps All speeds adjustable with 1/1000 fps precision. To record above 60 fps, the camera needs to be switched to high speed mode.

12 / FEATURE

BROUGHT TO YOU BY MEDIA FILM SERVICE

RED EPIC DRAGON IT’S CERTAINLY THE CAMERA I SHOOT ON THE MOST BECAUSE IT’S AN EXTREMELY VERSATILE CAMERA, FROM COMMERCIALS TO FEATURE FILMS TO INDEPENDENT FILM. THE ‘BRAIN’ OF THE CAMERA IS VERY SMALL, LIGHTWEIGHT AND POWERFUL. Karl: I worked on this camera very recently. It’s a really good camera, with amazing image quality, and it’s got the biggest sensor on standard cinema cameras you can get at the moment, which is quite good for certain things. The Dragon is really small; the smallest and most powerful cinema camera you can get and that is why it is very good for 3D. I use it in two 3D productions, because it is so small and handy. Image-quality wise the Dragon is a 14-bit. They always think bigger is better.

The menus are comprehensive and really full. There are a lot of options, for instance you can put 50 different functions on one user button which is not really necessary.

Christian: The Red Dragon and the standard ALEXA are probably the two most common cameras to be rented out of any gear-house, I would imagine.

It’s certainly the camera I shoot on the most because it’s an extremely versatile camera, from commercials to feature films to independent film.

Not so much documentary work though, because of the compressed raw codec and form factor. It’s made to suit a wider range of shooting requirements and budgets. It basically does this by offering a modular design that can be made up of different components to suit

your shooting needs. The ‘Brain’ of the camera is very small, lightweight and powerful so from this base you can build it up for handheld, grips or even gimbal and drone use. To make it even more versatile it has a massive range of resolution options at different aspect ratios all the way up to 6K, which not only allows for post workflow options but also allows you to crop in to the sensor to quickly change frame sizes if time or lensing is a restriction. The resolution on this camera goes hand in hand with frame rate and although there are options for FPS (frames per second) from 1-300 you must be aware that you will be dropping resolution for higher frame rates, which will affect your lensing. An additional factor is the amount of compression of the Raw codec, which not only affects file sizes but also, in my experience, affects softness of the image and grain in low light. Different lens mounts and battery options allows further versitility to suit budget and size/weight restrictions. This is a popular owner/operators camera because it’s slighty more affordable to buy and it’s so versatile while being top in its class for image quality.

If renting for the first time make sure you’ve studied this camera as there are a lot of variables, and the menus aren’t as user friendly as Arri’s.

SPECS With the 6K Red Dragon sensor, you can capture over 9x more pixels than HD. Unrivalled detail and impressive native exposure eclipse 35mm film in both latitude and image density. Industry leading specs distinguish the Epic Dragon as a model for image innovation, helming the evolution of digital cinema technology.

Sensor: 19 megapixel RED DRAGON Pixel array: 6144 (h) x 3160 (v) S/N Ratio: 80 dB Dynamic Range: 16.5+ stops Max Image Area: 6144 (h) x 3160 (v)

Lens Coverage: 30.7mm (h) x 15.8mm (v) x 34.5 mm (d) Acquisition Formats • 6K RAW (2:1, 2.4:1) • 5K RAW (Full Frame, 2:1, 2.4:1 and Anamorphic 2:1) • 4.5K RAW (2.4:1) • 4K RAW (16:9, HD, 2:1 and Anamorphic 2:1) • 3K RAW (16:9, 2:1 and Anamorphic 2:1) • 2K RAW (16:9, 2:1 and Anamorphic 2:1) • 1080p RGB (16:9) • 720p RGB (16:9) Leica-M, Canon, Nikon, and PL lenses are all compatible with EPIC DRAGON cameras. All mounts are easy to swap out and are engineered to fit precisely, without ever having to adjust back focus.

FEATURE / 13

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AMIRA Karl: The AMIRA is very simplified; an absolute documentary camera. You’ve got your shortcuts on the camera from your ASA setting dial and frame rate and quick dial, you’ve got internal NDs (Neutral Density Filter), which are easy to use, and so you don’t have to put actual NDs in front of the camera. Usually we put the neutral density filter in front of the lens, which always has to be brought by a loader, or a focus puller puts it in. You can just dial it in and it just flies in front of the lens or behind the lens between sensor and lens. So it is a quickly accessible camera. It’s got the same sensor chip as the ARRI ALEXA, the same normal 16x9 standard one. So it’s got the same image quality like a normal ALEXA with the only difference that you can shoot up to 200 frames in your highest codecs which is ProRes 4444 (same as 2K Alexa). This is better than what a normal ALEXA 16x9 mode can do. So this is performance-wise a litt le bit better than the first ALEXA that came out. We’ve got two new ALEXAs now that can do more than the AMIRA so this is really good, cheap commercial camera for your TV commercial, or if you want to present on TV or the Internet or for your documentary.

Christian: I have only shot a music video on this, and that’s probably not even doing it justice because it is fantastic documentarystyle camera. The AMIRA has the solid build quality of the ALEXA with similar solo shooter funtionality as the Sony. The efficient codecs and userfriendly interfaces are upgraded with higher frame rates and easy access main camera settings for the operator with well placed buttons and dials.

That said, I find the buttons on the EVF (Electronic Viewfinder) hard to see in low-light environments and you have to get used to the user buttons placement on the EVF as they are also not always easy to see.

This felt like Arri had ignored their own good examples. In addition, the only access to the cameras main menu is through the EVF, which I know a lot of people think is a mistake as it means you must use Arri’s EVF. I personally do not like their EVF because I find the image breaks down into RGB on the edges when I move my eye but overall the camera is well designed and well balanced for your shoulder. It’s also equipped with internal NDs, eliminating the need for cinema style filters, mattebox and potentially an additional assistant.

SPECS AMIRA features the same sensor and exceptional image quality as the ARRI ALEXA, recording superior HD 1080 pictures that are suitable for any distribution format. With a dynamic range of more than 14 stops, low noise levels, subtle highlight handling, natural colour rendering, breath-taking skin tones and speeds of up to 100 fps, AMIRA will deliver beautiful, life-like images in any situation.

• Same 35mm sensor as ALEXA • 4K UHD 3840x2160 (with license), HD 1920x1080; • Rec 709 • ProRes recording up to 422 on CFast 2.0 cards • Dynamic range of 14+ stops • Natural colors and skin tones • Up to 100 fps – full sensor area

Sensor Type: 35mm format ARRI ALEV III CMOS (28.17x18.13) Sensor Pixel Count: 3414 x 2198: 3200x1800 (4K UHD) 2880 x 1620 (HD), 2868 x 1612 (2K), for monitoring with surround area: 3168 x 1772 (HD), 3154x1764 (2K) Recording Pixel Count: 1920x1080 ProRes HD and HD outputs, 2048 x 1152 ProRes 2K, 3840 x 2160 Pro Res 4K UHD and UHD outputs Lens Mounts: PL mount w/ Hirose connector and LDS, B4 mount w/ Hirose connector, EF mount Shutter: Electronic shutter, 5.0° to 356.0°

14 / FEATURE

BROUGHT TO YOU BY MEDIA FILM SERVICE

THE AMIRA HAS THE SOLID BUILD QUALITY OF THE ALEXA WITH SIMILAR SOLO SHOOTER FUNTIONALITY AS THE SONY. THE EFFICIENT CODECS AND USER-FRIENDLY INTERFACES ARE UPGRADED WITH HIGHER FRAME RATES AND EASY ACCESS MAIN CAMERA SETTINGS FOR THE OPERATOR WITH WELL PLACED BUTTONS AND DIALS. THANK YOU MEDIA FILM SERVICE CAPE TOWN +27 (21) 511 3300 JOHANNESBURG +27 (11) 258 5000 www.mediafilmservice.com

CTICC / 15

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CTICC RAISING GLOBAL COMPETITIVENESS

L

ocated on Cape Town’s northern foreshore, beneath Table Mountain and only a 20-minute drive from Cape Town International Airport, the Cape Town International Convention Centre (CTICC) provides flexibility without compromise, as well as the most modern amenities and technology as mandatory components.

The centre is built to meet and fulfil the unique and varied needs of its delegates and visitors.

Its sub-divisible multipurpose facilities and dedicated exhibition space creates an environment conducive for a variety of functions to occur simultaneously.

Over the past 12 years, the CTICC has proven itself to be an invaluable contributor to the sustainable growth and

development of Cape Town, the Western Cape, and South Africa as a whole - injecting more than R25-billion into the national Gross Domestic Product (GDP), and more than R22-billion directly to the Western Cape Gross Geographic Product (GGP). More than 80 000 direct and indirect jobs have also been created and sustained throughout the construction and operation of the centre.

As part of its commitment to growing its value, the CTICC’s expansion will double the centre’s existing exhibition capacity by adding 10 000m² of multi-purpose conference and exhibition space and nearly 3 000m² of formal and informal meeting space.

While the completion of

CTICC East will enable the centre to meet the steadily growing demand from exhibition and conference organisers across the globe, the CTICC expansion is about far more than merely adding buildings or increasing the centre’s floor space. Rather, the expansion is a key way in which the CTICC will help to raise the global competitiveness of Cape Town as a premier world-class meetings and events destination.

This, in turn, makes the centre a significant contributor towards the realisation of the City’s objective to establish Cape Town as Africa’s premier business events destination as outlined in its Integrated Development Plan.

Given the widespread acknowledgement that future global economic

growth is increasingly reliant on intellectual capital, the meetings, conferencing and exhibition sectors have a serious role to play as a key driver of knowledge sharing and intellectual growth in South Africa. The CTICC is committed to playing a leadership role in the development of this knowledgedriven economy in Cape Town and across South Africa.

By allowing the centre to attract even more global associations and large, knowledge-based events, the CTICC expansion is growing its contribution to expanding the expertise, knowledge and skills in the city, the province and the country.

For more information, visit www.cticc.co.za

Experience Extraordinary There is a place where the extraordinary happens every day. A place where vision is transformed into reality, where heroes are made, and where the only limitation is your own imagination. Here, breathtaking backdrops, an unbelievable selection of locations, and every facility you need combine perfectly to become whatever you need it to be.

This place is Cape Town International Convention Centre.

And to experience it is to experience extraordinary.

To transform your production into an extraordinary experience contact CTICC: +27 21 410 5000 sales@cticc.co.za www.cticc.co.za

16 / FEATURE

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Kate Winslett at Titanic 3D © David Dettmann Photography

© Studio 26

THE STATE OF SOUTH AFRICA’S

STILLS INDUSTRY

Photography as a whole has seen some immense change over the last twenty years. Kim Muller explores how the local stills industry is faring and what lies ahead.

A

lthough many would agree that overall South Africa’s stills sector is thriving, the last decade has been a time of intense upheaval and change. This is true for both the local and international industries, with the latter having a trickledown effect on the former.

These days, a number of

factors impact the photographic field, but its core hasn’t changed at all. As Jan Verboom, Owner of Roodebloem Studios says, “Just because you’ve got a good camera, it doesn’t make you a good photographer. You still need a certain type of knowledge and talent. You also need a connection with your subject.”

A HEALTHY STILLS INDUSTRY?

It’s clear that although the sector is doing well, there are a number of challenges that still need to be overcome. That said, Cape Town remains a firm favourite for international clients “because of its cosmopolitan diversity,” according to Nolan Hooper,

AD

Producer at Steel Productions.

A few other factors have also contributed in placing SA in a good place internationally, says Jessica Garvie, Location Manager at Studio 26. “With the influx of studios and locations nationwide, as well as the favourable exchange rate, the SA stills industry is currently

FEATURE / 17

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© Studio 26

SAASP IN NUMBERS 22:

Roodebloem’s Drive In Studio © Roodebloem Studios

467:

70%:

4015:

Full-time equivalent jobs created

Estimated stills percentage of all permits issued by the City of Cape Town

Inbound return flights

Number of members as of 2013/14

R57 MILLION:

R0.86 BILLION:

4015:

SAASP members’ contribution to the GDP in direct and indirect spend

International clients hosted for a total of 36135 accumulative days

Estimated amount paid in taxes

4 818: Total shoot days

803: Total number of productions

72 270: Estimated restaurant meals This information has been retrieved from 2013/2014 statistics from the 22 members of the South African Association of Stills Producers (SAASP).

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INTRODUCING THE PHASE ONE XF CAMERA SYSTEM Phase One’s new XF Camera System is truly a thing of beauty.

It boasts extraordinary image quality with full-frame Medium Format sensors that are 2.5 times larger than the ones found in high-end DSLRs. With a whopping 80MP resolution and 16 bit colour, it offers exceptional wide angular response. Malcolm Dare, Owner of Pixel Foundry explains why this camera is ideal for your next shoot.

“A camera is only as good as a lens you put in front of it,” he explains. “The thing about a medium format camera is that the lenses are built to cover a

wider area. Now if you take a 35mm lens, it’s not built with a wide coverage. They start putting in larger sensors or cram more pixels into the sensor or duplicate pixels, but it’s not the same.”

“The new Phase One XF bodies are very robust, their speed of focus and autofocus systems are far better, the communication between the digital back and the front is closely aligned,” he continues.

“It’s not the lightest, but there are quite nice little features on it.

Phase One lenses have two sets of glass – the Leaf Shutter lenses and the AF lenses. Leaf Shutter are what most people are going for now – so a Schneider lens – and the quality is phenomenal.”

Phase One XF IQ350 test shot © Pixel Foundry

booming,” she explains.

Despite this, the shift to digital continues to impact the sector. These days it would seem that everyone with a relatively good entry level camera, or even a camera phone, is seen as a ‘photographer’ and as a result of this, photography is less about producing that perfect final image anymore, but is now also about volume.

Malcolm Dare, Owner of Pixel Foundry, says that although this can be construed as good, it has upended the industry and created a trend where clients and agencies do not value the craft, but rather value their budgets, and as a result, are pushing highprofile photographers and studios

to lower their rates in order to compete for market share.

The application process for work permits, despite improvements, is still an issue, with a number of high profile clients opting for different destinations purely on the basis of this challenge.

EQUIPMENT RENTALS AND SALES

Because new cameras are released each month, rentals – especially for high-end shoot equipment – have become the norm. “Speed and megapixels is always key in photography,” says Hooper, “with lighting always striving for speed, battery life and portability.”

Stills studios usually tend to partner with equipment rental companies, or rent out their own gear for shoots. Companies like Roodebloem Studios, Glow Hire, Flash Photorental, Sunshine Company, Photo Hire and Pixel Foundry are some of the main rental facilities for stills in SA. “Larger equipment would then come from film rental houses such as Media Film Service and Panavision,” Rudi Riek, Chairperson of the South African Association for Stills Producers (SAASP) explains.

THE FUTURE OF STILLS

Where to from here? Some say the sector will continue to change dramatically, and some

are worried that it will survive the digital age as an art form.

One thing is for sure: it will evolve with technology. “As the local level of expertise in the technological aspect of our work increases, we also expect more and more of the post production work to be done locally,” Hooper says.

The move towards mobile e-commerce will continue to impact stills as clients’ needs evolve. But the old way of honing a craft is certainly not lost – simply waiting for a second coming. “I think the bottom line is photographers must be real, and get in touch with their own inner creativity,” Verboom concludes.

FEATURE / 19

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STILLS PHOTOGRAPHERS AND SERVICES COMPANY NAME

AREAS OF EXPERTISE

WEBSITE

08 Media Productions

Production service company facilitating advertising, editorials, commercials, stills

www.08mediaproductions.co.za

1st Productions

Catalogue, advertising, fashion, stock, commercial

www.firstproductions.co.za

2 Productions

Children, editorial, commercial, advertising

www.2prod.com

Barry White Photography

Advertising, people, automotive, stills on commercials, still life

www.barrywhitephoto.com

Big Sky Productions

Film, stills, commercials, children, catalogue, editorial

www.bigskyprod.com

Bird On A Wire

Managing and representing creative talent to the global industry. Includes photographers, stylists, and hair and makeup artists.

www.birdonawire.co.za

BLM Productions

Feature films, commercials, photography

www.blmsa.com

Cape Town Productions

Advertising, lifestyle, automotive, fashion, kids, stills, commercial

www.ctprod.co.za

Cayenne Productions

Production service company facilitating stills and commercials

www.cayenne-productions.com

Christopher LaurĂŠnz Photography

Advertising, covers, fashion, food, architecture, editorial, sport, travel

www.laurenz.co.za

Cool Banana Productions & Casting

Production service company facilitating stills and commercials

www.coolbanana.co.za

David Dettmann Photography

Catalogue, celebrity, interiors, portraits, unit stills, food and drink

www.unitpix.com

Derek Antonio Serra

Fashion photography

www.derekantonioserra.com

Episode Media Productions

Stills, video, TVC, multimedia

www.episode.co.za

Erik Forster Photography

Product shoots, events, pack shoots, stills, documentaries

www.peach.co.za

France Production

Children and family shoots, editorial, catalogue, commercial

www.franceproduction.co.za

Francesca Hanlon Photography

Advertising, lifestyle, industrial, products, aerial, sailing stills

www.francescaphotography.com

Frank

Production service company facilitating stills and commercials

www.frankproduction.co.za

Photo: Michael Schnabel

Photo & motion www.steel.co.za

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Freelink Productions

Stills, commercial, advertising, long form/ TVC division

www.freelink.co.za

Gavin Schneider Productions

Commercial, fashion, children, films, stills

www.gsproductions.co.za

Joe Alblas

Motion picture stills photographer

www.joealblas.com

Kaap Film

Production service company facilitating film, stills, TV and commercials

www.kaapfilm.com

Magic Mountain Productions

Production service company facilitating photographic shoots

www.magicmountainprod.com

Melanie Cleary

Film stills, advertising, editorials, exhibitions, portraits, lifestyle

www.melaniephoto.com

Mickie Birkett Productions

Commercials, Stills, Music Videos

www.mickiebirkett.com

Nomad Production House

Commercials, fashion, stills

www.nomadprod.com

North South Productions

Automotive, advertising, editorials, catalogues, documentaries, film, stills

www.northsouthproductions.com

Philip Mostert Photography

Advertising, industrial, jewellery, food

www.pmphoto.co.za

Platinum Studios

Photographic studios offering casting, music video, rehearsal and gear rental services

www.platinumstudios.co.za

Prinz Productions

Commercials, Documentaries, Music Videos, Catalogues

www.prinzproductions.com

Production SA

Production service company facilitating stills, automotive, advertising, catalogue

www.productionsa.co.za

Red Hot Ops

Stills production, art buying, casting and project management

www.rho.co.za

Roodebloem Studios

Studios, film, stills, events and gear rentals.

www.roodebloemstudios.co.za

SA Media Productions

Stills production, fashion, catalogues, editorials, advertising, film

www.sa-mediaprod.co.za

Shawn Benjamin / Ark Images

Aerial, stock images, events, architecture, commercials, documentaries

www.arkimages.co.za

Shooting Stars

Casting Agency

osh@digitalafros.com

Steel Productions

Stills, commercials, editorials, advertising

www.steel.co.za

Studio26 Photography

Photography sets and studios built by Peter Schreiber

www.studio26.co.za

Pixel Foundry

Studios, stills, video, gear, production, preproduction, post-production

www.pixelfoundry.co.za

Tony Christie

Fashion, lifestyle and action

www.tonychristie.co.za

Val Adamson Photography

Advertising, editorials, exhibitions, film stills, children and family

www.valadamson.co.za

Zoom Productions

Stills commercial shoots in SA and Spain

www.zoomprod.com

Disclaimer: Due to the limited space in our magazine and the sheer number of professional photographers, studios and service companies in SA, we have only included some of the main companies in operation, many of whom are SAASP members.

Bosch Scooter Asia Š Steel Productions

Helen Bonham Carter at Harry Potter Š David Dettmann Photography

FEATURE / 21

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BROADCAST STUDIOS IN SOUTH AFRICA

Broadcast has evolved immensely in recent years. Kim Muller speaks to a few companies on the ground.

Thandeka’s Diary, a sitcom produced by Black Brain at Global Access for SABC 1 © Black Brain

T

he main thing occupying the broadcast realm over the last year has been the ever-imminent digital switchover, which has impacted the entire Sub-Saharan African region. Some countries have made a speedy transition, while others, like South Africa, have been wrestling with bureaucratic issues for months.

According to Amelia Thiart,

Head of Television Broadcasting at Global Access, this has put the industry in a rather unhealthy position. “The digital switchover or DTT migration has suffered severe delays due to government policy and standards approvals which caused South Africa to miss the international digital switchover in June 2015,” she explains. “This delay is not only

holding the local broadcast industry from growing, but also the telecoms industry from providing better connectivity to the country. In the broadcast industry, once switched over it would enable broadcasters the ability to transmit many more television channels, which in turn would allow for more content to be produced and greater viewer choice.”

Despite this, the National Association of Broadcasters’ (NAB) 2014 report showed exponential growth in the sector over the last 20 years. There are currently 16 licensed television operators delivering services across over 170 channels to an audience of around 40.1 million. TV subscribers in the form of public license fees and pay-tv subscriptions have also see tremendous growth.

“The knock-on effects of this growth in consumer and advertising spend from an employment, infrastructure, contribution to the fiscus, social awareness, education and social upliftment perspective are immense,” the report states.

As a result, broadcast studios have had to pay more attention to their offerings, both infrastructurally and technologically. Many have undergone, or are currently undergoing huge upgrades.

“Studios have been and will be around for a long time to come, especially for the high-

Your complete movie infrastructure MRent Nationwide is an innovative, professional, hands-on company who understands the need for peace of mind when organising a special movie event, movie premiere or product launch and can assist with all marquee and function equipment required.

Our services range from event management and co-ordination to marquee and event equipment hiring, with complete infrastructure equipment provided. Our team will provide you, our client with professional service in order for you to be able to enjoy your event.

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22 / FEATURE

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GROWTH BETWEEN 2012 AND 2014

LOCAL CONTENT GROWTH

2012

R871m

2013

R1.4bn

end productions that require good facilities and equipment all in a controlled environment,” Thiart says. “If you combine that with a great engineering and support team, you have a winning combination. In our business alone we have seen a huge increase for the demand of our television studios recently.”

Sasani Studios is also testament to upgrades bringing in more productions. Their new state-of-the-art studio complex has just opened its doors in September following twelve months of construction. “The complex is fully self-contained with offices and control rooms of 890m2, and a further 400m2 of dressing rooms, all complete with en-suite bathrooms,” Eileen Sandrock, MD at Sasani explains. “M-Net was the first to snap up a portion of this new complex, and we are thrilled to confirm that M-Net’s new

2014

R1.7bn

flagship project, The Voice, has made Sasani Studios its home.”

Studios have seen a large increase in demand for virtual sets, as well as the inclusion of more 3D graphics and animations in terms of content, says Thiart.

“On the distribution side of our business, we offer the ability to distribute content to multiple devices such as tablets and smart phones in addition to the traditional set top boxes.”

She goes on to say that they are currently experiencing an upswing on their private DStv channel as more corporates see the benefits of private broadcasting for events and communication, while other popular offerings at Global Access include web streaming, OTT services, their four studios and post-production suites.

Content, particularly local stories, has seen quite a bit of growth, too. “Content will always

Permanent Employment: Up by 12% 2012: 11 784 (175 with disabilities) 2014: 13 220 (205 with disabilities) Contractors and Freelancers: Up by 22% 2012: 3 868 (2 with disabilities) 2014: 4705 (7 with disabilities)

Investment from 2012-2014: R3.35 billion on infrastructure R379 million on research and development activities Corporate Social Responsibility from 2012-2014: 619 CSR projects At a value of R613 million Source: NAB State of the Broadcasting Industry Report 2014, with research contributed by PwC.

An architect’s impression of Sasani’s new studio complex © Sasani Studios

be one of the most important aspects of the industry as this is what viewers go out and buy a television or decoder for, to watch good content,” Thiart says, “Our feeling is that the type of content and quality of content will evolve to keep high audiences numbers.” New

distribution channels like OTT and VOD are now available, giving viewers the choice and ability to watch when and where they want. “It also looks as though 4k content will develop to become the industry standard, in much the same way HD has,” she concludes.

GLOBAL ACCESS / 23

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A WORK MONSTA

IN THE HEART OF JOHANNESBURG

J

ohn Stevens – an old school modern techno junkie with a love for ACDC – the band not a power converter – is also the Head Studio Engineer at Global Access studios. With hundreds of studio productions under his belt, he knows a thing or two about studios. And he of course loves his own studios – the Work Monsta in the heart of Johannesburg; Global Access studios. Guy Campbell finds out more.

John, where did Work Monsta come from?

We did a sitcom in Studio 3 a while back for SABC. Call time was 6am and we worked till whenever.

Either myself or Given [GA studio

engineer] were on site all the time. I don’t think we dropped more than an hour from technical issues. So one of the crew dubbed the studio Work Monsta.

What makes the Global Access studios different to other studios in Johannesburg?

Look, we’ve got everything that the other studios have – HD equipment, crew rooms, edit facilities, etc. I guess what makes us different is that we love to work, and to make work happen.

They all have lighting grids, ample power and are all totally sound proof. Our generator and UPS back-up system ensures no disruptions during recordings or live broadcasts. With make-up, green/VIP and crew rooms, as well as space for catering and production offices. We also have ample secure parking. I believe we have top notch facilities to offer. In addition, our state of the art HD mobile studio is available to do any production at your venue i.e. live or pre-recorded.

Let’s talk studios - how many do you have and how good are they?

We have four studios varying in size from 134m² to 565m².

What is special about the new cameras?

The new Sony PMW-400 cameras are full HD cameras.

It has 1000TV lines and a

4 HD STUDIOS UNINTERRUPTED POWER BACKUP GREEN SCREEN CYC PRODUCTION OFFICES www.globalaccess.co.za

sensitivity of F14 at 2000 lux which means they have excellent characteristics under low light conditions eg. If you shoot a night scene, the picture is beautifully sharp, and the detail is amazing.

What are your studios busy with currently?

We have worked on various sitcoms and productions eg. Ses Top La, Abo Mzala, My Perfect Family, Kota Life Crisis, All Access Mzanzi and Skwizas to name a few. One of our clients from the USA booked us specifically because of some of the new equipment we’re installing.

And finally, what about pricing?

Our policy is to always try and fit into our client’s budget.

SECURE PARKING ON SITE ENGINEERING FULL LIGHTING GRID LINKED TO ANY BROADCASTER

amelia@globalaccess.co.za

011 350 6111

24 / SPOTLIGHT

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© Mads Nørgaard Photography (www.madsnorgaard.net) © Mads Nørgaard Photography (www.madsnorgaard.net)

The compelling Loot by Greg Rom.

Mr Cat & The Jackal

KEEP CALM AND SHNIT ON This year’s shnit International Shortfilmfestival kicked off with a bang on 7 October – with an exciting and colourful carnival theme.

S

hnit International Shortfilmfestival is synonymous with fun and its opening night for Playground Cape Town was a fabulous reminder of that. The festival saw the Castle of Good Hope flooded with festivities, from the fascinating hats, bow ties and costumes, to stilts, fire breathers and pet snakes. Crowning the

evening were experimental folk crooners, Mr. Cat & the Jackal.

Their eclectic sounds were an ideal fit for shnit, which brings together an incredible and vast selection of shorts across five days. Running from 7-11 October, the event is a much-anticipated calendar date across the world. “shnit International Shortfilmfestival unfolds

simultaneously in multiple cities on five continents, bringing together more than 30 000 filmmakers and film lovers in ways rarely experienced elsewhere on the festival circuit,” their website, www.shnit.org, says. “shnit celebrates more than 200 short films of all genres and styles and gives away US$100 000 in cash prizes.”

But what constitutes a shnit film? “We believe that a film’s success is dependent not on its budget or genre, but on its core vision and the creativity with which it communicates that vision. Programmes consist of these diverse visions assembled in an order and rhythm so that even in contrast each is mutually complimentary.” © Mads Nørgaard Photography (www.madsnorgaard.net)

© Mads Nørgaard Photography (www.madsnorgaard.net)

SPOTLIGHT / 25

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Fire blowing and juggling from the Afrodizzyacts. © Mads Nørgaard Photography (www.madsnorgaard.net)

Colourful carnival peformers; the Afrodizzyacts

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TV VS FILM VS COMMERCIALS

Today television, video on demand and commercial trends are upending cinema’s reign. Kim Muller discovers how SA’s commercial sector is faring. This is Part 2 in a two-part feature.

W

ith the rise of digital television, web series, and video on demand to name a few, the battle for eyeballs has begun. In some ways this has left the film circuit in the dust, with commercials taking to television’s new formats to get their messages across. Branded doccies, for example, have made huge strides in the last few years.

But that doesn’t mean the feature film is dead. It simply means it now has some serious competition.

Content is still king, and when that content is compelling – TV series, feature or even advertising – the audience will be spellbound.

COMMERCIALS IN CRISIS? Cell C’s Dog ad ©Plank

THE MOTION PICTURE INDUSTRY IN NUMBERS 15:

The approximate number of production companies commanding 90% of feature films and TV productions in SA (NFVF, 2013)

14%:

The amount of growth in the film industry over the past 5 years (NFVF, 2013)

R1.1 BILLION:

What’s been invested in SA film industry by foreign companies between January 2003 and October 2013 (Financial Times, 2013)

R5.64 BILLION:

What the industry contributed to economic activity in 2014 (NFVF, 2015)

2 500:

The number of direct service providers offering the film industry local skills across facilitation, production, technical and creative sectors. (Wesgro)

8:

South Africa has eight co-production treaties.

These are with Germany, the UK, Canada, Italy, New Zealand, Australia, France and Ireland. (NFVF)

Gary King, Executive Producer at Picture Tree, says although South African commercial directors are still raking in the awards, the industry is in crisis. One of the main reasons for this, he believes, is that we’re simply not adapting fast enough. “Agencies are being squeezed for profits, clients are mistrusting the agencies and so we as production houses are being squeezed financially even more,” he explains. “Brand efficacy and communication through whatever screen has become most important…Our turnover ratio of traditional commercials to other types is about 60:40, whereas two years ago it was 95:5.”

As a result of this, a trend for watered down scripts has emerged. Clients are almost writing their own scripts – and agencies are giving them free rein to do

so. King says in order to deal with these issues, “serious collaboration” is needed between agencies and production houses so we can “lift our work out of mediocrity”.

He has some good advice for the industry, however. “Those of us that straddle both long form and commercials I believe are in a powerful position to do branded content that can be cost effective, reach large audiences, and be incredibly powerful.”

Michelle Barrett, Brand and Marketing Manager for Velocity, a multi-award winning commercial production company, says directors are competing for fewer scripts. “As an industry we are constantly challenged to find the edge needed to win jobs and provide that winning formula and point of difference.” She goes on to say that in order to rise above the mediocre, we need to “produce work that cuts through the clutter and gets noticed.”

Barrett says clients have become extremely reliant on research, which is “proving to be a big creative handbrake and stranglehold on the work process”.

“We need to focus on nurturing agency and client relationships, and bringing in good work as well as earning trust to enable us to push the quality of the work into another league,” she concludes.

A great example of cutting edge commercial work coming out of SA is Arcade Content.

Formed by Egg Films, it is home to some innovative directors including Rob Smith (One Rand

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WHAT IT ALL BOILS DOWN TO

Arcade Content’s most recent contributions to branded content was the Africa is Absolut campaign, conceptualised by NATIVE VML and Pernod Ricard SA. ©Arcade Content

Man) and Lebogang Rasethaba (Future Sounds of Mzansi).

Their most recent contributions to branded content was the Africa is Absolut campaign, conceptualised by NATIVE VML and Pernod Ricard SA. Peter Pohorsky, Co-Founder of Plank, a production house focused on telling local stories in the commercial realm, feels

very optimistic about the sector’s future. “With change, new and exciting opportunities arise,” he explains. “As filmmakers and storytellers, we are applying our talents to a broader canvas.

Commercials are our main focus but as the industry changes and becomes more diverse we will be better placed to adapt and continue to do what we love.”

Rob Payton, of WeShootFood, agrees with Pohorsky’s sentiments, saying creativity is most important for the sector.

“South Africa is fortunate to have some great agency creatives, and the level of creative ideas here really is at a global standard – you only have to see the South African successes at Cannes each year to underline that.”

When we consider the South African motion picture industry as a whole, there are many gaps still to be filled. Local audiences for local features need to be cultivated. Commercials are in the midst of a format shake-up.

Marketing budgets are needed for productions, and broadcasters need to find inventive ways to be heard in a sea of online voices. The process of disruption sweeping the world has begun, but we will deal with it as we have dealt with everything else handed to us: one step at a time, with flexibility and creativity.

As Akin Otomoso, director of feature film Tell Me Sweet Something and commercial director with Spitfire, says: “I think the industry is healthy and finding new ways to deal with the demands of the new media. And I think that as long as people are open and daring, some interesting things could happen.”

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MIPCOM 2015 A Visual Feast in Cannes

T

he International Market for Communication Programmes (MIPCOM) 2015 had an unscripted start. The red carpet event had to be cancelled due to uncharacteristic flooding in the French Riviera. A month’s worth of rain fell in one day, disrupting electricity, internet connections and even trains.

Executives hoping to network were stuck in limbo.

Known as the world’s biggest TV market; this premier market for entertainment content across all platforms is traditionally held at Palais des Festivals et des Congres de Cannes. The trade show is attended by representatives of TV studios and broadcasters and is an opportunity par excellence to buy and sell new programming.

MIPCOM Junior takes place before the main MIPCOM event and concluded on 4 October with attendance growth up on 2014.

It wasn’t just the weather that was disruptive though. It has been re-iterated that this is the golden era of television, but it is being disrupted in a sense, by major trends. The revolution is being sparked by some key factors that were expounded at the event.

The advent of the smartphone and the way that consumers utilise content, means that they are able to download content when they want and where they want. They are not dependent on scheduling to get their fix of their favourite shows. This also ties in with the proliferation of content available and major network broadcasters no longer having a need for filler shows. They are therefore looking for high-quality content and have different

EARLIER THIS YEAR, AOL’S THE HUFFINGTON POST AND BROADBANDTV ANNOUNCED A PARTNERSHIP TO WORK ON OUTSPEAK, AIMED AT THE MILLENNIAL AUDIENCE’S JOURNALISTS AND CREATIVES TO PUT THEIR WORK ON BOTH COMPANIES’ PLATFORMS. markets emerging to source from.

This year’s Country of Honour is Turkey. It has a population of 76 million and is estimated to be exporting $200-million worth of television series to 75 countries.

It is said that since 2000, Turkish dizi, the format of television drama in Turkey has rapidly spread over the Middle East and North African region, the Balkans and lately to Latin American countries, where it seems to resonate. It has become the second biggest television market in world. The beautiful Turkish actress, sporting a sassy haircut, Tuba Büyüküstün, disrupted it in an entirely different way.

OTHER FACTORS: STREAMING, SOCIAL MEDIA AND VIDEO Jim Packer, Lionsgate president of Worldwide TV and digital distribution and Hulu CEO, Mike Hopkins interviewed each other on stage. Mike said that they plan on increasing the amount of film content on its streaming service. Jim revealed at MIPCOM that the company has entered

a distribution pact with David Ellison’s Skydance Media.

SOCIAL MEDIA

Facebook and Twitter had a contingent present at the event. They presented compelling industry usage statistics, consumer social media engagement and insight into what drives content consumption and programme ratings. Presentations from the two platforms underscored the meteoric rise of the use of video, which is being consumed in unprecedented amounts and on smartphones to boot. AOL’s Maymann said that Verizon’s acquisition would enable it to make more investment in content including original content.

He said that they want to increase their investment in video.

PARTNERSHIP AND DEALS

Earlier this year, AOL’s The Huffington Post and BroadbandTV announced a partnership to work on Outspeak, aimed at the millennial audience’s journalists and creatives to put

their work on both companies’ platforms. At MIPCOM AOL’s Jimmy Maymann and Broadband TV’s chief executive Shahrzad Rafati held a joint keynote providing some more detail.

Announced at MIPCOM: India to get own streamy awards. This followed an agreement between Dick Clark Productions, TubeFilter and Culture Machine (India).

Canal Plus and Disney Media Distribution France have reupped their programming agreement.

This includes first run feature films and SVOD services. A strategic partnership with AwesomenessTV was also unveiled at MIPCOM with Endemol Beyond launching local-language AwesomenessTV channels in key markets.

NEW / UNIQUE

Malaysia debuted it first creative industry app at MIPCOM on 6 October 2015. It aims to converge the latest information on feature film, television, animation, games, music and other industry related topics updating creatives daily on latest news and trends.

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BOOTLEGGER COFFEE CO Let’s be straight - a good day on set usually starts with a damn good cup of coffee. And the good folk over at Bootlegger Coffee Company, serve just such a coffee, every day.

E

ver since it opened its doors back in 2012, Bootlegger has ground out a perfect cup, made up of its own locally roasted beans and highly trained baristas. With his nononsense approach to service, film industry veteran, Pieter Bloem, has taken the Bootlegger business from strength to strength and suburb to suburb, with his bustling Bootlegger stores opening across Cape Town.

“The thing with beans is, you’ve got to keep it simple,” Pieter says of Bootlegger’s blend.

Expect only meticulously-

sourced beans from Guatemala, Costa Rica and Tanzania, roasted in their Geisen roasters, that currently churn out over four tonnes of flawless perfection each month. It’s a medium to light roast that’s aromatic and flavourful. “It might not be as complicated as the other guys, but at least my cup is good every single time – and that’s what I like,” Pieter explains.

He firmly believes that the coffee industry has a lot in common with the film industry; not least of which is the hours they keep. “There’s a very specific

work ethic in the film industry.

Nothing is too hard or too farfetched to get right. We almost keep the same hours – when you’re roasting coffee it’s a really early start and often goes till late.”

For this he stresses the importance of service. “In the film industry, you push yourself to the limit and it’s the same for coffee. Film, like coffee, is a cutthroat business. You’re only as good as your last job.

For coffee it’s the same. You’re only as good as your last cup.”

The Bootlegger values are as straightforward as their roast: “I

make sure that the quality of the supply chain is always good. We do this to ensure the quality is always right and that we maintain the taste profile customers want.”

Bootlegger Coffee has three restaurants with a fourth opening in Kalk Bay soon. Their roast is available for on-set caterers to order, and they also offer a mobile coffee cart solution which is delivered daily. Certain stores are also available for shoots. For more information, call Pieter Bloem on 082 448 5348 or email him at pieter@bootlegger.co.za.

CATERING

PRODUCTION

WRAP PARTIES

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B O O T L E G G E R R E S TA U R A N T S A R E N O W AVA I L A B L E F O R W R A P PA R T I E S A N D S H O O T S .

TO GET BOOTLEGGER COFFEE G R I N D I N G A W A Y AT Y O U R C R A F T S TAT I O N , S I M P LY C A L L O U R C AT E R I N G I N D U S T R Y S P E C I A L I S T, R I C K Y, O N 060 971 9515 OR EMAIL HIM ON R I C KY @ B O O T L E G G E R . C O. Z A

TO GET BOOTLEGGER COFFEE O N C A L L AT Y O U R N E X T PRODUCTION OR IN YOUR O F F I C E , S I M P LY C A L L O U R S P E C I A L I S T, P I E T E R , O N 082 448 5348 OR EMAIL HIM ON P I E T E R @ B O O T L E G G E R . C O. Z A

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TO GET BOOTLEGGER COFFEE W R A P P I N G U P Y O U R P A R T Y, CALL TYRON, ON 081 013 5909 OR EMAIL HIM ON T Y R O N @ B O O T L E G G E R . C O. Z A

30 / SPOTLIGHT

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PHOTO & FILM EXPO 2015: INNOVATIVE IMAGERY

The annual expo held over four days was established in 2009. It has now become the largest photographic expo on the African continent. Originally scheduled for the end of October, it was moved to 19 – 22 November to accommodate the Rugby World Cup.

M

att Raven, organiser at the Photo & Film Expo said: “Utilising the entire Ticketpro Dome in Johannesburg it is the world’s most educational event of its’ kind, offering visitors in excess of 120 unique live workshops and demos FREE on a first arrival basis.”

The EXPO is guaranteed to engross and inspire with innovative technique with all the most-loved photographic brands under the same roof. It is also an ideal opportunity to nab a great deal on a selection of products. It is aimed at both the professional and the enthusiast and is an excellent occasion to network and learn invaluable photographic skills.

Matt also mentioned that: “The skills discussed in these workshops range from editing to preparation and conceptualisation and everything in between, and cover specific topics like lighting, action footage, music videos, timelapse, underwater capture, wildlife and much more. Most talks have applicable content for both stills and motion operators, while some are more specific.”

The programme and speakers draw industry experts that cover a wide spectrum of individuals, the effervescent, the young and hip as well as the astute and mature.

There are highly trained and selftaught speakers, but all with the hallmark passion for photography.

Set up on various stages, exhibits are dedicated to amongst others, wildlife and weddings. Organisers

© Photo & Film Expo

also urge enthusiasts to take their cameras along as there will be an abundance of photo opportunities with an underwater area and even the odd flying drone.

Nadav Ossendrywer will be presenting at the Sigma Wildlife Stage and is the founder and developer of LatestSightings.com, a website/app that reports live sightings from Kruger National Park. Niki Marusich-Peel is known for her use of luminous natural light and her ability to capture genuine moments and is one of the speakers representing the wedding contingent.

Elsewhere on the Main and GoPro adventure stages, there is an enticing line-up of astoundingly talented photographers. Christo Crous is an air force photographer, who has captured over a million images in 31 countries. Surf photography is represented by Fabian Coetzer and Ilse Moore specialises in an underwater fashion, portrait and fine-art photography.

Obie Oberholzer is a premier South African photographer and member of German picture agency LAIF with contributions to Stern, The London Daily Telegraph, and Conde Nast Traveller. Andreas Hauke of the eponymous Hauke Digital produces high-end corporate films, adverts and event productions. Maryna Cotton and Sarel van Staden are the official photographers for SKA SA (The Square Kilometre Array Radio Telescope).

MOTORING PHOTOGRAPHY

Desmond Louw focuses on automotive photography. In 2014, he won the Motoring Photographer of the year and Meghan McCabe, also a specialist in motorsport, was the winner of Motorsport South Africa Photographer of the year 2013.

Waldo Büchner is a Motion Graphics Supervisor at Fox International Channels Africa.

From short films to music videos

and various channel portfolios that include M-Net, Fox Africa and National Geographic Channel.

Peter Hassall has been the chairperson of Johannesburg Professional Photographers since 2002 and is the current President of the SAPP (SA Professional Photographers).

Pierre Blignaut’s work has been featured in various media publications, campaigns and television commercials Clients include: SA Fashion Week, Media 24, Guess and BMW. Rick Joaquim is an animator and cinematographer. His experience encompasses music video shoots and he won best short film at the 48 Hour Film project in 2014.

THE COMPETITION

Matt says, “By attending you also can enter to stand in line to WIN your share of over R1-Million worth of prizes being given away by exhibitors at the event.” The Photo & Film Expo Lucky Draw is the premier attraction at the show every year. Attendees get one entry per day attended and tickets bought online get an automatic BONUS entry into the Lucky Draw. The Draw takes place on 22 November 2015 on the Main Stage. Prizes include the FUJIFILM X-T1 Body, grip, battery, lenses and filters.

BY THE NUMBERS: • 20 000 industry creatives • 400 photographic brands

32 / INDIES AND SHORTS REVIEW

© Shake the Dust

www.thecallsheet.co.za

Umkhungo © Matthew Jankes

INDIES AND SHORTS

Each month we review the productions making waves locally, critically and internationally, and explore independent films and shorts that catch our eye.

Written by Kim Muller.

STRAIGHT OUTTA COMPTON I’m not usually a fan of biopics and of late, some truly awful ones have hit our screens (*cough* Diana *cough* Get On Up ). That said, Straight Outta Compton seemed worth my while. Firstly, I was caught up in their brilliant marketing wave and posted a whole album of ‘Straight Outta…’ pics on Facebook! I would have watched the film just based on that. Yes, it’s fickle, but you gotta give it to them. They know their target audience. Secondly, I may not be a hip hop head, but my husband is…and I can appreciate a damn good beat – and this film had some damn good beats!

I was surprised to see the story of NWA unfold. I had no idea the drama they went through to become the brilliant businessmen they are today, but I came out of the cinema with newfound respect. The film leans heavily on music industry clichés of fame, money and hot women being NWA’s ultimate downfall. This I felt really took away from a great story: two industry heavyweights were born out of great political,

financial and cultural struggle – even though Easy E and the rest of the group never got their second shot at NWA fame. The performances, too, were laughable at times. It’s abundantly clear that most of those cast – Jason Mitchell and Corey Hawkins especially – were cast for their looks and not for their acting abilities. Ultimately, what you’re left with is a slick, yet somewhat generic portrayal of one of hip hop’s pioneering crews.

SHAKE THE DUST “Our story does not make front page news. The dream of every kid who grows up in the ghetto is to leave. But I think our dream is to change the slums.” This powerful intro along with striking imagery of breakdancers going for it with all they have despite dust, harsh paving and unkempt environments…this drew me into Shake The Dust more than any documentary ever has. The film is a story not only about breakdance and its influence on society, but how it’s struck a chord in the slums, favelas and

ghettos of the world. Both these kids’ impressive moves and their heart-wrenching stories were seriously inspiring, and from some of the most unlikely places: Uganda, Colombia, Cambodia and Yemen. Journo-turned-filmmaker Adam Sjöberg directs, with David Jacobson as producer and prolific hip hop artist Nasir “NAS” Jones as executive producer.

“I reached out to an organization there—Breakdance Project Uganda—and just on a whim got on a plane and went and met them,” Sjöberg told Fast Company about the film’s beginnings. “It really took building trust because some of these breakdancers have had Western media come in and take advantage of them.” Well worth a watch, from production value to storytelling. And the dancing?

Pff ff f…awesome, of course!

UMKHUNGO Umkhungo is a fascinating film. Written and directed by Matthew Jankes, this gem combines a moving local story with sci-fi elements. Translated as The Gift, the 30-minute production was recently chosen as Vimeo’s Staff Pick. It follows a young boy, Themba (Sivuyisiwe Mtshaka), whose family believes he is cursed.

When both his parents are killed horribly, a thug from the streets of Jozi (Israel Makoe) saves him – albeit with ulterior motives.

The two discover each other’s dark secrets as a riveting half hour chase unfolds. The story is sad – my favourite kind of story – and *spoiler alert* the end almost had me in tears. Jankes has done an incredible job in creating this captivating short.

OUR STORY DOES NOT MAKE FRONT PAGE NEWS. THE DREAM OF EVERY KID WHO GROWS UP IN THE GHETTO IS TO LEAVE. BUT I THINK OUR DREAM IS TO CHANGE THE SLUMS.

Creating work you can’t ignore. ignore.

Keith Rose • Greg Gray • Anton Visser • Rob Malpage Adrian De Sa Garces • Leigh Ogilvie • Bailey Helena Woodfine helena@velocityfilms.com

Karen Kloppers karen@velocityfilms.com

Johannesburg 38 Wessels Road, Rivonia +27 11 807 0100

Cape Town 30 Keerom Street, Cape Town +27 21 424 4971

www.velocityfilms.com

34 / IN PRODUCTION

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IN PRODUCTION NOVEMBER 2015

Thanks to ever-present confidentiality clauses, no one is ever allowed to officially talk about what’s in production in Africa, but here are some of the projects to look forward to:

JUST NUISANCE

Following the success garnered from the release of her film Flower Girl, award winning British-Nigerian filmmaker, Michelle Bello is finalizing efforts to release her latest project. And The Spirit Slowly Dies is a 40 minute family drama written and produced

by UK based writer/producer Dapo Oshiyemi. It is scheduled for shoot in the latter part of 2015 with a line-up of top actors from Nigeria, South Africa, USA and the UK.

ARRIVALS Nina Dobrev ( Vampire Diaries), Maisie Williams (Game of Thrones) and Asa Butterfield (Ender’s Game) will star in this indie comedy produced by BCDF Pictures and Kalahari Films & Media. Butterfield, who is a baggage handler in the film, will play the love interest of Dobrev, a flight attendant.

Arrivals is set to start filming in South Africa soon.

MY SIGHT FOR SORE EYES According to this local horror film’s Facebook page, the film takes place on “a remote farm in the middle of nowhere in South Africa. A young girl travels back for her mothers’ funeral and to see her mentally challenged brother. But on the night Chloe’s father leaves on business, the maid is left to keep an eye out for the brother and sister.

Their peaceful world is thrown into chaos, when a tragic event ensues, forcing Chloe to make a life changing decision.”

Acclaimed music video director Ryan Kruger is directing.

SHEPHERDS AND BUTCHERS

OF KINGS AND PROPHETS This biblical drama is currently in production in Cape Town.

Acting legend Ray Winstone stars as a king who is hardened and weary after years of battle, and the many characters who make up his court and citizens. The show is being produced for ABC in the US.

RESIDENT EVIL: THE FINAL CHAPTER The final installation of this mega-franchise is currently shooting on the streets of Cape Town. Milla Jovovich reprises her role as Alice. According to IMDB, “following the events of Resident Evil: Retribution, Project Alice is forced to race against time as the villainous Red Queen attempts to destroy the final remnants of humanity.”

Orange is the New Black alum Ruby Rose also stars.

English actor Steve Coogan stars in this Apartheid-era court-room drama. Coogan will play a lawyer who takes on a seemingly unwinnable homicide case. The film is based on the book by Chris Marnewick.

THE WHALE CALLER This hotly-anticipated adaption

by Zola Maseko of the Zakes Mda classic “tells the story of a love triangle between the titular Whale Caller, his beloved whale Sharisha, and Saluni, the village drunk who teaches him to open his heart to people again”.

TUTANKHAMUN ITV has commissioned a fourpart series that will centre on archaeologist Howard Carter’s extraordinary unearthing of Tutankhamun’s tomb. The miniseries, which is written

by Guy Burt “will focus on the legendary personal story of Carter, a solitary man on the edge of society who became an iconic figure and an unlikely hero,” a press release said.

Maisie Williams (Game of Thrones) © M-Net

AND THE SPIRIT SLOWLY DIES

It has taken decades, but the story of the Navy’s first and only enlisted dog is coming to our screens. Currently in pre-production, the tale of Just Nuisance is sure to soften even the hardest of hearts.

The wily hound had a knack for riding the Cape Town railways on his own, and became a vital member of Royal Navy during the Second World War. Dumb Dog Productions and HopLite Productions are the teams behind the film.

ERIK VAN WYK

DEAN BLUMBERG

PETAR SPILJEVIC

THABANG MOLEYA

ANDRE LIEBENBERG

MZI KUMALO

MICHAEL MACGARRY

GORDON LINDSAY

MARC SIDELSKY

Executive Producer peter@bouffant.tv Johannesburg 38 Wessels Road, Rivonia +27 11 234 8820

Cape Town 30 Keerom Street, Cape Town bouffant.tv

36 / SPOTLIGHT

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DISCOP 2015:

VISUALISING AFRICA TOMORROW DISCOP AFRICA launched in 2008 and due to demand, has become a biannual event this year.

T

he latest edition happens from 4 - 6 November in Johannesburg at the Sandton Convention Centre.

It is a three-day marketplace for all African film, television programme, adaptation rights and packaged channels. The next one will be held in Abidjan, Cote d’Ivoire from 31 May - 2 June 2016.

It is incredibly vital platform as pay-tv revenues are expected to swell. The African middle class is well-documented for its expansion, coupled with economic and infrastructure growth; all these factors are a boon for African content and wholesale television content business. The industry is thought to be edging closer to US$1 billion in annual revenues, twice as much as three years ago. According to organisers, research confirms 95% of these sales are initiated/ concluded at DISCOP AFRICA. The DISCOP AFRICA threeday conference will include five subjects and a keynote speaker presentation over six sessions.

Topics covered include “Comedy content is here to stay”, “Don’t be afraid of sport” as well as “Challenges and Opportunities facing news in Africa”.

Key role players are made up of distribution executives and representative of local, regional and global suppliers of television hits; established and aspiring producers present to

seek development, coproduction and distribution opportunities; programming, acquisition, coproduction and commissioning executives are joined lastly, by the influencers representing customer brands, advertising agencies and a media contingent.

Meetings are set up three months ahead of each event.

The matchmaking service exists to connect interested roleplayers and arrange meetings before and during the event.

Benefits of exhibiting at DISCOP AFRICA are to promote companies’ visibility and proffer exposure to the vital roleplayers; buyers. According to the confirmed participant list, major and celebrated organisations exhibiting comprise TV Media Sport, Sky Vision, Media Pro Africa, Deutshe Welle, Agence France Presse, The Walt Disney Company, BBC Worldwide, CBS Studio International, France24, Paramount, SABC, Dreamworks and Sony Pictures.

The event encompasses thematic days as follows: • 4 November 2015 is China Day. 2015 is the year of

China in South Africa. China is therefore, this edition’s Country of Honour. The programme is focused on the exploration of partnership opportunities between Africa and China in the televised entertainment sector.

• 5 November 2015 is slotted for Following the Stars.

This day will introduce eight innovative, influential key players who will inform with case studies, presentations and business models.

• 6 November 2015 is the day for What Brands Want and will investigate what consumer brands expect from televised entertainment creators and content distribution platforms.

The conference and informative programme will also feature the fast-track Country Spotlight series. The three African countries are Kenya, Tanzania and Senegal. There will be a welcoming party for DISCOP AFRICA attendees on the opening day. In addition a DISCOP AFRICA gala reception will be held to celebrate the Chinese-South African bilateral cooperation.

Another new and exciting, unmissable addition to the programme in Johannesburg in 2015, is the Meet your Stars promotional programme. This is an opportunity for producers and distributors to introduce their upcoming TV shows or the new season of existing shows.

24four shows grouped into three categories will be showcased.

A parallel event DISCOPRO will also run simultaneously. It is the coproduction forum for independent content producers.

It was created for them to pitch, learn and meet with buyers, sales agents, financiers and donors. This event was only launched four years ago. It is, inter alia, an occasion to share ideas, increase knowledge, network with possible investors and other prominent industry executives and stakeholders.

There will be plenty of opportunity to network, with the most important one taking place on the last day as well as an Award Ceremony honouring the winners.

At the time of going to print the list of speakers, mentors and moderators was not available.

38 / COUNTRY SPOTLIGHT

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© Clara Sanchiz

IVORY COAST

HOME OF THE FRANCOPHONE FILM INDUSTRY

A

lso known as Cote d’Ivoire, this West African country is flanked by Liberia, Ghana and Gulf of Guinea. It is also bordered

by Mali, Guinea and Burkina Faso and is a producer of more than half of the world’s cocoa.

It is a predominantly Frenchspeaking country about a quarter of the size of South Africa and roughly the same size as Italy.

The capital is Yamoussoukro, but Abijan is the commercial capital as well as largest city.

FILM INDUSTRY

The industry in the Ivory Coast has a distinct Francophone history, presence and audience.

Best known for the television series it produces, it has consequently been dubbed Babiwood. Ma famille, is a successful, popular series written

by Akissi Delta. It does not, though, have an established film industry, but recently Run was the first of this genre to be selected to premier at the Cannes Film Festival. Shot on

a budget of $2.1-million, it is the second attempt of Frenchtrained Philippe Lacote, who also shot Burn It Up Djassa.

He hopes that it will be a boon for the local industry. Run received $150 000 from this the government, but this is unusual.

Lacote bemoans the lack of theatres in the Ivory Coast.

There are only six or seven left as most have been converted to evangelical churches. A protracted civil war has left its mark in a variety of ways. Lack

of training is a problem, as the Ivory Coast has no formal film schools. However, Wassakara Productions trains young filmmakers in the craft. There are also no tax incentives in place for foreigners wanting to shoot in the Ivory Coast at the moment.

Pan-African Film & TV Festival of Ouagadougou (FESPACO), Africa’s biggest film festival, is held every two years in neighbouring Burkina Faso. Another festival, the International Film Festival

COUNTRY SPOTLIGHT / 39

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CLIMATE Abidjan, Ivory Coast, Average Annual Temperatures 40°C 30°C 20°C 10°C 0°C

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Abidjan, Ivory Coast, Average Yearly Precipitation

Pokou, Princesse Ashanti © Afrikatoon

THE INDUSTRY IN THE IVORY COAST HAS HAS CONSEQUENTLY BEEN DUBBED BABIWOOD. MA FAMILLE, IS A SUCCESSFUL, POPULAR SERIES WRITTEN BY AKISSI DELTA. of the Lakes and Lagoons (FESTILAG) will run between 24 – 28 November 2015 in Abidjan and Grand Bassam.

Recently, though there has also been success on the animation front. Afrika Toon’s Pokou, Princess Ashanti, became the first Ivorian 3-D animated film. The same team is launching Soundiata Keïta, Waking the Lion”. Another initiative to discover screenwriting talent was a screenwriting competition organised by the RTI (Ivorian Public Television).

Binta Dembélé won it for the screenplay Ambre and is now mentored by famous Ivorian

screenwriters and directors.

OTHER ATTRACTIONS:

Visit a UNESCO heritage site, Comoe National Park, the largest protected area in West Africa. Known for its great plant diversity and unspoilt rainforest; it is ideal for adventure seekers and trekkers. The most marvellous attraction of the capital city is the Basilica of Our Lady of Peace, modelled after St. Peter’s Basilica in Vatican City. Famous beaches are found at the coastal towns of Assouinde, Assinie and Bassam.

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GETTING THERE BY AIR Port Bouet Airport (Felix Houphouet Boigny Int’l) is the main air traffic hub in Abidjan.

Major airlines include: • Ethiopian Airlines • Air France • Air Emirates • EgyptAir • Arik Air

• • • •

Turkish Airlines Kenya Airways Tunisair South African Airways

POPULATION 23 295 302 (World Fact book)

FIXERS Khadafi luyindula: Tel: +233 505 534 394 Email: khadafi.l@arkanciagroup.com Derick Kibisi: (mostly works in Uganda) Tel: +256 792 902 991 dkibisi@talkingfilmproduction.com

CONTACT Cote D’Ivoire Ministry of Tourism: Plateau in Immeuble de la, Corniche, Abidjan, Lagunes (Région des), Côte d’Ivoire Tel: +225 202 0651 Email: info@communication.gouv.ci

© Kate Fisher

40 / EVENTS TO DIARISE

NOVEMBER FILM FESTIVAL COTTBUS 3-8 Cott bus, Germany DISCOP AFRICA 4-6 Johannesburg, South Africa AMERICAN FILM MARKET & CONFRENCES 4 - 11 Santa Monica, USA FESTIVAL TOUS ÉCRANS, GENEVA INTERNATIONAL FILM FESTIVAL 5 - 12 Geneva, Switzerland AMERICAN FILM INSTITUTE (AFI) FEST 2015 5 - 12 Los Angeles, USA KANSAS INTERNATIONAL FILM FESTIVAL 6 - 12 Kansas, USA THESSALONIKI INTERNATIONAL FILM FESTIVAL 6 - 15 Thessaloniki, Greece

KOLKATA INTERNATIONAL FILM FESTIVAL 14 - 21 Kolkata, India BARCELONA INDEPENDENT FILM FESTIVAL 16 - 22 Barcelona, Spain IDFA INTERNATINAL DOCUMENTARY FILM FESTIVAL 18 - 29 Amsterdam, Netherlands PHOTO & FILM EXPO 2015 19 - 22 Johannesburg, South Africa

CAIRO INTERNATIONAL FILM FESTIVAL 8 - 17 Cairo, Egypt

TORINO FILM FESTIVAL 20 - 28 Turin, Italy

INTERNATIONAL SHORT FILM FESTIVAL BERLIN 10 - 15 Berlin, Germany

INTERNATIONAL FILM FESTIVAL OF INDIA 20 - 30 Goa, India

HAWAII INTERATIONAL FILM FESTIVAL 12 - 22 Honolulu, Hawaii

MAR DEL PLATA FILM FESTIVAL 22 - 30 Mar del Plata, Argentina

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EVENTS TO DIARISE / 41

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DECEMBER BAHAMAS INTERNATIONAL FILM FESTIVAL 1 - 12 Nassau, Bahamas THE ORIGINAL SANTA FE FILM FESTIVAL 2-6 Sante Fe, USA WHISTLER FILM FESTIVAL 2-6 Whistler, Canada NEW ITALIAN CINEMA 2015 3-6 Philadelphia, USA

INTERNATIONAL FILM FESTIVAL WATCH DOCS HUMAN RIGHTS IN FILM 4 - 10 Poland, Warsaw INTERNATIONAL FILM FESTIVAL OF KERALA 2015 4 - 11 Kerala India MARRAKECH FILM FESTIVAL 4 - 12 Marrakech, Morocco ANCHORAGE INTERNATIONAL FILM FESTIVAL 4 - 13 Anchorage, Alaska

4th DELHI INTERNATIONAL FILM FESTIVAL 2015 5 - 12 New Delhi, India DUBAI INTERNATIONAL FILM FESTIVAL 2015 9 - 16 Dubai, United Arab Emirates KATHMANDU INTERNATIONAL MOUNTAIN FILM FESTIVAL 2015 10 - 14 Kathmandu, Nepal AFGHAN DOCUMENTARY FILM FESTIVAL 11 - 13 Stockholm, Sweden BOLGATTY INTERNATIONAL FILM FESTIVAL 21 - 24 Kochi, India

© Pexels

THE 37TH INTERNATIONAL FESTIVAL OF NEW LATIN AMERICAN CINEMA 3 - 13 Havana, Cuba

42 / OPPORTUNITIES

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OPPORTUNITIES: NOVEMBER SUDAN INDEPENDENT FILM FESTIVAL CALL FOR FILMS The 3rd edition of the Sudan Independent Film Festival has opened its call for applications to the 2016 edition. The application deadline is 15 November 2015, and by 10 December filmmakers of selected films will be notified.

Courtesy of Afrika Film Festival

AFRIKA FILMFESTIVAL CALL FOR ENTRIES The 21st Afrika Filmfestival will be held on March 11-26 next year in Leuven, Belgium.

The festival opened its call for entries on 15 September, with the deadline set for 15 December 2015 for the 2016 edition.

Founded in 1996, Afrika Filmfestival presents a fine selection of the most interesting films from Africa, directed by Africans in Africa, the diaspora and non-Africans. This year, the festival saw over 90 films from 30 countries screened, with an attendance of over 11 000 – making AFF one of the longest-running film fests in the Benelux. Together with Africa in Motion (Edinburgh), Africa Film Festival (Verona) it launched the European African Film Award for Young East African film talent at the Zanzibar International Film Festival.

Since 2015, three awards have been put in place for fiction and non-fiction films of up to 50 minutes, with monetary wins given through the King Baudouin Foundation. Between 10 and 20 productions will be submitted to an international jury with programme directors of African film festivals both within and

outside Europe. Films made after 1 January 2013 are now being accepted for consideration.

Applicants are encouraged to submit their films via Vimeo, WeTransfer or by sending a screener DVD. For more information or to submit your film, visit www.afrikafilmfestival.be.

1ST BAUMI AWARDS CALL FOR SCRIPTS Karl ‘Baumi’ Baumgartner was a producer and distributor with an extraordinary eye for arthouse films. As a tribute to his work, the Baumi Script Development Award has been established, which includes a prize of €20 000. German and international screenwriters may apply with a treatment in English.

Applicants must submit with a production company or must already have had at least one of their scripts produced in order to be eligible for the award.

The guidelines and application deadlines were initially set from 15 September to 15 October, however the deadline has been extended until 15 November 2015. The first treatment will be awarded during the 2016 Berlinale. For more information or to submit your script, visit www.baumi-award.com.

Applications for feature films and shorts, fiction, nonfiction, from the Arab world and Africa are invited to participate in the programme: • Long fiction film – longer than 60 minutes • Non-fiction film – more than 52 minutes • Short film (fiction) – no longer than 30 minutes OR non-fiction (no longer than 45 minutes) All films must be produced after January 1, 2014 and should not have been screened to audiences in Sudan or on television or the web before the Festival. Some exceptions may be made for some films at the discretion of the festival committee.

For more information or to submit your production, visit www.sudanfilmfactory.org.

LA FABRIQUE DES CINÉMAS DU MONDE CALL FOR ENTRIES La Fabrique des Cinémas du Monde is a professional programme enabling talented young directors from emerging

Les Cinemas Du Monde © Catherine Vinay

countries to increase their international exposure. Each year this programme invites ten directors working on their first or second feature films to attend the prestigious Festival de Cannes along with their producers. The programme was developed by the Institut Français in partnership with France Médias Monde, with the support of the International Organization of La Francophonie.

Selection criteria are as follows: • Directors must come from one of the eligible countries.

• The project must be the director’s first or second feature-length film (fiction, documentary or animation).

• The project must have a local producer (or a producer from one of the eligible countries) who has produced a short or feature-length film in the last five years.

• Each director or production company may only submit one film project.

• Co-producers may not apply but they must appear in the registration form.

• The director and/or the producer must speak English.

• The film’s provisional budget must be less than €3-million.

All projects must be registered and received online by Monday, 23 November 2015.

A maximum of 120 projects will be accepted. For more information or to apply, visit www.lescinemasdumonde.com.

ASSOCIATIONS / 43

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ICASA CONVENED PUBLIC HEARINGS IN RESPECT OF THE DRAFT LOCAL CONTENT REGULATIONS

MINISTER NATHI MTHETHWA CALLS FOR MEETING WITH STAKEHOLDERS IN THE FILM INDUSTRY

The Independent Communications Authority of South Africa (ICASA) has as an objective to be the authoritative source of ICT sector statistics and data to consumers, government, industry and other stakeholders.

It therefore would like to design and implement an ICT sector data collection system.

ICASA has appointed BMI-T to design and implement an ICT sector questionnaire as well as validate industry submissions.

They will be engaging with stakeholders shortly.

The Independent Communications Authority of South Africa (‘the Authority’) had originally conducted a study and received submissions to a discussion document. It then published Draft Regulations and Position Paper followed by workshops across all provinces to solicit input from interested stakeholders.

Thereafter, it proposed new local content quotas whilst also requesting some input on Draft Regulation. It had since convened public hearings in respect of these Draft regulations on South African local content for TV and radio.

Once finalised, the Regulations on South African music will apply to sound broadcasting services, whilst the South African TV Local content regulations will apply to programming on television.

The Authority has received 20 written submissions from stakeholders.

The local romantic comedy starring Maps Maponyane Tell Me Sweet Something has done well in its first three weeks and reached R1 million in first five days of release.

However, distributors have reduced the number of screens and performing sites from 47 to 27 in the third week.

The Minister of Arts and Culture, Nathi Mthethwa has noted this and in a statement said that the profit motive cannot be determining factor in regard to the exhibition of South African films to South African audiences. He said exhibitors need to play their role in sustaining the promotion of South African films.

He therefore will call a meeting of film stakeholders to discuss distribution, representation, marketing support and other pressing issues affecting filmmakers.

“The National Development Plan acknowledges the importance of the contribution of cultural and creative industries to economic growth,” he said. He hopes that they can devise innovative distribution strategies and interventions that will take films to the people and also create an enabling environment where film entrepreneurs can flourish as they tell the South African story.

The lively Lola (Thembi Seete) in Tell Me Sweet Something © Rififi Pictures

DESIGN AND IMPLEMENTATION OF AN ICT SECTOR DATA COLLECTION SYSTEM

44 / DIRECTORY

COMPANY

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TELEPHONE

EMAIL

WEBSITE

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Bootlegger Coffee Company

+27 82 448 5348

pieter@bootlegger.co.za

www.bootlegger.co.za

29

bouffant

+27 11 234 8820

info@bouffant.tv

www.bouffant.tv

35

Chris Vermaak

+27 86 649 8845

karentl@mweb.co.za

www.chrisvermaak.co.za

13

CTICC

+27 21 410 5000

sales@cticc.co.za

www.cticc.co.za

15

Digital Afros

+264 81 232 1222

oshosheni@yahoo.com

www.digitalafros.com

25

Digital Therapy

+ 27 74 317 0894

wez@digitaltherapy.co.za

www.digitaltherapy.co.za

11

Discopro

+1 323 782 1300

discop@basiclead.com

www.discopafrica.com

37

Photo & Film Expo

+27 11 326 2257

info@photofilmexpo.com

www.photofilmexpo.com

31

Film Finances SA

+27 82 411 4088

jane@filmfinances.co.za

www.filmfinances.com

06

Global Access

+27 11 350 2028

deyasha@globalaccess.co.za

www.globalaccess.co.za

23

KZN Film Commission

+27 31 325 0200

info@kwazulunatalfilm.co.za

www.kwazulunatalfilm.co.za

Inside Back

Lemonreel Film Services

+264 81 122 7717

info@lemonreel.com

www.lemonreel.com

22

Media Film Service

+27 21 511 3300

info@mediafilmservice.com

www.mediafilmservice.com

10 - 14

Movie Mart

+27 21 511 3300

colinb@moviemart.co.za

www.moviemart.co.za

03

MRENT

+ 27 31 301 1991

mrent@mrent.co.za

www.mrent.co.za

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Photographic Repairs

+27 21 424 7880

raymond@photographicrepairs.co.za

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Pioneer Freight

+27 21 386 5946

info@pioneerfreight.co.za

www.pioneerfreight.co.za

Outside Back

Pro-Sales

+27 11 462 0000

info@pro-sales.co.za

www.pro-sales.co.za

05

Roodebloem Studios

+27 21 447 1617

media@roodebloemstudios.co.za

www.roodebloemstudios.co.za

18

Shooting Stars

+264 81 232 1222

oshosheni@yahoo.com

www.oshosheni.com

16

Steel Productions

+27 21 430 5788

production@steel.co.za

www.steel.co.za

19

Studio 26

+27 83 368 6216

mail@studio26.co.za

www.studio26.co.za

17

Tempest Car Hire

+27 11 663 4000

film@tempestcarhire.co.za

www.tempestcarhire.co.za

Inside Front

Thekgo Chartered Accountants

+27 12 347 0341

kagishob@thekgo.co.za

Touchvision

+27 21 421 5501

stacey@touchvision.co.za

www.touchvision.co.za

14

Velocity

+27 21 424 4971

karen@velocityfilms.com

www.velocityfilms.com

33

Visual Impact

+27 21 468 6000

marius@visuals.tv

www.visuals.tv

07

Wizardz

+27 21 461 9334

copy@wizardz.co.za

www.wizardz.co.za

43

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