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ISSUE 12 | 2015

+ SA’S OUTSTANDING WOMEN IN FILM A Celebration of the Incredible Women Growing our Industry

+ LONG-FORM ANIMATION Reflecting on a Year of Innovation


Industry Leaders in South Africa Speak Out

Contact Jaun de Meillon (Group Chief Operations Of f icer) T. +27 83 959 9967


W. w w

1st Floor, Property Services, President Steyn, Harmony, Welkom 9460 GPS: 28º 0’ 23.61” S - 26º47’ 33.17” E


02. Blue Ice Group

Acquires Film Afrika

14 26 30 34


The Callsheet celebrates the ladies leading the film, commercials and TV industry in South Africa.

04. Maggie Gyllenhaal

to Star in Jameson First Shot

05. The Voice Reaches African Shores

06. Guillermo Del Toro on Crimson Peak

08. Silver Bullet on

Broadcasting Red Bull X-Fighters Live

09. The Galileo:


With the animation industry currently buzzing, Kim Muller takes a closer look at this booming sector.

Nothing Beats the Great Outdoors

10. Desmond Tutu Film

Slated For Early 2016

11. Film Finance World Africa 2015

12. In Production 14. Women Leading

South Africa’s Film Industry


Imogen Campbell chats to some of the industry leaders, and finds out why internationals are clamouring for our skills.

24. 2016 Industry Forecast

26. The Long and Short of South African Animation

30. Visual Effects: Creativity and Innovation in the Sector

34. DISCOP Attendance

Proves Vitality of the African Market

36. Location Spotlight: Arusha


Katie Reynolds was there to witness the deals and the reveals at Africa’s biggest TV content market.

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

02 / NEWS


Film Afrika and Out of Africa to merge creating the largest film/TV production company in South Africa.

The Book of Negroes © Joe Alblas


lue Ice Group has announced that it has purchased a controlling stake in Film Afrika, the company that spearheaded the emergence of South Africa as an international film destination and has consistently been one of the country’s top production companies. Previously, Blue Ice Group bought Out of Africa Entertainment. With this new acquisition, Film Afrika and Out of Africa Entertainment will merge under a new banner, Blue Ice Afrika, with David Wicht as CEO, supported by the key management teams from both Film Afrika and Out of Africa Entertainment. The new company will be the largest international film and television production company in South Africa. Steven Silver, CEO of The Blue Ice Group, said, “We are delighted that Film Afrika is

joining the Blue Ice Group. Under David Wicht’s leadership, the key team of Rudi van As and Meryl Schutte have built a reputation for management excellence that helped make the company the top service producer of international productions in South Africa. The investment in Film Afrika is another step in Blue Ice’s ongoing growth.” Film Afrika has managed over 75 films and 150 major television episodes since South Africa’s emergence as a sought-after film destination. The company is well known for the quality of its films and, in particular, exceptional high-end television shows, such as the Emmy-winning Black Sails for Starz, the series Dominion for SyFy, the Golden Globe and Emmy-nominated Endgame, Emmy-winning Gettysburg with Scott Free and America The Story of Us for History Channel

and the Emmy-nominated No. 1 Ladies Detective Agency for HBO and Weinstein. David Wicht, CEO and Founder: “Film Afrika recently celebrated its 20th year in South Africa, and I can think of no better way of ensuring 20 more years of growth and excellence than partnering with Out of Africa Entertainment and Blue Ice Pictures. The success of Film Afrika has always been the extraordinarily talented staff who run the company and I am delighted that the same team that built Film Afrika and Out of Africa Entertainment will continue to manage production at Blue Ice Afrika.” Out of Africa Entertainment

was founded in 2004 by Lance Samuels. Out of Africa Entertainment credits include the Emmy-nominated series Generation Kill, Strike Back for Cinamax as well as the highly acclaimed feature film The Bang Bang Club. Recently, Out Of Africa produced the mini-series The Book of Negroes for B.E.T. Networks and Cape Town, the drama series based on the succesful Deon Meyer books. Lance Samuels, President of The Blue Ice Group, said “The merger of Out of Africa and Film Afrika places the company in a perfect position to meet the ever-increasing demand for top level production services in South Africa.”


04 / NEWS


Maggie Gyllenhaal © Jameson First Shot - Trigger Street Productions


aggie Gyllenhaal will star in the 2016 edition of the annual Jameson First Shot competition. Next year’s entries are already open, with Ms Gyllenhaal, Kevin Spacey, Dana Brunetti and the team at Trigger Street bringing the winners’ visions to life. Now in its fifth year, Jameson

First Shot aims to discover the world’s most gifted filmmakers with compelling stories to tell. The talented winners of the competition will turn their scripts into short films which will premiere in Los Angeles with acclaimed cast and crew in attendance. “We’ve opened up the

competition to countries across the world; more countries mean more gifted people. Hollywood doesn’t have a monopoly on talent and we want to see what the world has to offer,” Producer Dana Brunetti says. Gyllenhaal has a fascinating portfolio that includes iconic pop culture films like Donnie Darko and The Dark Knight . She has incredible talent and versatility, exemplified in her Oscar nomination for Best Supporting Actress in Crazy Heart and her Golden Globe nomination for her leading roles in Secretary and Sherrybaby. She won a Gold Globe, a SAG Award nomination and an Emmy nomination for her most recent performance in The Honourable Woman. Maggie says she’s looking for a script that takes on new angles: “An observation that we haven’t

seen, that’s real; that people relate to, that’s complicated – as we all are.” She recommends putting “a little bit of your actual self into what you’re doing – good art takes vulnerability.” This year’s winners included South African filmmaker Mark Middlewick, who shot The Mascot with Adrien Brody. Canadian Stephen Tempier from Canada with Boredom and Travis Calvert of the USA with The Library Book were the other competition winners. Gyllenhaal gives some final advice for filmmakers to get involved, saying that new talent rising to the challenge is central to this competition: “We need new writers, we need new thinkers, we need new ideas,” she says. “If you’ve any inclination to make films, then why not? What’s the worst that could happen?”


Exceedingly popular television music show The Voice will launch in West and Central Africa. Pan-African TV station Vox Africa is set to air the first season, which will run for 17 weeks.


he Voice is currently the world’s biggest music show format, aired in aired in over 180 countries. It will give hopefuls across the continent the chance to audition and show off their talents in French-speaking countries. Led by some of the most famous artists on the African music scene, The Voice Afrique Francophone offers the winner

the chance to record an album with Universal, the world’s music industry leader. This news comes just two months after DStv announced what some folks are calling “M-Net’s new Game of Thrones”. The Voice SA is expected to air on M-Net in early 2016 and is set to draw a large number of viewers. “As we approach our 30th anniversary, I’m thrilled to

share with you of a major new series we will bring to M-Net in 2016, The Voice SA , exclusive to channel 101,” Yolisa Phahle, M-Net South Africa CEO told the packed crowd of TV critics and ad buyers at M-Net and DStv Media Sales’ content showcase. “It’s the most successful talent reality show in the world and I think it’s the perfect show to take M-Net into its next 30 years.”

This doesn’t mean the end of SA Idols, however. The show is currently in its 11th season and has been renewed for a 12th in 2016 on M-Net and Mzansi Magic. Sasani Studios has been confirmed as The Voice SA’s new home. M-Net was the first to snap up a portion of the company’s brand new complex for the local version of the reality format.

NEWS / 05



Heineken®, worldwide sponsor of Rugby World Cup 2015, took the thrill of the game of rugby off the field and on to the streets of Jozi. 10 contestants. 4 challenges. The prize? A cold Heineken®. And a VIP trip to Amsterdam.


t all started with the flip of a coin. On Tuesday, 6 October, 10 contestants, chosen through a YFM campaign, were faced with rugby-inspired challenges, with a cool Heineken® twist. Set up in a busy marketplace in Jozi, contestants had to tackle four different challenges that, as per the game of rugby, required players to use their resourcefulness and gamesmanship to their advantage. Simple enough? No. Four real-time challenges were created namely, The Sidestep, The Changeover, The Line-Out and The Pass. The challenges required

contestants to bring rugby tactics to life and turn the streets into a playing field to successfully complete the obstacles. Alike to rugby, the challenges required contestants to be quick on their feet and with their minds to evade obstacles. The contestants were surprised during the challenges with help from local celebrities. Local comedian, David Kau assisted contestants to find an empty bar as part of the Changeover challenge. Minnie Dlamini showed up during The Line-Out challenge and took a selfie with the contestants. During the

final challenge The Pass, rugby player, Akona Ndungane helped contestants to the finish line. The contestant who completed the challenges in the fastest time was handed a well-earned beer and a VIP trip to Amsterdam, the home of Heineken®, by none other than rugby legend Breyton Paulse. During the production of the four short promotional films for the Heineken #ItsYourCall challenges, it was important for the Velocity Afrika team to maintain the Heineken feel, which they aimed to achieve through wardrobe, art direction

and production technique. The focus was to create an engaging and interactive world for the contestants, that would also keep viewers involved in each challenge. Director Zwelethu Radebe and his crew studied the Braamfontein area in Johannesburg - working diligently to ensure the right textures were used in the respective set builds, which would set the tone for each scene and be a true representation of the Heineken brand. To watch all the excitement unfold, visit or search It’s Your Call.


© All images courtesy of Universal Pictures International


Co-writer, director and producer, on his latest gothic masterpiece Crimson Peak.

You initially wrote the film in 2006, but had you mentally conceptualized it before that? I’m an avid reader of gothic romance in the most traditional sense of the term - darker, brooding, unsettling stories about star-crossed lovers, against a backdrop that is very, very baroque and often tinged with supernatural stuff. So I’ve always wanted to create one of those, but at the same time I wanted to do sort of an anti-romantic romance! I wanted something that was spooky, at times very gloomy—not just in the horror portion of it, but also in the fact that it’s a very harsh, but personal meditation about what love is as opposed to romantic love: what is it to love somebody? I also wanted to make

a movie that felt like a throwback to a classic design with sumptuous wardrobes, sumptuous sets, gliding camera moves, that feel classic but are modern at the same time.


Is there any significance to all the references of butterflies and moths in the design? For me, yes. I wanted to make a movie about two different types of love. One is a love that is very carnivorous and cannibalistic— represented by the moths. The moth is a cannibalistic creature; they eat butterflies and the

It’s beautifully designed as all of your movies are. Were there any architectural inspirations that influenced the set you built? We were targeting what was called Gothic Revival, or Victorian Gothic - which was a fad of sorts where well to-do people were embracing cathedral-like motif and structures for their houses, libraries, foyers, and so forth. The house in the film, however, is layered in a way that you can see its history – some of the foundations are medieval, some portions are 1700s or 1800s, all the way through to late 1880s, so it’s a mixture of styles that tell the house’s story very discreetly.

flesh of other little creatures. I identified the moths with one of the characters, Lucille, played by Jessica Chastain. On the other hand, the butterfly is supposedly fragile and beautiful. However, over the course of the movie, I identified them with Edith (Mia Wasikowska), and they both get stronger and stronger, so that was the idea behind that. You built a real house on the stage. What drove you to do that? I’ve always wanted to make it and that’s why the movie took nine years to finish. I wanted to have enough time and care, and a tight budget that was ample enough to build the house. I didn’t just want to go to a creepy looking building; I wanted to make the house look like a carcass, to make it feel as though you are inside of a rotting head. I wanted to give it eyes and a mouth, and it is visible if you look at it the right way; the house inside has a face. I wanted the house to bleed, to be corroded from these wounds that ooze bright red clay if you step on the wrong floorboard. All of that ruled out the idea of building it on location; we needed to make it a set.

Is it true that the house becomes more rotten and distressed as you go higher, as though it’s rotting from the top down? It is. It’s a house that has been left out on its own. It’s very much like the children that become Lucille and Thomas - they were left on their own just like the house. The period setting means the wardrobe has amazing design detail. Were the costumes specifically designed for each character? Yes, of course! I don’t think there is such a thing as eye candy, because C when you put thought behind it, it M becomes eye protein; it becomes Y nutritious. I think the way a character dresses tells you quite a CM bit about them. Jessica’s wardrobe MY uses lace to reproduce the details CY of the house’s architecture. She’s CMY in a very tight, very cold dress. Both she and her brother, Thomas K (Tom Hiddleston), are dressed in a fashion that is at least a decade too old for the period in which the movie takes place. Imagine seeing two characters dressed very elegantly in clothes from the 1980s right now. It’s all part of the storytelling. Other characters


nature of villains in gothic romance, I was delighted and thought she made a very intelligent decision. Are the people in the film intentionally more terrifying than the ghostly figures in the house? In real life, I’m more terrified of living human beings than dead ones, so that was the concept of the movie.

are represented in different ways. For example, the shoulderlines of Mia’s gowns and Lucille’s gowns evoke butterflies and moths’ wings. Did you choose to cast Tom and Jessica because they are attractive and charming, but also have incredibly dark natures? That comes directly from gothic romance, whether it’s Mr. de Winter in Rebecca or Heathcliff in ad.pdf 1 2015/08/05 PM Wuthering Heights -03:40:23 Mr Craven in

The Secret Garden, Nicholas Van Ryn in Dragonwyk, or Jane Eyre, or Uncle Silas in Sheridan LeFanu’s novel – there’s always a very attractive male character that is also brooding and dark. However, ultimately in most of the fiction, he turns out to be innocent. I’m afraid that in Crimson Peak, he’s not as innocent! But the idea was, can someone be guilty and still feel real love? That’s one of the other ideas in the movie. I think Tom embodies the

attractive male character, but is also vulnerable and intelligent. What do you think attracted Jessica to the darker role of Lucille? Quite honestly, I was delighted to find she liked the character, because in my opinion the heroine is a lot more vanilla than the villain in the gothic romance genre. When the storyline includes a villain, he or she is the core of the film or novel. When you appreciate the powerful

What made you want to use real performers to play the ghostly characters in the film? I think it’s the same reason why I like to build sets: the actors can react to a presence on the set, floating in the middle of a corridor or a room, or coming out of the muck. By using real performers, I think there is some strange verisimilitude and power similar to having a real set. I love having a proper set to play in, as opposed to a green screen. It may not be good for everyone, but it sure is good for me!

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The Callsheet caught up with Silver Bullet to find out how they and their partners managed to pull off the broadcast of this Motocross spectacle, held recently outside the Union Buildings in Pretoria.

© Smart / Silver Bullet


ed Bull X-Fighters returned to South Africa for the second consecutive time on its annual tour of the globe. This high-octane live event features the world’s best extreme Motocross riders who offer spectators a noholds-barred performance of death-defying stunts and adrenaline-fuelled racing action. This event is broadcast live on television; no easy feat for a sport that is characterised by white-knuckle speed and aerial wizardry. Only one production company is entrusted to push the boundaries and maintain Red Bull’s sky-high standards, as filming the X-Fighters is a far cry from traditional sports which

© Kolesky / Red Bull Content Pool

are played in a generic rectangle and utilise the same camera angles time after time. Silver Bullet was ready to step up to the challenge. Over the past five years, Silver Bullet has worked on numerous Red Bull projects, and continually look for a way to learn from their experiences and improve on them.


A small international team flies to South Africa to work on the live production. The live TV director sends a basic camera plan and wishlist, and then it’s up to Silver Bullet together with the local Red Bull South Africa team to make it happen. Every choice is made around capturing this

unique sport in all its electrifying detail. The goal is to make Motocross look as spectacular as possible, but that is credible to the core Motocross scene. It’s also crucial not to affect the audience experience at the event as this is of utmost importance to the client. Meticulous planning and a great team all round helps to minimise the risks. Each track is different with new challenges, so it is up to Silver Bullet to prepare for various outcomes as the track building is only completed a couple of days before the event. Each Red Bull X-Fighters track is designed as a once off and built for the two-hour event, then broken down. Each

and every camera angle is only locked off a few days before the event once the track is built. Red Bull X-Fighters is known globally as a world-class creative event because of the attention to detail in every aspect and area of the broadcast. The majority of the shots feel incredibly dynamic to augment the watching experience. Silver Bullet works very closely with their technical supplier Media Outside Broadcast and Gerard Roets to put all the technical requirements together. Red Bull X-Fighters 2015 is currently showing on DStv, so be sure not to miss this exhilarating event!

NEWS / 09



The Galileo Open Air Cinema at Kirstenbosch Gardens © Retroyspective

The Galileo Open Air Cinema is back this summer with a fantastic line-up across their nine venues. Kim Muller shares her experience watching Halloween classic Psycho at Kirstenbosch Gardens.


irstly, where has this cinema experience been all my life?! I’ve written about The Galileo before, have heard from friends how amazing it is, but when they announced that one of my favourite classics was showing, I simply had to get in on the action. Alfred Hitchcock’s classic horror suspense Psycho was as good as I remembered,

but it’s so much better on a big screen with fluff y warm blankets, comfy backrests and melt-inyour-mouth Frey chocolate. I was spoilt rotten at The Galileo this Halloween, and had a great time with friends. My sister went all out for their costume competi tion, and one brave woman even went as the shower scene in Psycho! But beyond

the stellar cinema experience, was the fresh feeling of being in the wild. Well, Kirstenbosch isn’t exactly Kruger National Park, but the smells of the flora rising up around me, mingling with the sights and sounds of the cinema made me feel like I was out there. There truly is nothing quite like watching a film under the stars.

This is an unforgett able experience and one I’d highly recommend getting VIP passes for. Plus, with venues like the stunning Hillcrest Quarry or Cape Winelands to choose from, you really can’t go wrong. For more information or to see which films are on the summer schedule, visit



VC has launched a firmware update (version 2.0) for its GY-LS300, GY-HM200 and GYHM170 4KCAM camcorders, free for all current owners. Compact, convenient and ultra high definition, the GY-LS300 camcorder is equipped with a 4K Super 35 CMOS sensor and uniquely accommodates a wide range of cinema and photographic lenses and adapters. For this camcorder, the firmware upgrade is a significant enhancement, adding a J-Log mode that practically duplicates the look of film, with the Super 35mm CMOS sensor providing higher contrast ratio

and detailed highlights and shadows. The unique prime zoom feature uses the camera’s innovative Variable Scan Mapping technology to allow zoom capabilities when using prime lenses. There are now Cinema 4K and 2K recording modes, as well as standard 4K Ultra HD and full HD (H.264 4:2:2 50Mbps), all recorded to readilyavailable memory cards for the fast shoot-to-edit workflow JVC’s customers have come to expect. And with excellent network connectivity, FTP file transfer and live streaming capabilities too, the GY-LS300 really is a powerful performer. All three JVC 4KCAM

camcorder models have a range of additional features, including a 70Mbps mode to allow 4K recordings on standard Class 10 SDXC cards, a histogram, a zebra indicator, and the ability to trigger recordings via HDMI/SDI and JVC LUT support via Atomos Shogun and Ninja Assassin external recorders. In addition, a new slow motion mode for the GY-HM200 and GY-HM170 that records HD footage at up to 120 frames per second will be available via an additional firmware upgrade in December. For further information on our range of 4K and HD camcorders, please visit JVC website:

JVC resellers: Concilium Technologies: Tel: +27 12 678 9200 Email: KPG Media Technologies: Tel: +27 11 326 3478 Email:

10 / NEWS


The Archbishop and the Antichrist to star Forest Whitaker and Vince Vaughn.


scar winner Forest Whitaker and funny man Vince Vaughn are set to star in Roland Joffé’s drama The Archbishop and the Antichrist , Emmynominated producer Craig Baumgarten announced in early November. It will begin shooting early next year. The film is based on Michael Ashton’s play, and follows a

fictional account of Archbishop Desmond Tutu’s meetings with brutal murderer Piet Blomfield, who seeks redemption for the atrocities he’s committed while he serves a life sentence in post-Apartheid South Africa. 13 Films will be handling international rights, and also introduced the project to buyers at the American Film Market in November. WME Global

is handling North American rights, while Kim Ashton will executive produce the film. “Forest Whitaker brings a great sense of depth and power to all his performances and he is the perfect match for Tutu’s complex character. Vince Vaughn continues to prove his wide-ranging acting skills following his more dramatic roles in Into the Wild and the

upcoming Hacksaw Ridge . Under the direction of Roland Joffé, their combined star power and talent is undeniable,” Tannaz Anisi, President of 13 Films, told The Wrap. Whitaker is currently filming Rogue One: A Star Wars Story, which Disney will release next year, while Vaughn recently starred on the second season of HBO’s True Detective .


COACHES SA’S BUDDING SCREENWRITERS Triggerfish and the dti hosted world-renowned screenwriter and consultant Pilar Alessandra in early November as part of their Story Lab programme.


ince Triggerfish launched Story Lab, an incubation programme for animation projects supported by the dti and Disney, Cape Town has been aflutter. Shortly after announcing the 35 shortlisted projects for the development process, these blossoming animation writers and directors attended their first masterclass. Led by published script consultant Pilar Alessandra, they explored their projects in depth on Monday, 2 November at the AFDA Campus in Observatory. The shortlisted candidates include 23 feature films and 12 TV series, and will be evaluated by the Triggerfish development team, as well as a panel of local and international experts.

Pilar Alessandra and Anthony Silverston, Head of Development at Triggerfish

The writing masterclass kicked off at 9am defining the different types of story content – characterdriven stories, relational stories and premise-driven stories, all of

which are suited to the various motion picture formats. Alessandra explained in detail what the engines are for various formats. Character-driven tales build

using flaws or human qualities, for instance, while event-driven stories build around one major event and premise-driven stories build around one big idea where the ‘what ifs’ drive the story. She went on to share how there are eight main types to create: origin, quest, event, world, war, secret, puzzle and plan stories; and how structure fits into storytelling. Pilar is the Director of writing programme On the Page and author of The Coffee Break Screenwriter. She began her career as a senior story consultant at DreamWorks SKG and in 2001 opened On the Page Writer’s Studio in LA. Her students and clients have written for The Walking Dead, Lost, Nip/Tuck and Family Guy.



The Callsheet was privileged to support Film Finance World in their 2015 event. Here are the highlights from this year’s informative conference and show.


estiny Media’s 2nd annual edition of the Film Finance World Africa Conference for Film and Television Finance and Production took place at Atlas Studios in Johannesburg from 28 – 29 October. With the growth of the continent’s film and television industry, the focus for the 2015 event was to develop strategies and policies to attract more investment into the sector, and to promote sustainability and cooperation amongst African producers. Also on the agenda were insights from international speakers on content production, as well as the latest technological developments in the industry. A new addition to this year’s event was a pitch session to leading financiers. The event itself was very informative, with an audience of mainly independent filmmakers in attendance, hoping to connect with the various film commissions and the IDC. It was highlighted that a solid business

or commercial plan should be in place together with all legal documents drawn up before filmmakers look for funding, as this would be the first thing any commissions would look at before doing due diligent on any proposal. This and more was unpacked in the panel discussion with Basil Ford of the IDC, Simphiwe Ngobo of the KZN Film Commission, and David Brown of Max-D Productions on the panel of speakers. Andrew Hewitt of Fairbridges presented a talk on Legal Contracts and Frameworks for Domestic and International Productions. A key presentation at the event, he unpacked the importance of getting all legal matters drawn up at the start of a project rather than simply protecting your own intellectual property. This will also, he said, give peace of mind to potential investors that their interests will be cared for. The Callsheet ’s Account Manager, Theo Jacobs, was

ON THE WHOLE, IT WAS A GOOD EYE OPENER FOR FILMMAKERS LOOKING AT GETTING FUNDING FOR THEIR PROJECTS. in attendance. “On the whole, it was a good eye opener for filmmakers looking at getting funding for their projects,” he said, “I feel that there needs to be more interaction between the film commissions, financial institutions, government and filmmakers to educate filmmakers

on how to confidently apply for funding so that there’s not a feeling that it’s only the ‘big wigs’ that get their projects’ funding approved.” For more information on the programme, or to find out about next year’s event, visit


IN PRODUCTION DECEMBER 2015 AND THE SPIRIT SLOWLY DIES 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. According to IMDB, an American hypochondriac who is working as a baggage handler at the Cape Town airport is forced to confront his fears when a British

teenager with a terminal illness enlists him to help her carry out her eccentric bucket list.

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.

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


ituated in the heart of the Free State Province in Welkom is the newly established and very exciting Open Sky Studios (a division of New Vision Film Studios). Set on 540 hectares of land which includes a pine forest & African Savannah, the studio back lot consists of 18 hectares of existing structures for set design and construction. The studio facility includes a wide variety of locations such as: 18km of railway line; a large openair ‘water tank’; a fully equipped hospital; 2 x 1700m2 sound stages with workshops and more. Here are a few comments received from various Heads of Department who recently completed a feature production: Martin F Katz – Producer (The Journey is the Destination) and President of Prospero

Pictures (Canada): “We had such a marvellous experience shooting at Open Sky Studios. The production value we were able to achieve was well beyond our highest expectations. And the facility and support we had there was second to none.” Bronwen Hughes, director – Journey is the Destination: “I can say without a doubt that the Open Sky back lot allowed us to achieve our production value on an epic scale. Our re-creation of Mogadishu was made possible because of it. The company’s openness and flexibility was also immense. Thank you all.” Guilio Biccari – Director of Photography: “Great location, quiet, with wide open spaces. Love the idea, good luck!!” Elliott Borkum – Location Manager (Out of Africa): “From

the whole ‘The Journey Is the Destination ‘crew I would like to thank you and your team from the bottom of our hearts for everything you have done. I have nothing but praise for what Open Sky Studios was able to provide us with. Firstly your back lot was a breathtaking canvas that allowed us to capture war-torn Mogadishu, something that none of us really expected to be able to do properly in South Africa. We have filmed at many airports–but we have never had the freedom and the co-operation that your team was able to provide us with at the Welkom Airport. The stark landscape of the mine dumps was the perfect waste land location that we needed for our movie–your assistance made a normally difficult location accessible and possible.

It is not however the locations that we will remember, but rather the ‘can do’ attitude of you and your team- nothing was ever a problem and it felt like we had the whole town behind us. Thank you, thank you, and thank you I cannot wait to come back again!”

For more information contact: Jaun de Meillon (Group Chief Operations Officer) Tel: +27 83 959 9967 Email: Web: Address: 1st Floor, Property Services, President Steyn, Harmony, Welkom 9460 GPS: 28º0’23.61”S 26º47’33.17”E


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.

SAINTS AND STRANGERS This four-hour scripted movie event, produced by Sony Pictures Television with



ro Events, our Clients and Suppliers are happy to have assisted in the following community projects that have made a difference in the lives of so many.

These are some of the endeavours: • Think Yellow Projects Cape Town

• Care pack initiative–toiletry packs for women and children affected by domestic violence for Trauma Rooms at Milnerton, Woodstock, Tableview. • Carehaven Women’s Shelter (Athlone – NPO 012-787) • Heaven Shelter (Mitchells Plain – NPO 009-142), • Ilitha Labantu – care packs

SHEPHERDS AND BUTCHERS English actor Steve Coogan stars in this Apartheid-era court-room drama. Coogan plays 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 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.

TO ALL OUR CLIENTS FOR YOUR LOYAL SUPPORT. WISHING YOU A HAPPY AND FESTIVE SEASON AND THE BEST FOR 2016. • Blikkiesdorp elderly and Wolweriver women • Diddle Daddle NPO crèche in Phoenix Village and Blikkiesdorp (NPO 134-087) • Out of Africa Children’s Foundation • Mandela Day projects • Velocity Films – Mitchells Plein Film Festival promotional video

• The Sleeper – Homeless project awareness video • Holy Cross Fundraisers • Wonderland Crèche fundraisers • UWC Women’s Day Function – an annual event Pro Events Head Office Cape Town: +27 21 425 2170

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Photo by Rafy © 2011 Davis Films/Impact Pictures (RE5) Inc. and Constantin Film International GmbH

Little Engine Productions, is shooting in South Africa. The film focuses on the relationship between Native Americans and the earliest settlers. According to The Wrap, Saints & Strangers follows 101 men, women and children who sailed on the Mayflower for a place no one had ever seen. Half of these “pilgrims” were religious separatists who had abandoned their prior lives for religious freedom and an opportunity to create a new social order built on their values.



We at the Callsheet have been truly inspired by the talented ladies who are moving this motion picture industry forward. Kim Muller brings you women nominated for their leadership and innovation in SA’s film, television and commercial spaces and beyond.

Cal Kingwill - Owner of Priest Post Production

Fiona Craig - Director, Fusion Model Management

Jackie Motsepe - Chief Operations Officer, KwaZuluNatal Film Commission


A woman who began her career in casting for Last of the Mohicans in the New York of the late 80s, Bridget has since become a pioneer in African filmmaking. She plunges headlong into every project with a deep curiosity for life. In the mid-90s she created Namibian sociopolitical documentaries during the country’s early independence, and has also worked on the set of Hotel Rwanda. At Fireworx she has produced television, independent films and documentaries. On her love for film: “I think everything I’ve done I’ve loved, every experience has taught me a little bit more about myself, about what I know and that’s

what’s so great about the film industry: you never stop learning.”

CAL KINGWILL - OWNER OF PRIEST POST PRODUCTION The talented owner and head of Priest Post Production began her career in 1989 as a humble assistant at Cut Aways, one of the leading post houses. After training in-house as an editor for three years, she moved to production in 1993 and went on to help open Cut Aways Cape Town two years later. In 2003, she founded Priest with Eugenie Bonello and just last year opened Priest Johannesburg – a hybrid of Edit Suite, Espresso Bar and Art Gallery in swanky Rosebank. Her hopes for the future of SA’s film industry:

“No impersonal monopolizing corporations please! They screw us on every other level; I’d love it not to happen to the film industry. There is enough work for all of the industry and we each have individual personalities, strengths, energies to fulfil the need for every ethic and genre.”

CHARLOTTE BUYS - SOUND DESIGN AND EDITING Currently based at Refinery, Charlotte Buys began her career in 1989 and has an immense amount of film and TV credits to her name – all of which we simply cannot include! She’s a prolific sound designer, editor ADR, and mixer, and has worked on some fantastic local and international projects including

Felix, Impunity, SAF3, Homeland and The Book of Negroes. She won the SAFTA for Best Sound Design on White Lion in 2010 and Material in 2013, while Tsotsi, a film she also worked on, won the 2005 Foreign Language Oscar. What Charlotte enjoys about working in sound: “The people I work with are amazingly talented in their specific ‘sound fields’ – Sound Effects, Foleys, Music and Dialogue – which in the end makes my job easier to a certain degree. Taking a whole lot of different elements and combining them to sound like something really good is what I enjoy the most. It is a very demanding job, with long hours, but I wouldn’t choose to be doing anything else.”


FIONA CRAIG - DIRECTOR, FUSION MODEL MANAGEMENT Although born in then Rhodesia and growing up in Zimbabwe, Fiona Craig began her career as a model in Cape Town in 1984. After finding she preferred the business side fo the fashion world, she started her own agency in 1996, which then merged in 2001 with another – and Fusion Models was born. 31 years later and she still enjoys developing new talent. Outside of fashion her deepest love is animals, particularly cats, and she runs several feral cat programmes in the Clanwilliam area. Fiona’s motto for navigating the industry: “What you put in, is what you get out.” Her advice for SA’s fashion and film future: “I’m a big fan of small business ownership. It’s the backbone of innovation and employment in SA. But to be successful you have to have the courage to go for it and sometimes that’s scary. I believe the fashion and film industry in SA and Africa will go from strength to strength in the future, but we all need to keep working at it, there are no guarantees in life.”


In the last twenty years Helena Spring has been a producer to be reckoned with, from more recent acclaimed works like Hard to Get and Faan se Trein to older classics like Mr Bones, Cry the Beloved Country and Sarafina!. Her work has been nominated and has won

some fabulous awards across the world, and in 2013 she was the recipient of the Mbokodo Arts and Culture Award for Women in Film. What she’s learned over her career: “Producing has taught me that creative integrity and financial responsibility is tougher to uphold than relationships with individual partners – but that all three are important. The material you put your name to will long outlive you, so choose carefully and strive for excellence. And if you find the call of filmmaking irresistible despite its demands, buckle up, embrace the challenges and get ready for the ride of a lifetime. My hope for the South African industry is that it will find its own unique voice and go on to conquer the hearts of audiences across the continent and the world.”


Born in Pretoria and growing up as a child of anti-Apartheid activists in exile, Jackie Motsepe has a world of cultural experience that she’s used throughout her career with the SABC, NEMISA, and the NFVF since its inception and now in her most recent role in KZN. In this position she has been growing the province as a film destination, as well as developing skills, overseeing funding, marketing and facilitating locations. On her experience in the local film industry: “When I joined the film industry it

was very much in its infancy with the establishment of the NFVF. I appreciate the opportunity I was given to learn the industry from a local and international perspective. I’ve enjoyed seeing the industry grow from making one film a year to now where at least 20 films a year are being produced. I admire the strides being made by South African filmmakers in producing content that is reaching and touching audiences. My hope for the future is that we have a robust industry that will have a significant impact on the economy.”


Since the mid-80s and into the early naughties, Joy Sapieka Associates was one of London’s foremost Arts Publicists, working with major studios including Sony, DreamWorks, 20th Century Fox and Universal. Joy herself spent seven years working with Academy Award-winning director Sam Mendes and was involved with promoting his Oscar-winning films American Beauty and Road to Perdition. After publicising hundreds of film, television, and theatre productions, Joy returned to South Africa in 2003 and has been a strong influence in marketing and promoting the local film industry. Since 2009 she has worked with Encounters Documentary festival, and is currently Senior Publicist for Africa for Al Jazeera English broadcast news. Joy’s thoughts on SA’s film industry: “I think technically we are good. | | +27 11 799 7800 On-set dailies . Digital dailies . Cutting rooms . VFX . Colour grading . On-line Dolby accredited sound studios . Mastering . Deliveries – theatrical, broadcast & digital

MY HOPE FOR THE SOUTH AFRICAN INDUSTRY IS THAT IT WILL FIND ITS OWN UNIQUE VOICE AND GO ON TO CONQUER THE HEARTS OF AUDIENCES ACROSS THE CONTINENT AND THE WORLD. The service industry works well. However creatively we have a long way to go. The two areas that have been sorely neglected are development and marketing. We will only get better if these areas are addressed… Films are released on a number of platforms and all have to be taken into consideration – to attract film audiences needs time and imaginative and inspired action. There is no one-size-fits-all. Audience development for film is so important. This has to start at an early age. Apart from the blockbusters, we are not a movie going nation. There is much to do and filmmakers, exhibitors and funders need to get moving.”


The queen of crew and production, Laura Macleod is a true professional, with over 24 years’ experience across platforms in the SA film industry.

16 / FEATURE Exuding fiery and creative energy, expert skill and fearless ambition, makes her an invaluable asset to any undertaking. Her impressive resume includes Flight of the Phoenix, Congo, and productions for Discovery Channel USA, Al Jazeera, H&M and Mercedes-Benz. On what her job entails: “My responsibility as a Line Producer is to take charge of all the business aspects of the physical production… Some might say it’s not creative! Do it for a while and you will see it’s about the most creative job you could have on set. For those of you with a love of the set, the balance of confusion and order is a tight rope, and central to it all is bring it in on time, on budget – or get out of the way!”

MONICA HEMMING-RORVIK WESGRO FILM AND MEDIA PROMOTION MANAGER Monica is the face of film in the Western Cape and has a wealth of experience in curation, film events and festival management. Before heading up the film and media division of Wesgro, she was the DIFF Assistant Festival Manager for ten years, where she headed the industry programme and grew Talent Campus Durban and Durban FilmMart. She’s also worked with prestigious events such as the launch of the African Union, and is promoting SA film locally, regionally and globally. On the film potential Cape Town has: “Cape Town and Western Cape is a globally recognized leader in the film and media industry. Creatives here deliver quality, and their passion is superb. It is a privilege to be able to support expansion in both the local and international productions, and the increasing employment opportunities as the regions’ companies grow.”


With 27 years of experience under her belt, Samantha has established a solid reputation as a trustworthy line producer and dedicated industry professional. She joined Out of Africa in 2004 as a supervising producer for To the Ends of the Earth and rose to Head of Production in 2011. At the end of 2013 she became the new Co-CEO, effectively running the company on a daily basis. On what she’s learned in her career: “I have learnt many things from many people during my time in the South African film industry, I think the most important lesson I have learnt is to treat everyone you meet with dignity and respect. There is no reason to ever raise your voice to anyone for any reason. My wish for the future of the South African film industry is that a level of calmness, respect and professionalism endures. Everyone is valuable and works just as hard as you do, respect and value your entire crew.”


Antoinette Monty – known to all as Toni –has worked in the media industry for over 15 years and has headed up Durban Film Office for the past eight. She spearheaded the establishment of the African Co-Production Market and Durban FilmMart and has been actively involved in raising the profile of Durban’s emerging filmmakers for the last decade. She also serves as board member of the KZN Film Commission and as an ex officio board member of the KZN United Music Industry Association. her hopes are for South African audiences


Toni Monty - Head of Durban Film Office

Adi Leach – Co-Owner of Studio Zoo A woman who began her career at the SABC as the second female video editor in the country, Adi Leach is a pioneer of sorts. Since starting Studio Zoo 16 years ago, they have worked with an impressive range of top tier clients. “I’ve enjoyed working with creatives that refuse to believe in impossible... I’ve learnt that creativity is a rare and fragile thing. That it needs gentle hands to help it fly.” Bongiwe Selane – Executive Producer, Blingola Media After 10 years as commissioning editor at M-Net, Bongiwe brings a wealth of experience to her decade-old production company Blingola Media. She headed up New Directions, a film development initiative that saw her executive produce over 30 shorts across Africa. “Africans are now creating their own content and defining themselves – their own space and their own voice. It’s an exciting and enabling time for filmmakers and I feel privileged to be a participant in this growing and fledging creating space,” she says. Elle Matthews – Writer and Producer, Green Shoot Films Elle Matthews is a prolific writer/producer based in KZN. She produced hundreds of commercials in KwaZulu-Natal and wrote and produced the

award-winning international feature Oil on Water. Jane Fry – Managing Director, Film Finances Although Jane Fry only joined Film Finances as MD in 2013, she has been a long-term executive with Endemol South Africa. Overseeing Film Finances SA’s bonding activity, and offering prospective producers advance funding against the dti’s rebates has led her to work with productions like Chappie, Elysium, The Giver, SAF3 and Mandela: Long Walk to Freedom, to name a few. Vlokkie Gordon – Producer A woman with considerable clout in the local and international film industry, Vlokkie Gordon is known for her hand in recent productions like Mandela, Die Ontwaking and Black Sails, as well as films and series dating back to 1994. After leaving Film Afrika in 2013 to pursue new ventures, she now heads up production on ABC’s Of Kings and Prophets, with Season 1 slated for 2016. Genevieve Hofmeyer – Producer, Moonlighting With titles like Safe House, Blood Diamond, and Mad Max: Fury Road under her belt, Genevieve brings strong production know-how to her role at Moonlighting. She has 52 producer credits to her name which includes a range of local and international titles.


Helen Kuun – Founder and Owner, Indigenous Film Distribution In 2009 Helen left the corporate world and started Indigenous Film, with a view to help local and African content creators get their films to cinemas, DVD and television. The company has since worked with the likes of Ayanda, Between Friends, Elelwani, Four Corners, Impunity, iNumber Number and Khumba. Tracey Williams - Managing Director, Refinery

Wendy Spinks - Co-Founder, Head of Development and Creative Producer, Zeropoint Studios

to watch more local films. What Toni has learned over her career: “Nobody is smarter than everybody, it takes a village to raise a child and it takes great courage to write your story.” What she’s enjoyed doing: “Helping filmmakers achieve their goals and being part of an industry that sometimes plays out like a good game of chess.”

own challenges. There is an energy that comes from that, which I have never gotten tired of. I work with some really passionate, enthusiastic and talented people.”


Tracey Williams began her career in film as an animator in 1988, and since then, she’s been the Visual Effect and/or Digital Post Supervision/Producer on over 60 feature films, documentaries and TV shoes – not to mention hundreds of commercials. Her highlight was working on 2005 Academy Award winner Tsotsi. Refinery has raked up an impressive portfolio with most major international production companies filming in SA including Disney and Marvel, ABC, NBC Universal, Warner Brothers, Sony Pictures and many more. Refinery is also a strong supporter of local productions and has worked of films like Felix , The Forgotten Kingdom, Die Windpomp, Jozi, White Lions and more recently Dias Santana. On working on different productions: “It is never the same job twice, so every job is new with its


Wendy Spinks is one of the women in the front ranks pushing South Africa’s creative industry forward. Apart from founding Zeropoint Studios, Pop the Culture and The I am Love Revolution (NGO), her career has seen her working with Triggerfish and Tsumanga. As a content and brand strategist, developer and producer, and with a background in human behaviour, she is in an inspiring creator of children’s and tween content, specialising in 2D and 3D animation for film, TV and new media. On what Wendy has enjoyed: “I absolutely love developing and creating content, and have been developing original content and IP for the past seven years…What I really love about the world of animation is the opportunity and potential that exists on all levels. The size of the global market interests me, the complexity of the business and full value chain intrigues me, and the medium itself seems endless in its potential explorative journey.”

Meryl Schutte – Head of Production, Film Afrika (Blue Ice Afrika) Meryl Schutte has worked in a range of positions from Production Executive and Line Producer to Producer, Production Supervisor and Production Accountant. Some of her film titles include The Last House on the Left , Slipstream, Endgame, and Seal Team 8. She will continue working with Blue Ice Afrika as a pivotal part of the newly merged company. Shamila Phillips – General Manager, Moneypenny SA Shamila joined Moneypenny in 2004 as Head Production Accountant and has worked on films like White Lion, The Trail, Country of My Skull, and Blast . Her role now includes recruiting, consulting and training new staff, marketing and sales, and software support. She recently shared her industry insight at Film Finance World 2015. Terry Pheto – Actress, Producer and Entrepreneur, Leading Lady Investment Holdings Moitheri Pheto, known in entertainment as Terry Pheto, has a rags-to-riches story. She began life in Soweto before she was discovered during casting for Tsotsi, a role which won her a Golden Horn. She’s also won an AMAA for Best Supporting Actress in How to Steal 2 Million. Most recently, she’s

made waves in the industry as a producer on Ayanda, which won big at the LA Film Festival. Thandi Brewer – Writer, Director, Script Editor and Facilitator Thandi Brewer is an awardwinning writer and director and multi-talented performer, with a broad knowledge of arts fields. She’s written for international and local productions and also founded and served as Chairperson of the Writers’ Guild of South Africa (WGSA). She has been part of the NFVF since its inception – all while battling cancer, according to friend and colleague Yolanda LindequeStrauss. “Phenomenal does not even begin to describe her,” she says. Thea Aboud – Administration at WGSA Although not directly involved in filmmaking, Thea Aboud is a driving force behind the scenes. Currently working with the WGSA in administration, she helps industry bodies organise themselves. “Now this is a lady that will make things work, come hell or high water!” says Polani Fourie, Screenwriter and Producer. “On both a national and international level she has made a tremendous effort in improving the skills set for South African writers.” Xolile Tshabalala – Actress A woman making strides in the acting world, Xolile Tshabalala is known for her role on Generations from 2002 to 2005. She has since moved on to other TV productions like Soul City, Fallen, Jacob’s Cross, Rhythm City, 90 Plein Street , 4Play: Sex Tips for Girls, and has also guest starred in NCIS Season 5. She currently stars on SABC3’s High Rollers. She believes that she hasn’t struggled to find work in SA because “I’m exactly where I’m supposed to be.”



The scriptwriter of multi awardwinning documentaries Born Into Struggle and Bushman’s Secret , Anita Khanna’s most recent work is with the movement behind Emmy-nominated film Miners Shot Down – which she wrote and produced and which has gone on to win 19 international awards to date. She also wrote and produced The Mating Game, a feminist drama series for the SABC and became festival director of the Tri Continental Human Rights Film Festival in 2012. On what lessons Anita has learned: “In documentary we work as a team. It’s a huge responsibility making social justice docs and getting it right – real stories, real people, real implications. Producing Miners Shot Down has been a huge learning experience, at times gratifying, but also it’s not been easy dealing with the trauma of not only the massacre itself, but of the ongoing cover up. What I’ve learned is you have to be very thick skinned to survive in this industry, but you also have to have a very big heart.”


A strong, youthful voice in South Africa’s film industry, Jenna Bass made her debut in film last year with her cutting edge flick depicting love in the 21st century – Love The One You Love. She draws on her experience as editor of pulp magazine Jungle Jim to tell uniquely African stories, and has been a force pushing local youth culture forward. Her project submission to Triggerfish’s Story Lab was recently shortlisted for further development. On what she’s learned and hopes for the industry: “The capacities of cinema continue to amaze me, in what

Mosibudi Pheeha Writer and Producer Mosibudi recent entered local and international news circles as the writer and producer of Thina Sobabili: The Two of Us, set to compete in the 2016 Academy Awards for Best Foreign Language Film. The film is available on DStv Box Office, the first indie film of its kind to be featured, has won three festival awards, and is currently touring North America. Jenna Cato Bass - Writer and Producer

Arya Lalloo - Independent Filmmaker MOSIBUDI PHEEHA – WRITER AND PRODUCER Mosibudi Pheeha - Writer and Producer

it can make people feel and question, the way it examines the real world – from an objective distance, or in microscopic detail – and can communicate these findings powerfully and directly. I love the opportunities filmmaking allows me to collaborate with other people, and how, in the way

it reflects society both practically and artistically, it forces me to ask myself difficult questions. Most of all, I love cinema’s capacity for humanity. In future, I hope that these opportunities are open to more people, and cinema can fulfil its role in genuinely revealing humanity to itself.”


Thishiwe Ziqubu - Actress A rising star in the acting realm, Thishiwe Ziqubu had a role in episode one of BET’s mini-series The Book of Negroes and last year was the darling of Durban Film Festival in her groundbreaking roles as Skiets in Hard to Get . Most recently she played a fantastic supporting role in Tell Me Sweet Something , and performed in While You Weren’t Looking . “The TV industry excites me, I want to be the next Lupita and I’d like to ace a lot of things. I want my own production company, too,” she told Sowetan Live recently. Since September she has been part of the main cast on High Rollers. Arya Lalloo - Independent Filmmaker Arya Lalloo has written and directed documentaries for local broadcast and outreach, with her feature doccie Jeppe on a Friday (co-directed with Shannon Walsh) painting an intimate portrait of life in a regenerating Joburg neighbourhood. Much of Arya’s work centres on urban identities and South Africa’s post-Apartheid social history. This year she created Jetsam in collaboration with Thenjiwe Nkosi.


Sara Blecher – Co-Founder of CINGA Productions, Director and Producer on the set of Ayanda.


A woman originally from Reunion Island, who unexpectedly fell into SA’s film industry, Julie Ah Fa is an innovator at Ginger Pictures. She gets very involved at the beginning of creative processes of each project, which in turn allows the company to deliver what clients expect. They recently won an Emerald African Cristal Award in recognition of creative excellence. On what Julie’s has enjoyed: “Since I arrived in the country, I’ve been very blessed and lucky enough to only work with wonderful people. There is an incredible energy in SA which makes me believe that anything

Julie Ah Fa - Producer at Ginger Pictures

can be achieved here. South Africa is the perfect match for any person who wants a top quality product with our world-class crew and an infinite variety of locations.”


Sara Blecher truly entered South Africa’s scene with her debut feature, Otelo Burning , which won over 127 international awards and was named by CNN as one of the top ten African films of the decade. Fifteen years ago she co-founded boutique company CINGA Productions, which made some innovative TV programmes including Emmynominated Zero Tolerance. In October 2015 she completed and released her second and third feature films simultaneously – Ayanda and Dis Ek, Anna, which have received rave reviews and critical acclaim. On a woman’s place in SA’s film industry: “A new group of young filmmakers – many of us who honed our skills on the streets of violence-wracked townships and serial TV programmes – and several of us who are women, are now telling our own stories in our own way. This is both

A NEW GROUP OF YOUNG FILMMAKERS – MANY OF US WHO HONED OUR SKILLS ON THE STREETS OF VIOLENCE-WRACKED TOWNSHIPS AND SERIAL TV PROGRAMMES – AND SEVERAL OF US WHO ARE WOMEN, ARE NOW TELLING OUR OWN STORIES IN OUR OWN WAY. more direct and authentic and has allowed for a lot more varied voices to be heard. In a country like ours, with such a horrific history of violence against woman, having female perspectives represented on screen is not a luxury, but rather a necessity. For me this is not so much a matter of the choice of subject matter but rather the choice of treatment of that subject matter.”


Raffaella co-wrote award-winning animated films Adventures in Zambezia and Khumba and is currently the Television Development Executive for Triggerfish’s Story Lab initiative. Apart from this, she works independently and is collaborating on an animated feature with Ree Treweek ( Tulips

and Chimneys) and has an animated series in development with Adorable Media and Framestore in the UK. When she’s not channelling her fiveyear-old self, Raffaella spends her nights and the wee hours writing a thriller for acclaimed SA director, Ian Gabriel. On being a writer in SA’s film industry right now: “I’ve been writing for almost a decade and I’m still not comfortable calling myself a writer. You’re always told to believe in yourself but selfcriticism can be your ally, too. I think of myself more as a hack writer and professional legpuller. It’s been a roller coaster but I’m lucky to have hopped on just as the local industry started taking off, from servicing to creating original content. I recently watched Necktie Youth and Love the One You Love and it’s, undoubtedly, an exciting time to be in the game.”



Greta Henley - Producer and Screenwriter


A young, fresh face in the producing world, Greta followed a career in finance before pursuing her passion. She cut her teeth working with Hollywood producer Cary Brokaw on Lullaby and since then collaborated with Cape Town Director Craig Hunter Parker on a duology of short films called De(con)struction of Love – which were selected for LA Indie Fest this year. On her hopes for the industry: “For the South African film industry as a whole, my hope is threefold – firstly that we tell stories that are universally appealing to ensure we attract a wide enough audience. Secondly, that as local independent filmmakers we continue to connect and collaborate to deliver great work. And thirdly, that we consolidate our place in the global film industry.”


After spending several years directing commercials in Cape Town and Joburg, Nomakhomazi decided in 2010 it was time to move into long-format. She launched her own production company in the heart of the

Eastern Cape and has since created a significant body of work, from adverts and music videos to a four-part doccie series on young people using art as a medium of expression. One of her 48-minute films took second place in the Audience Choice Award at Encounters this year. She was also included in Mail & Guardian’s 200 Young South Africans Making A Difference, and her goal is to be one of the pioneers in introducing the art of filmmaking in the Eastern Cape. On telling stories; and her hopes for the industry: “It is an incredible journey to have the opportunity to tell people’s stories; I can never take it for granted. Never stop finding ways to expand your imagination to remain relevant and in-tune with your surroundings. The film industry needs more voices, as these voices rise up, my hopes for our film industry is to see more and more people able to afford to enjoy movies at the cinema.”


A self-employed writer with over five years’ experience in the film and TV industry, Theoline is also a published poet, lyricist and blogger, and current Chair of the WGSA. She was a participant in this year’s Berlinale Talents Durban, where she served on two panels – African Writers Exploiting Territories and African Screenwriters Federation. Her life’s goal is simply to empower people to follow their purpose using the knowledge, resources and experience available to her. This year she received the inaugural Emerging African Writer Award and as a result, attended Story Expo in LA. On writing and empowering the local industry: “I’ve always felt that writing is an extension of who I am. I live for those moments when I write

about what I’m most passionate, and it resonate with and inspires the audience. Ultimately, the goal is to empower South African writers to exceed their goals and the industry’s expectation of their success and endurance. The only way we can accomplish this is by adding value, or like my favourite author, Sally Hogshead, says, ‘Every time you communicate, you’re either adding value or taking up space’.”


A ground-breaking doccie maker with heaps of talent, Ryley’s debut as a director and producer – The Dawn of a New Day – won Best Director and Best Cinematographer of a Documentary at the 2012 SAFTAs. In 2014, her feature set on SA’s Wild Coast, The Shore

Yolisa Phahle – CEO of M-Net South Africa As the first black female appointed to this role at M-Net, Yolisa Phahle has effectively ‘broken the glass ceiling’. She joined the group in 2005 as GM of Channel O and led the channel’s revival. In 2010, she was responsible for launching Mzansi Magic. Part of her passion for growing local content comes from being raised in an exiled community during Apartheid. “I grew up at the feet of these icons who used the media to tell South African stories to the world. They inspired me to play a part in the advancement of the arts in South Africa,” she said recently. Amy Louise Wilson – Actress A youthful 24-year-old, Amy Louise Wilson has seen her roles grow in leaps and bounds over the last few years from The Book Of Negroes and Sophia Grace and Rosie’s Royal Adventure, to

Break, not only received critical acclaim, but has since screened in 14 countries and won six local and international awards. She was also selected as winner of the 2015 Mboko Awards for Women in Film. On her passion and hope for the future: “Filmmaking is one of the most exciting careers out there. I’ve enjoyed working with excellent crews on diverse locations and loved the rush of an idea becoming a completed film to be enjoyed by local and international audiences. My hope for South African film is that more finance will be dedicated to screenwriters, marketing and distribution. I also look forward to our industry becoming a better representation of national demographics. With its great weather, tax rebates and untapped stories, South Africa is the land of opportunity. SA film will go from strength to strength.”

her most recent part as Carmel, the wife of Pat Quinlan (Jamie Dornan) in Jadotville. It is set in the Congo of the 60s and is slated for release in 2016. She was also involved in Greta Henley’s duology De(con) struction of Love and Roger Young’s highly entertaining Keys, Money, Phone last year. Kelsey Egan – Writer and Director; Owner of Crave Pictures Kelsey has since 2007 worked on major local and international projects in SA including Of Kings and Prophets, Eye in the Sky, The Giver, Zulu (City of Violence), and Mad Max: Fury Road. Her directorial debut Gargoyle was nominated for a 2010 SAFTA for Best Short Film. She is a council member of the WGSA and was awarded Best Spec Script at the 2013 Muse Awards. Egan is currently working on a feature sci-fi/ action film shot in Cape Town.


INDUSTRY FORECAST 2016 This year has seen both ups and downs in the motion picture industry. The Callsheet takes a look at the year in review, and finds out from the experts what to expect in 2016.

COLD HARD PERFORMANCE FACTS The industry has done well in 2015 despite having problems attracting audiences to local productions in large numbers. Here are the cold, hard facts on SA’s movie and TV sectors’ performance.





GLOBAL CITIES Cape Town ranks fourth out of 16 global

South Africa’s revenue from The stills industry hosted

motion picture, film, video and TV

Cape Town Film Studios is the first

cities for both quality and cost. It is the

4 015 international clients for

production is expected to grow by

custom-built Hollywood-style studio of

single cheapest destination in terms

a total of 36 135 accumulative

3.3% from US$977 million to US$1.2

its kind in Africa, built at a cost of R306

of production, set, site, utilities and

days. (SAASP, 2013/14)

billion in 2018. (NFVF, 2015)

million. (Wesgro, EPIC Q1 2015 Report)

labour costs. (FDI Intelligence, 2015)



The dti’s film incentives resulted in



The NFVF estimates that the film

Three of SA’s eight co-production

R1.952 billion in qualifying expenditure,

In the 1st quarter of 2015, Wesgro

industry contributed R3.5 billion to

treaties were active in 2014. SA-

which the NFVF estimates created

facilitated a R30 million expansion

national GDP in 2012, and is growing

Germany completed four projects;

35 786 jobs during 2013/14 alone.

project in the film industry, creating 30

at an annual average rate of 14%.

SA-Canada completed two; SA-UK one.

(Wesgro, EPIC Q1 2015 Report)

jobs. (Wesgro, EPIC Q1 2015 Report)

(Wesgro, EPIC Q1 2015 Report)

(NFVF, Co-Production Report 2014)





From 1 January 2014 to 12 June 2015,

EXCHANGE RATE South Africa’s favourable exchange

There have been 450 films shot in

Cape Town issued 7 028 permits. The

South Africa received investments

rate makes it up to 40% cheaper

South Africa since 2008 – an

majority were commercials or stills

worth R2.2 billion into its film

to make a movie here than Europe

average of 64 films a year.

shoots, making up 47.9% of all permits

sector from 2003 to 2014.

or the US, and 20% cheaper than

(dti, EPIC Q1 2015 Report)

issued. (City of Cape Town, 2015)

(Wesgro, EPIC Q1 2015 Report)

Australia. (South Africa Info, 2013)



uch has taken place in South Africa’s film and television industry in 2015. We’ve seen some major players in production merge houses, we’ve seen the media go wild for video on demand, and we’ve seen the digital migration rollout fail miserably, so it’s been a roller coaster to say the least.


The growth in film and television production has been exponential. Most recently Of Kings and Prophets. It’s ability to harness local talent for big-budget work is truly encouraging. South Africa’s film sector has seen investments worth R2.2-billion from 2003 to 2014, while the Department of Trade and Industry’s (dti) rebates resulted in R1.95-billion in qualifying SA production expenditure – estimated to have created some 35 786 jobs during the 2013/14 financial year. More studios are upgrading to facilitate HD and 4K formats, with Cape Town Film Studios (CTFS), Sasani Studios, SABC and many others ramping up. New studios are also popping up as demand increases. Thirty-two major productions have been turned away from CTFS since 2013 due to limited capacity. As a result, two more stages and a workshop are set to be completed before 2016, as well as an additional three stages and two workshops by the end of 2017. Local filmmakers have also seen growth. The emergence of

a new wave of cinema, with Love The One You Love and Necktie Youth at its forefront, signals changes in cultural norms. South Africa’s Millennials are exercising their creativity, harnessing new media to bring films to audiences in innovative ways.

market, ” says Toni Monty, Head of Durban Film Office. Gauteng Film Commission supported and funded 18 projects in 2014/15, helped create 1 575 temporary jobs and facilitated 157 productions this year, according to their annual report for 2015.



Wesgro has seen much growth and investment locally, says Monica Rorvik, Head of Film Promotion. “We are seeing amazing organic investment into studio expansion in Cape Town and the Western Cape. The local industry has a great diversity of locations, high calibre crews, and an expanding pool of new graduates. This, coupled with the dti’s competitive incentive structure, currency advantage, and special projects like the Triggerfish animation incubator, all combine to make Cape Town a particularly film friendly city.” KwaZulu-Natal Film Commission has also expanded their reach and strategic focus this year, most notably in order to attract more international productions. Durban is focused on development programmes to address weaknesses from a 2007 industry assessment, including funding for emerging filmmakers. “Just over five years on, we have seen significant transformation of the local industry, with a number of these programme participants having become self-sustaining operations producing content that is being absorbed by the South African market place and increasingly to the international

The commercials industry is “holding steady but we are definitely not seeing growth,” says Bobby Amm of the Commercial Producers Association. Visa regulations have plagued the industry, resulting in three associations forming the Film Industry Visa Assistance body. In addition, the annual CPA survey for the first time in 10 years indicates established companies are experiencing a downturn in work and turnover. “With more entrants at all levels of the supply chain there is more competition and greater insecurity than ever before,” Bobby adds. That said there have been award winners and innovators in the sector – most notably, One Rand Man, which catapulted Director Rob Smith to international fame. The stills industry, although upended in recent years, remains healthy, says Rudi Riek, Chairperson of South African Association of Stills Producers. “We expect the current exchange rate to boost this further,” he explains. “The value for money that foreign clients are able to achieve combined with the location diversity and world

class level of expertise makes Cape Town difficult to beat as a shoot destination.”


The Writer’s Guide of South Africa ran enriching workshops throughout 2015, which Chairperson Theoline Maphutha plans to continue. They have also been involved in promoting SA screenwriters abroad. The South African Guild of Actors held the second annual SAGA/FIA Conference in November to enhance local performers’ understanding of the industry. A number of upand-coming local actors are also bagging roles in international flicks. Animation SA has been hard at work growing international interest and local investment in the industry. Annecy (MIFA) took an interest to create a FrenchSouth African partnership this year, while Triggerfish’s Story Lab received considerable recognition since July, with high hopes for the future of local IP and animation.


Although the local industry is doing well overall, much needs to be done in order to create strong audiences for South African films. Box office reports for local films are still not entirely encouraging. SACCWU – a newly formed trade union – and the Department of Arts and Culture are looking for ways to create further dialogue and effect change.


Sunrise’s hugely popular children’s TV series Jungle Beat © Sunrise Productions



South Africa’s animation industry has grown in leaps and bounds during 2015. Kim Muller explores the highlights of this growth and long-form animation’s trajectory in the future.


he animation industry is always fascinating. We so easily fall in love with animated characters and movies – sometimes in abnormal ways for full-grown adults. South African animation has been particularly exciting to watch of late. A minuscule sector only a few years ago has leapfrogged into 2015 with some serious interest from international studios and festivals.


In February, Animation SA announced an exciting opportunity for South Africans to pitch their concepts at the Annecy International Animation Film Festival (MIFA), as part of an on-going project development and mentorship programme. This flowered into a special SA pitch session at the festival with

over 36 original IP projects being submitted and a delegation of over 40 people attending Annecy with their projects, says Wendy Spinks, Animation SA Board Member and CEO of Zeropoint Studios. “A few were selected to pitch in the prestigious pitching events there, with the winners from SA being offered French residencies in 2016; but many of those projects have either found partners or continue to evolve forward.” In July, Triggerfish partnered with Disney and the dti to introduce Story Lab, a writer’s incubation programme that will see six projects developed into animated productions in the film and television realm over the next three years. The studio will be investing up to R44 million in the initiative, creating a roll-over of projects whilst helping young African writers find their voices.

“The finalists will be developed over the next couple of years with the idea being that they are ready to go into production by the time our next feature is finishing up,” Anthony Silverston, Head of Development at Triggerfish, explains. “We have spent the last two years working on a script for our next full-length feature, Seal Team, and have just finished a draft of that, which is currently being circulated to potential distribution and funding partners by WME.” They have just wrapped production on Stick Man, a 26 minute special based on Julia Donaldson’s children’s book, in time for its Christmas premiere on BBC. “We have also begun hiring for another childhood favourite – Revolting Rhymes by Roald Dahl – and will again be working with Magic Light Pictures who originated the

project in their Berlin studio.” Sunrise Productions has also seen an increase in interest in their hugely popular TV series Jungle Beat. In September they launched their first app for the show, which soared to the top spot on SA’s iTunes Store two days later. The show is now being broadcast in over 120 countries and on 40 airlines. Season 3 will screen in SA this Christmas season, followed by Latin America early next year. “We begin production of Jungle Beat Season 4 in December 2015,” says Tim Keller, General Manager of the show. Strika Entertainment, the hugely popular soccer comic, has entered its fourth season of animated series Supa Strikas. It is now broadcastin over 60 countries by more than 20 channels, with 30 full-time animators in their Cape Town


studio, as well as operations in Southeast Asia and West Africa.


One of the trends sweeping animation is ‘new media’. Keller believes animation has always been on the leading edge of this change because it can stretch across barriers of language, culture and religion. “We operate within a truly connected global world,” he explains, “Animators have the opportunity to communicate ideas and stories to people across the planet.” Having said that, although linear TV is in decline, other platforms have yet to show ROI – as of yet there is no defined proven model, says Spinks. “It’s tricky for independents and emerging markets especially… broadcast platforms [are] not commissioning original animated content...” Triggerfish CEO Stuart Forrest adds that part of this challenge is the continued falling consumer market for paid entertainment, with DreamWorks Animation having a “rough ride” and independent animation films struggling, too. Another trend, says Silverston, is the fluctuation of work availability in the sector. “I think there has been a slight case of feast or famine as the industry secures larger and larger jobs and animation artists – especially leads – are either in high demand or in between jobs,” he explains. “The other challenge is to ensure that rates are competitive in the global market so as still to secure the larger contracts while the salaries being offered are enough to attract and keep the artists in the industry.”

release standard. “…animation will be forced to adopt it as an image size sooner rather than later. This raises the issue of render times,” he explains. “So animation houses are either going to have to grow their render farms dramatically, or outsource this to facilities who offer high performance render farms.” Another emerging trend is software companies making their tech available on a pay-asyou-go basis. “Short to medium term rentals allow animation studios to scale up or down as needed, eliminating the crippling start-up costs that have been a substantial barrier to entry in the past,” Hanson says, explaining that ‘cloud’ mentality envisages a scenario where animators based in different parts of the world can collaborate on the same project in near real-time. An ever-growing sector in animation – long and short formats – is apps and games. They are still often be viewed as secondary content thanks to costly marketing strategies, but, says Spinks, there has been “a big surge and mandate from government to invest in the innovation and ITC space”. Julia Smuts Louw of Sparks Flew Development Studio agrees. “Our schools are catching up to global standards,” she says, “Government is investing in animation, having realised the


Touchvision Digital Media Solutions’ Managing Member Chris Hanson, says although the mainstream animation industry has been fairly consistently in technologies, “changes are afoot”. The first of these tech trends is the adoption of 4K as a cinema

The Crash , courtesy of Diamond Hill and Sparks Flew ©

revenue potential it offers and South Africa’s unique placement to act as a service provider to the global industry…South Africa has carving a reputation in VFX, which is an important pillar of the animation industry.” She goes on to say zany, edgy humour that is somehow also still naïve – shows like Adventure Time and Amazing World of Gumball have set the tone for this era in terms of style. Triggerfish’s Stuart Forrest says Virtual Reality will soon affect animation, too. “Virtual reality and augmented reality are creating a lot more platforms for the animation sector to be part of,” he explains, “but the markets are not yet established…”


The future is bright for South African animators. “The students coming out of schools each year are growing in experience built on those that went before them,” Anthony Silverston concludes, “and they are coming out into a much healthier industry, with a lot of larger projects happening at studios around the country.” Chris Hanson perhaps sums it up best: “I perceive an animation industry where global iteration and creative processes will be commonplace…We will, no doubt, experience a few obstacles along the way, but the opportunities will be limitless.”

ANIMATION SA UPDATE Animation SA, the local association for animators in the country, has seen some restructuring recently, says Anthony Silverston, who is now the Vice-Chair, with Nick Cloete as Chairperson, Wendy Spinks as Secretary, and Candice Argall appointed as Treasurer. “We are already planning a delegation to Kidscreen in Miami in February next year and we successfully raised funds to send a small delegation to the London International Animation Festival,” he explains. “We also secured funding from the NFVF, Wesgro and IFAS to relaunch Kunjanimation as the Cape Town International Animation Festival.” Now in its 5th year, the fest will be held from 18-21 February. “Something really close to my heart and vision…is a National Audio Visual Cluster for our sector,” Wendy Spinks adds. “It is an ASA affiliated project, while as a core collective of passionate peeps and studios, we have united to found it and see it over the money line so we can get projects flowing through it as soon as possible and really build capacity in South Africa.”





BlackGinger BlackGinger

Hillbrow Hillbrow

Bugbox Bugbox Animation Animation

Death-Trap Death-Trap Island, Island, Lulu, Lulu, DoOOodle, DoOOodle, The The Adventures Adventures of of Toby, Toby, The The Lunchbox, Lunchbox, CGI, CGI, Harmony Harmony

Diamond Diamond Hill Hill

The The Crash, Crash, Musi Musi & & Cuckoo Cuckoo

Golden Golden Planes Planes Pictures Pictures

Hillbrow Hillbrow

Luma Luma

Bun Bun & & Bunee Bunee

Mike Mike Scott Scott Animation Animation

Moosebox Moosebox

Mind’s Mind’s Eye Eye Creative Creative

AA Living Living Nightmare, Nightmare, Kid Kid Ikawe, Ikawe, Mythunderstood Mythunderstood

Noble Noble Pictures Pictures

Phindile’s Phindile’s Heart, Heart, The The Dam, Dam, Destiny’s Destiny’s Groove, Groove, Nelson Nelson Mandela’s Mandela’s Favourite Favourite African African Folktales Folktales

Sea Sea Monster Monster Entertainment Entertainment

Disney Disney Europe, Europe, BBC, BBC, Cookie Cookie Jar Jar

Shy Shy The The Sun Sun

The The Curse Curse of of the the Sad Sad Mummy Mummy

Sparks Sparks Flew Flew Development Development Studio Studio

The The Crash, Crash, Harmony, Harmony, Sam Sam the the Hedgehog, Hedgehog, Kariba Kariba

Strika Strika Entertainment Entertainment

Supa Supa Strikas Strikas

Sunrise Sunrise Productions Productions

The The Legend Legend of of the the Sky Sky Kingdom, Kingdom, Once Once Upon Upon aa Stable, Stable, The The Lion Lion of of Judah, Judah, The The Lazarus Lazarus Effect, Effect, Jungle Jungle Beat Beat

The The Car2ns.TV Car2ns.TV

My My Child: Child: Teenage Teenage Mutant Mutant Azanians, Azanians, Ngifuna: Ngifuna: The The Wish, Wish,

The The Crucial Crucial Project Project

Adventures Adventures in in Zambezia, Zambezia, Khumba, Khumba, Savannah, Savannah, Goodson’s Goodson’s Angel Angel

Tincup Tincup

Iggy Iggy and and the the Missing Missing Links Links

Triggerfish Triggerfish Studios Studios

Khumba, Khumba, Adventures Adventures in in Zambezia, Zambezia, Seal Seal Team, Team, Stick Stick Man, Man, Revolting Revolting Rhymes Rhymes by by Roald Roald Dahl Dahl

Zeropoint Zeropoint Studios Studios

Spring Spring Chicken, Chicken, Ellabie, Ellabie, Calli Calli and and the the Changemakers, Changemakers, Doingland Doingland

Disclaimer: Although there are many more animation companies working in SA, due to special constrictions, The Callsheet has focused on the main companies working in long formats.

Ellabie © Zero Point Studios

Sunrise’s hugely popular children’s TV series Jungle Beat © Sunrise Productions

Stickman Stickman, ,aaservice serviceproduction productionTriggerfish Triggerfishhas hasbeen beenworking workingon oninin2015 2015© © Triggerfish TriggerfishStudios Studios

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Jurassic World © Universal Pictures


Imogen Campbell takes on the complex world of visual wizardry in South Africa.


ome of the highest-grossing movies in the last two decades have relied heavily on visual effects. The list includes Peter Jackson’s Lord of the Rings trilogy, King Kong and the highest-grossing movie of all time, Avatar. This year saw Jurassic World, the sequel to the Jurassic Park, surge to the top five ever. It emulated the original epic in the mould that had made it a game changer for the visual-effects industry. Hollywood is still the undisputed capital of film, but nascent as well as established

rivals are constantly challenging its position. The visual effects sector is no exception; Canada is known for lower labour costs and outsourcing is popular, especially to Vancouver. China (the second-biggest film market worldwide) and India are emerging film markets and have both produced breakthrough visualeffects work and specialists. Monster Hunt, the highestgrossing film of all time at China’s box office, is evidence of the development and quality of Chinese visual effects. In India, Hyberabad is on the rise for its

visual effects and animation. The visual effects for the new Chronicles of Narnia sequel also due for release in 2016 is being produced by a studio there. The Callsheet approached some industry experts in South Africa to discover what they are working on. BlackGinger is an awardwinning animation and special effects studio based in Cape Town. They collaborated on Mad Max: Fury Road. The movie, despite profuse application of practical effects, still used a lot of special effects. In fact, reports

state that there were 2 000 visual effects shots, although some were simple clean-ups. BlackGinger did a lot of the green screen compositing for this particular film, especially for scenes set in the ‘rig’ interior. For these there was a lot of desert matte paintings and CG dust integration. The whole project ran very smoothly and they enjoyed the collaboration with such a large professional international team. On Avengers: Age of Ultron; BlackGinger contributed to a few of the destruction sequences, shot in Johannesburg, where


Avengers: Age of Ultron © Blackmagic

Avengers: Age of Ultron © Black Magic

Mad Max: Fury Road © Warner Bros Entertainment 2014



Movie Action Cars

the Hulk tears up the town and towards the end of the film, where the land levitating. In a few of the shots the requirement was to replace practical props with CG props in fight sequences and they did the green-screen compositing for the scenes that took place inside the jet. For these sequences, they created a full 3D sky environment complete with cloudscapes and atmospherics. Heino Henning is the Creative

• • • • • •

Director at Searle Street Post, also based in Cape Town. He said, “Momentum was a turning point for us. We handled the post production in-house – this included digital dailies, housing of editorial, all the VFX and finally the digital intermediate (DI). As a fast-paced action film, Momentum provided great opportunities for big explosions, gun flares, and bullet shots.” They also did a lot of work bettering prosthetics and

Vehicle Preparation Auto Detailing OEM color-matching, custom painting, ‘peelcoats’, complete color changes, body and paint repairs Exterior vehicle graphics services design installation & removal Stunt and Precision Drivers Specialized Transport, Open or Closed

wound make up, not to mention the invisible work such as wire removals. In total the facility handled just over 800 VFX shots in little over two months. Refinery worked on the US TV series SAF3 and all post production was done right here in South Africa. They had set up a satellite post facility at Cotton Mill Studios in Epping, outside Cape Town. It was a very exciting prospect and proved to be very successful. With it being TV, there was a requirement for quick turn-around. It all came down to the people who could all work together. There were few pitfalls as they understood how to set up work-flow. The trio confirmed that they are working on the following projects: • Refinery: Various VFX projects in production. Saints & Strangers (Sony Pictures/ FilmAfrika); Shepherds and Butchers (Videovision Entertainment); The Journey

• • • •

Window Tinting Vehicle Storage Modifications Camera Vehicles

WWW.MOVIECARS.CO.ZA 011 334 9366 061 436 1954


Dias Satana, car flip before & after visual effects © Refinery

Dias Satana, car flip before & after visual effects © Refinery

Kasten & Petra before visual effects © Refinery

Kasten & Petra after visual effects © Refinery

is the Destination (Prospero Pictures/Out of Africa); Kalushi and My Father’s War. • BlackGinger: A wide range of projects, from game graphics and cutting-edge commercials to action TV series and several international feature films. • Searle Street Post: Currently have a few exciting feature films in pre-production. In the studio they are completing a VFX intensive Carling Black Label TV commercial for Keith Rose at Velocity Films and Ogilvy. On the features side, they are busy with Shepherds and Butchers. They concurred that there seems to be a 50/50 ratio of local and international projects or as Heino mentioned, “A healthy mix between local and international work.” Refinery has seen a drop off in work from Africa, now their foreign work is from the US. Max Moolman heads MXFX, a leading special effects design, operations and rental company. Notable productions include District 9 and Chappie. Their local to international work ratio is 100% international.

He agreed with the trend of 2015 with regard to practical effects in movies. He said that practical effects in various areas are utilised because the visual effects cannot work properly without them. According to Max, District 9 proved the point; the reason it looked so good was because of the combination of practical and visual effects. The practical effects brought more reality to it. Otherwise, one gets films like The Fast and the Furious that resemble video games. Steve Milosevich, Owner of Movie Cars Action, specialists in vehicle preparation and speciality services said that the ratio of local to international work for them, is 10% international and the rest local. He believes that there are two factors hindering the industry: budgetary constraints and unproductive relationships with some service providers and production houses. Steve doesn’t agree with the trend that more practical effects would be used in the future, due to the use of digital tech and the possibilities it gives a studio in the visual effects arena.

Refinery’s pipeline is well suited to 2D and 2.5D VFX, and geared from a management, QC and delivery perspective. Searle Street Post has a good mix of photoreal matte painting and imageenhancing work and then the more fantastic CGI special effects work going around. Good examples are two very exciting projects shooting in Cape Town at the moment: Kings and Prophets and Resident Evil 6. “I find that the Cape Town market has attracted growth in the local feature film market. There hasn’t yet been a nice meaty VFX-based local film, but all these films have a requirement for enhancing or period-altering VFX work,” said Heino.


Some renowned film studios like Rhythm & Hues who worked on Life of Pi have filed bankruptcy and the industry at large in the US is fraught with financial challenges. Refinery’s Tracey Williams commented that: “Foreign studios need to have confidence in our local companies being able to deliver.” To do this, opportunities

must exist to create shots and a showreel. Besides the quality, there are certain security protocol requirements, protection of IP processes, insurance requirements, labour requirements and solid, safe connectivity, that require regularity. BlackGinger says that the biggest challenge South Africa faces is around educating film makers, policy makers and educators about what we can do in this country. They believe that South African talent is first class and that South African film services would do well to market them abroad and participate in international awards, trade shows and markets. They are working closely with MICT SETA and AnimationSA to help the educators align their curricula to the industry needs as well as engaging with government on key issues that affect all of us. Searle Street Post’s Heino also mentioned the financial constraints. He said that reduced budgets seem to be a norm nowadays. However, he


Avengers: Age of Ultron © Black Ginger

Original Image of Die Windpomp before visual effects © Refinery

mentions that these constraints create an environment for creative solutions though. He specified that legitimate VFX studios are under serious threat from smaller “garage” operations and that there are a few operators in the country who are using cracked software. “This creates a market where undercutting becomes the norm and where the final quality ultimately suffers and where the good guys stand to go out of business. I believe the VFX industry would be well served if we found a unified voice. Perhaps it is time to establish a forum such as a VFX guild in South Africa to create a platform for communication and to ensure an even playing field.”


Refinery’s Tracey remarked on how successfully VFX can be integrated into pictures and storytelling. Software is becoming so sophisticated that the VFX can more easily integrate with the live action as though the director

of photography shot it. BlackGinger is observing an increase in demand for invisible VFX. This is the work that is done to save time and money for the film production company. A typical request would be to shoot one location and dress it in post as another. Importantly they affirm that: “Advances in software and equipment and the demand for larger and larger delivery formats with smaller and smaller budgets is driving a lot of innovation.” Scanning technology is also becoming more commonplace and there is increased demand for it. Searle Street Post’s Heino noted: “With the barrier of entry into the VFX market, there are many smaller boutique facilities and freelance artists available to us to collaborate with on projects. With cloud computing we are also seeing a move to rendering in the cloud. The tools for collaboration between artists anywhere in world are becoming more sophisticated.” The VFX industry remains an incredibly competitive and compelling one. Some industry insiders have noted that 2015

Die Windpomp after visual effects © Refinery

SOFTWARE IS BECOMING SO SOPHISTICATED THAT THE VFX CAN MORE EASILY INTEGRATE WITH THE LIVE ACTION AS THOUGH THE DIRECTOR OF PHOTOGRAPHY SHOT IT. is the year that movies rekindled their passion for practical effects noting movies like The Martian, Mission impossible: Rogue Nation and of course Mad Max: Fury Road. BlackGinger agreed that this was definitely something they have observed. The standard of practical effects they are seeing is definitely improving, and the increase in demand for 4K deliveries is driving that. Refinery’s Tracey said that she foresees an upward trend. There are larger productions shooting in South Africa for a longer time, which will look at using more local vendors. Heino said that there will always be a demand for invisible VFX work. “There is usually a

need for wire removals, cleanups and sky replacements on most projects. Where the obvious CGI heavy shows, being fantasy or period drama are concerned, I believe the current trends in popular culture will dictate; these kinds of shows will come and go following these trends. We are seeing an influx of international TV shows currently and one looks to the future with hope for recurring episodically based post work. A very exciting buzzword at the moment is Virtual Reality. It has yet to really hit South Africa, but this is certainly the next big thing as it attempts (and succeeds) to elevate the viewing experience to an immersive one where the viewer becomes more of a participant.”


Monica Rorvick and Carol Coetzee welcomed Minister Diamini. ©All images courtesy of Katie Reynolds

International buyers had back to back meetings.

China was the Country of Honour at Discop 2015.

The Meet your Stars booth attracted fan’s of SA’S soaps.


OF THE VITALITY OF THE AFRICAN MARKET By Christopher Vourlias for Variety.


iscop Africa wrapped November 6 in Johannesburg with what event organizers Basic Lead said was its biggest turnout to date. More than 2 100 participants from 92 countries showcased the exponential growth for Africa’s biggest TV content market, with this year’s 11th edition seeing a more than 50% increase in attendance of key industry players from across the globe. Patrick Zuchowicki of event organizer Basic Lead

said those numbers were proof of the vitality of the African TV content market. “The 58% year-on-year attendance growth for the Johannesburg market was primarily fueled by the presence of independent TV content producers… who have come to realize that the continent is in a position to offer incomparable coproduction and distribution opportunities,” he said. Among the highlights last week were the signing of six

major collaborative deals between companies from Africa and China, which was this year’s guest country; the announcement that Turner Africa had inked a deal with Nigeria’s ConSat to air its new kids’ network, Boing; the launch of Africanews, a multi-lingual, pan-African news network, owned by the Lyon, France-based Euronews; the announcement that TV4 Entertainment will be licensing pan-African VOD platform Buni. tv for streaming on platforms

such Amazon and Vimeo in the US and UK; and a deal between South Africa’s M-Net and Ivory Coast’s RTI that saw the South African web acquiring a significant amount of content from the Ivorian pubcaster. On the heels of a successful year in which Discop hosted two African markets for the first time, all eyes were already set on Abidjan, which will be hosting its second Discop Africa from May 31-June 2, before the market returns to Johannesburg from November 2-4, 2016.


Callsheet editor Katie Reynolds with Urban Brews Natasha Wadvalla.

Disop’s daily press conferences were well attended.

Tendeka Matatu at the Restless Global stand.

Lungelo Dhladhla of Africa TV Market Teledialogues.

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A DOUBLE-THREAT LOCATION Experience the contrast and magnificence of Arusha, where the dizzying combination of the Ngorongoro Crater and Mount Kilimanjaro make for a double-threat location.

Boma traditional house © Sam Hawley

Mt Meru National Park, Arusha, Tanzania © Neiljs via


estled below Mount Meru, the city of Arusha is the capital of the Arusha Region, in northern Tanzania. It is located in close proximity to some of Africa’s wonders and famous landmarks; the Serengeti National Park, Ngorongoro Conservation Area, Tarangire National Park, Arusha National Park and most significantly the imposing, glaciered Mount Kilimanjaro. It is a conglomeration of markets, squatter areas, somewhat dilapidated colonial buildings interspersed with the more modern and affluent structures. Tourism is a major contributor to the most developed region in Tanzania. It is a premier producer

of Tanzania’s famed flower industry and gateway to the Northern Safari Circuit: witness the renowned Serengeti migrations between November and August. Historically, it is a diplomatic hub, being the site of the United Nations International Criminal Tribunal for Rwanda. The world famous, traditional nomads, the Maasai people, were the first settlers here and still have tremendous presence in the area.


Arusha is known for its wildlife, and naturally it attracts crews interested in wildlife filming. However, it is also ideal for shooting unique cultures and

Manyara, Tanzania © Feans via

snow-capped mountains. Arusha was the setting for the feature film Hatari, shot in 1962 and featuring John Wayne. A 2010 documentary, Furious Love was also partially shot there. Tira Shubart‘s series for the BBC Taking the Flak was filmed at locations such as Arusha Hotel and used scenery from various locales. Arusha is home to the Arusha African Film Festival, a member of the East African Film Festival Network (EAFN). It awards East African filmmakers for the best films dealing with East African integration. Dr Mhando is a respected filmmaker and associate professor at Australia’s Murdoch University. He has initiated

cinematic development in East Africa, particularly in Tanzania. He was a founder of Zanzibar International Film Festival and pivotal in the formation of the EAFN. The Kilimanjaro Film Institute (KFI) based in Arusha is an audio-visual training institute and trains youth from challenging backgrounds in a myriad of facets of the film and television. No tax incentives exist at this stage for foreign commercials or films shooting there. The Tanzanian government must be consulted in regard to any film work to be done in order to gain approval and licencing. Recent film and TV projects in Arusha done by fixer Janice Beatty of African Environments include:


CLIMATE Arusha has a mild climate. It has distinct wet season in March, April, November and December; April being the wettest month. Its dry season is June to October. Average Min and Max Temperatures in Arusha over the Year 30°C 15°C 0°C



Mar Apr May Jun



Aug Sep

Oct Nov Dec

Min ©

Average monthly precipitation with rain, snow, hail etc. 30mm 150mm 0mm



Mar Apr May Jun


Aug Sep

Oct Nov Dec


GETTING THERE BY AIR Paragliding at Kilimanjaro © Kilimanjaro National Park

• Major Airport: Kilimanjaro International Airport is its main aerial international hub. • Major airlines: Airkenya Express, Air Uganda, Condor, Edelweiss Air, Ethiopian Airlines, Kenya Airways, KLM, Precision Air, Qatar Airways, RwandAir and Turkish Airlines.


Mount Meru In Evening Light, Arusha, Tanzania © Roman Boed

• Top Gear Africa Special – BBC Series Motor Vehicle/ Travel. • Zero point Zero productions – Anthony Bourdain’s Parts Unknown – Food/ Travel series • Intentional Futures for Bill + Melinda Gates Foundation. • The Hunt – BBC Series being screened in UK now. • Minime Productions – Cigarette Billboard advertising campaign • Jumo Promo Film – Silver Bullet Productions - Dar based company who provide loans for Tanzanians. • Loufok Productions – Film showing mobile phone technology helping Tanzanian pastoralists.

• Anup Shah – Primate photography – Coffee Table Book (3 shoots) • Renegade Pictures Ltd – Ben Fogle presenter led series The Great Migration (4 shoots). • Forces of Nature - BBC Series still in production (3 shoots) • October Films for NGS – Migration series still in production. • John Downer Productions – BBC 6 part series on Serengeti – in process. • Breakthrough Media – UN 8 part series – Deforestation in Africa • BBC (Specialist Factual) series ‘9 months that made me’ – filmed an Albino football team in Tanzania.

Arusha is the land of the Maasai. The region has a diverse population of 1,694,310 and the city itself has about 416 000. The region is inhabited by various ethnic groups. Among these are the Iraqw, Arusha, Maasai, Wameru, Sonjo, Chagga, Pare, and Nguu. It also has a large Arab-Tanzanian and Indian-Tanzanian population, and small White European and white American population.

FIXERS Janice Beatty of African Environments Tel: +255 27 2508625 Website: Email: Tanganyika Film and Safari Outfitters Tel: +255 27 250 2713 Website: Email:

CONTACT Tanzania Tourist Board Tel: +255 22 211 1244/5 Email: Website:


Filmmaker Mira Nair ©Peter Bennett

OPPORTUNITIES: DECEMBER SA ECO FILM FESTIVAL 2016 CALL FOR SUBMISSIONS The 3rd South African ECO Film Festival organised by Cape Town based NPO While You Were Sleeping (WYWS) will take place from March 30th – April 3rd in Cape Town at The Labia Theatre. WYWS are inviting submissions to The Festival which has become an annual showcase for the best local and international environmental films. The Festival screens feature length documentary films, and welcomes shorts which can screen before features, or (dependent on length) as stand-alone programmes with opportunities for Q&A with the film makers. Due to programme constraints, the cut off date

for submission is January 14th 2016. To submit to the Festival, please send a screening DVD, (or provide password for secure Vimeo) together with any other relevant information e.g. synopsis, web site details etc. to: The South African Eco Film Festival 70 Queen Victoria Road, Claremont, 7708, South Africa E-mail If you submit by Vimeo (or similar) please ensure the password remains live for a reasonable amount of time to allow us adequate time to view your film. All submissions are free of charge. Submission of a film does not guarantee automatic inclusion in the festival programme. We will contact you if your film is selected for inclusion in the festival programme.

PRISM AWARDS IS CALLING FOR ENTRIES FOR 2016 Southern Africa’s public relations ‘Oscars’, the PRISM Awards, announced its 2016 Call for Entries at the International Public Relations Association’s (IPRA) Golden World Awards held at the Sandton Convention Centre on Monday, 28 September. The deadline for entries is Monday, 15 February 2016, with the awards ceremony scheduled for Sunday, 17 April 2016. Now in their 19th year, the PRISM Awards are presented to public relations and communication professionals who have successfully incorporated strategy, creativity and professionalism in public relations and communication programmes and strategies that showcase a successful

public relations campaign. Announcing the 2016 awards, PRISM Awards convenor Bridget von Holdt says; “We are delighted to be able to announce our Southern Africa Awards at this international event. The IPRA Golden World Awards is the world’s most prestigious international public relations awards programme and the winner of the coveted PRISM Award will automatically be entered into the 2016 Golden World Awards. We are proud to be aligned to IPRA”. Public relations consultancies, business enterprises, associations, private institutions and government bodies are all eligible to submit entries into the PRISM Awards. Public relations consultancies may enter on behalf of clients and share honours with them. Entrants


do not have to be members of the Public Relations Institute of Southern Africa (PRISA) to participate – it is open to all. For more information, visit

OKUHLE MEDIA CALLS FOR TV SHOW PARTICIPANTS Are you getting married soon? Would you like to be part of an exciting new TV series? Are you interested in a short wedding video for your big day? A wedding TV show is calling for participant brides. Enter and let your dream come true! Bridesmaids are also required, they will be given challenges that you will judge. Prizes and gifts are up for grabs. We are looking for a diverse range of couples. Criteria for candidates: • Be able to speak Afrikaans, does not have to be your first language • Marriage date between 16 November 2015 and 31 March 2016 • Wedding to take place in Cape Town and surrounds, not further than 150km outside of Cape Town Please contact via@okuhle. and use STROOIMEISIE in subject line

FILM SUBMISSIONS FOR ZIFF 2016 ARE NOW OPEN ZIFF is excited to announce that the submission for films for the 2016 edition of ZIFF is now open. Festival Director Prof Martin Mhando has confirmed that despite the fears that the two major festivals of Zanzibar will be cancelled next year, ZIFF 2016 will be holding its 19th edition from July 9th – 17th 2016. Following the announcement of the cancellation of the Sauti ya Busara music festival for 2016, many had feared ZIFF would follow suit at an attempt to encourage more government support of the two major festivals of the isles that dominate the

cultural scene in Zanzibar. The Zanzibar International Film Festival (ZIFF) is the largest multi-disciplinary art and cultural festival in East Africa dedicated to the exhibition of films, music and artistic panoramas. Each year ZIFF exhibits more than 60 films made in Africa, Middle East, Europe, Latin America, USA and Asia. The 19th Edition of ZIFF will take place 9th -17th July, 2016 in Stone Town, Zanzibar. The theme of the 2016 Festival is This Journey of Ours: Ndiyo hii Safari Yetu. Festival Director Martin Mhando explains the theme further; “This simple theme is yet complex in its implications. Any journey is symbolic of life, with its trials and tribulations, its highs and lows and with its destinations that change with time. On the road of life the journey transforms us through its bends and long stretches making speed a companion of ours like the shadow. Many journeys portend destinations but destinations do not define journeys for every trip of our lifetime teaches us perseverance, patience and inspires motivations. And however easy or tough the journey might have been, destinations often inspire new journeys.” The main competition for the Golden Dhow and Silver Dhow awards is open exclusively for filmmakers from the Dhow countries. These include Countries of the Indian Ocean Rim and Indian Ocean Islands, including Iran, Iraq and Afghanistan; and all African countries. The Sembene Ousmane Award Competition is only for African and Diaspora filmmakers and partner producers.

films, with a particular focus on films produced by African and Dhow Country directors. The deadline for submission of films is 29th February 2016. Online submissions from Tanzania are free, as well as for music videos from East Africa. Films can be entered in a range of categories. Documentaries: • Open to all countries in all formats Feature Films: • Open to all countries in all formats Films on Development: • Open to films by Africans, African Diaspora and partner producers. Music Video: • This new catefory is dedicated to outstanding and creative production for music video from East Africa. Short Films: • Open to all countries in all formats Animation: • Open to all countries in all formats All films are judged by an independent jury panel.


Urucu Media, under the mentorship of Berlinale Talents, in partnership with The Nirox Foundation, Durban Filmmart, Restless Talent Management, The French Institute in South Africa

ZIFF welcomes submissions of feature and short films, fiction, documentary and animation

Submission Information: Submissions for ZIFF 2016 should be done via the online platform: All rules and submission details can be found on this platform. You can also visit www.ziff. for more information, or via ZanzibarInternationalFilmFestival Contacts: Ngome Kongwe , Mizingani Road, PO Box 3032, Stone Town, Zanzibar, Tanzania Deadline Feb 29 2016


and Institute Français’s Cinémas du Monde proudly presents REALNESS, a screenwriters residency for a new generation of African cinema. From June to August 2016, five screenwriters will be invited to attend a sevenweek residency to develop a new draft of their original feature screenplays. The aim of REALNESS is to provide the necessary time, space, and support to help the continent’s best emerging writing talents hone their unique cinematic vision. The submission window is from 1 November 2015 - 31 January 2016 (or until 120 applications have been received, whichever comes first) Applicants must submit ONE pdf dossier containing: • a motivation for wanting to participate in REALNESS (1 page) • a synopsis of the proposed feature project (1 page) • a treatment of the proposed feature project (6 pages) • a draft of the screenplay • a writer’s note of intention (1 page) • a short biography (1 paragraph) • two samples of previous work, uploaded to Vimeo. If selected, residents will be required to donate one copy of their previous work to the Nirox film library. The call is open to screenwriters from across the African continent and selection will be based on artistic merit. REALNESS will hold no legal claim over the work once the residency is completed. The residency will begin on 16 June 2016 with an introductory week at Durban FilmMart, and with weeks two to six focusing on workshops and one-to-one sessions with international script consultants. For more information on the programme, visit www. To submit your dossier to REALNESS, email



















GOTEBORG FILM FESTIVAL 29 - 8 February Göteborg, Sweden 20th BERLIN & BEYOND FILM FESTIVAL 31 Stockton, USA

© Campari Calendar 2015



The South African Guild of Actors (SAGA) hosted an international delegation of peers over a series of twoday events arranged in Cape Town and Johannesburg in November 2015. The delegation included: • Dominick Luquer, the General Secretary of the International Federation of Actors (FIA), • Stephen Waddell is the National Executive Director of Alliance of Canadian Cinema, Television and Radio Artists (ACTRA), • Brad Keenan leads ACTRA Performers’ Rights Society (ARPS) and Recording Artists’ Collection Society (RACS) • Duncan CrabtreeIreland, chief operating officer of SAG-AFTRA The local entertainment environment remains in flux due to diverse media platforms and the increasingly global context it operates in and

presents both challenges and opportunities to stakeholders. SAGA is committed to the empowerment of actors and other creative entrepreneurs in this dynamic environment. The sessions covered different facets of the Creative sector as follows: • Experts assisted locals with the consideration of the unique challenges and opportunities awaiting professionals, • Exploration of coproductions in regard to international standards around aspects like working conditions, sexual harassment and promotion of diversity, • Discussions around the dynamics of building capacity for greater cooperation in the industry to achieve mutually beneficial goals, and • SA Intellectual Property legislation is currently under review and the conference aimed to investigate international copyright regimes and best practice.

THE COMMERCIAL PRODUCERS ASSOCIATION The Commercial Producers Association had elected new EXCO members for 2015/2016 at the Association Annual General meeting in Cape Town. They are as follows: • Linda Bogle - Your Girlfriend • Glen Bosman - Catapult Commercials • Charles Gallacher - Cab Films • Gavin Gillespie - Fresh Eye Film Productions • Monareng Makwetla - Velocity Afrika • Skip Margetts - The Farm • Scott Njumbuxa Picture Tree • Claire Richards - The Shooting Gallery • Clare van Zyl - Monkey Films

The Good Dinosaur by Pixar ©2015 Disney & Pixar. All Rights Reserved









Atlantic Studios

+27 83 634 4460

website to be launched


Direction Films

+27 83 235 6720



+13 23 782 1300


Homebrew Films

+27 21 422 3452



+44 20 8208 6219

Outside Front Cover, 09

KZN Film Commission

+27 31 325 0200

Inside Back Cover

Media Film Service

+27 21 511 3300


Movie Action Cars

+27 61 436 1954


Open Sky Film Studios

+27 83 959 9967

Inside Front Cover, 12


+27 21 529 4200

Outside Back Cover


+27 21 555 1780

Outside Back Cover

Pro Events

+27 21 425 2170



+27 11 462 0000



+27 11 799 7800


SAE Institute

+27 87 351 0828


Thekgo Chartered Accountants

+27 84 806 7539

Value Film Fleet

+27 86 010 0046



+27 21 487 4868



+27 21 461 9334



CONTACT US Cover Image: JVC GY-LS300 4K camcorder, Courtesy of JVC

Writer: Kim Muller

Account Executive: Theo Jacobs

Publisher: Lance Gibbons

Assistant Designer: Lauren Smith

Production and Traffic Manager: Nazeera Hartley Roach

Executive Editor: Katie Reynolds

Editorial Assistant: Imogen Campbell

Production and Traffic Co-ordinator: Basheera Hartley

Head of Design: Sheree Steenkamp

Account Executive: Jennifer Dianez

57 2nd Avenue, Harfield Village, Claremont, 7708, Cape Town, South Africa Tel: +27 21 674 0646

JOIN US DISCLAIMER: Opinions expressed in The Callsheet do not necessarily represent the official viewpoint of the editor or the publisher, while inclusion of adverts/advertising features does not imply endorsement of any business, product or service. Copyright of this material is reserved. While every effort has been made to ensure the accuracy of the information contained in this publication, The Callsheet and/or its employees may not be held liable or responsible for any act or ommission committed by any person, including a juristic person, referred to in this publication. It and they furthermore accept(s) no responsibility for any liability arising out of any reliance that a reader of this publication places on the contents of this publication.

from everyone at

The Callsheet Issue 12  

The Callsheet Issue 12 ends 2015 with a bang! In this month's edition we celebrate the incredible women leading SA's film industry, and we t...

The Callsheet Issue 12  

The Callsheet Issue 12 ends 2015 with a bang! In this month's edition we celebrate the incredible women leading SA's film industry, and we t...