the callsheet issue 6

ISSUE 06 | 2016

SHOOT YOUR WINNING COMMERCIAL IN AFRICA

CANNES LIONSDURBAN

FILMMART

CONTENTS / 01www.thecallsheet.co.za

38DURBAN FILMMART 2016Get excited for the 2016 editi on of this presti gious event, complete with expert panellists and awesome masterclasses.

LOCATIONS FOR COMMERCIALSFar from a one-trick pony, Africa can double for any landscape or city on the globe. Take a look at page 22.22

SA’S DIRECTORS TO WATCHSouth Africa’s top director-based companies are home to some of the brightest directi ng talent in the world.20

02. Studio Joburg Opens at Expo Centre

04. Saving Lives with a Kiss

05. Comatose - New African Producti on

07. New Additi ons Made to Sunrise Team

08. Introducing Squeers

09. Get Creati ve with Digital Sputnik

10. Why You Should Shoot Your Commercial in Africa

14. Commercial Producti on Houses

20. Commercial Directors to Watch

22. SA: Land of Striking Locati ons

24. Commercial Studios and Gear

28. Tabletop Producti ons: Cooking up a Storm

30. Animati on in SA

34. Post-Producti on for Commercials

36. Commercials: The Client Says It Best

38. Durban FilmMart 2016

44. Namibia: Mesmerising Locales

48. Fixers in Africa

49. Events to Diarise

50. Opportuniti es

51. Associati ons News

52. Directory of Adverti sors

COMMERCIAL SERVICE WORK IN SAKim Crowie talks to the leading commercial-service companies on the conti nent, and unpacks the successes of 2016.10

02 / NEWS www.thecallsheet.co.za

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Head Office: 9000 Sunset Boulevard Suite 1400 Los Angeles, California 90069 Tel: 310.275.7323

FRIDAY, 17 JUN

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RDAY, 18 JUN

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NDAY, 19 JU

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NDAY, 20 JU

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Registration: 09h00-17h00 Registration: 10h00-17h00


09h00-10h00Kw

aZulu-Natal Film Com

mission

Panel Discussion

09h00 – 13h00 Documentary Pitch Rehersals (closed)

09h00 – 13h00 Project Packaging: DFM Official Projects (closed)

09h00 – 13h00 Talents Durban Mentorship (closed)

09h00 – 13h00 Tele-dialogues

09h00-10h00 Using Short Films To

Build Brand And Audience – Todd Brow

n, Head of International Acquisitions, XYZ Film

s

09h00 – 13h00 Business Model Canvas Trainers’ Bootcamp (closed)


10h00 – 13h00 Africa Doc Pitch



09h00-10h00W

indow to

the World:

Roundtables with

Intl Festivals and M

arkets

09h00-10h00Panel Discussion: New

Strategies for Financing

Independant Film

10h00-13h00 Business Model Canvas Producers’ Workshop

09h00-13h00 Finance Forum Meetings (closed to official projects)

09h00 – 13h00 Jumpstart (Closed to Selected Projects)



09h00-10h00 Panel Discussion:

Presales Agreem

ents: Creating

value for your investors


The Dynamics

of Curating a Festival

Programm

e

09h00 – 13h00 Business Model Canvas Producers’ Workshop

09h00 – 13h00 Finance Forum Meetings (closed to official projects)


09h00-13h00 Talents Durban Mentorship(closed)

09h00-13h00 Tele-dialogues

10h00-11h00Storytelling and Story Selling (w

ith the Business M

odel Canvas)10h00-12h00

Packaging Independent Comm

ercial film

s for the US Market, Jeff Byrd,

Featherfilms

10h00-12h00 W

hat determines a good story tell

and how to tell it? Junaid Ahm

ed and Akin Om

otoso

10h00-12h00 The Restless

Pitch: Public Pitch

Session

10h00-11h00 Film

and Publications

Board: Online content

distribution

11h00-12h00Restless Talent: “How

to Pitch and Not Fall Flat on Your Face”

12h00-13h00 Opportunity and Transform

ation in the Anim

ation Sector presented by NFVF

12h00-13h00Co-Production w

ith Netherlands presented by NFVF

12h00-13h00 Financing Your Film

through Distribution and M

arketing presented by NFVF

12h00-13h00Case Study: South Africa and France

Treaty presented by NFVF

LunchLunch

LunchLunch

14h00-16h00Talents Durban on Story: W

hat’s yours and how

can you tell it?” Selina Ukw

uoma




14h00-15h00SONOfind Online Search M

ade Easy - Barbara Hinterm

eier, Sonoton

14h00 – 1-7h00 Business Model Canvas Trainers’ Bootcamp (closed)




14h00-15h00 Im

merse Yourself - Virtual Reality -

Where it’s at?



14h00 – 16h00 Jumpstart (closed to Selected Projects)


14h00-16h00Authenticity is Key - Building

Credibility with Audiences

with GG Alcock



09h00-13h00 Jumpstart (closed to Selected Projects)


15h00-16h00Panel Discussion: W

here Social M

edia and marketing m

eet

16h00-17h00Finding the Right Partner: A Round Table w

ith Industry Professionals

15h00-16h00Talking through com

pletion bonds w

ith Film Finances SA

15h00-17h00Talents Durban Story Junction

16h00-17h00Panel Discussion: VOD: Scream

ing for Stream

ing - Where do you sign up

16h00-17h00SAGE - Building Relationships, Building

Stories: What to expect and what you get

in the editor/director collaboration

2016 Industry Programm

eat the Durban International Film

Festival 2016

7th

durban Filmmart

16-26 JuNE 2016DURbAN INTERNATIONAL FILM

FESTIvAL17-20 JuNE 2016

DURbAN FILMM

ART

Based at the JEC, Studio Joburg is the result of a collaboration between the owners of the Expo

Centre and a consortium of leading film practitioners.

“We believe that this new development will provide a top-class facility for the production of content within the film industry,” explains Craig Newman, JEC CEO. “It will also be an important development for the people of Soweto and the surrounding areas in terms of job creation and skills development.”

For many years, South Africa has been a popular destination for the production of filmed content for the US and Europe. Since the creation of the dti’s Location Film and Television Production Incentive, and the South African Film and Television Production and Co-Production Incentive, South Africa has become a desirable film location as well as a coproduction partner of choice.

The film value-chain consists of several support

services that are crucial to the completion and success of each film project. These services include set building, painting, catering, wardrobe, design, and lighting, to name a few.

“Each of these support services means several job opportunities for people in the area,” explains Newman. “In other words, this venture will mean skills development, job creation and investment into the south of Johannesburg. People living in Soweto and the surrounding areas will also be able to work closer to home.”

Discussions are currently taking place with a film school and broadcaster that could become anchor tenants within the Studio Joburg facility. “The added benefit of this would be the proximity to the potential workforce from Soweto and its surrounds,” explains Newman.

Eddie Mbalo, who joins Newman and his team in this endeavour, is a film and television production expert with over 30 years’ experience in the

industry. Mbalo served as the CEO of the National Film and Video Foundation (NFVF) for 10 years, a statutory body within the Ministry of Arts and Culture, dedicated to the promotion and development of the South African film industry.

At the 64th Cannes Film Festival, the Hollywood Reporter in association with Agoralumiere International, honoured Mbalo with an African Vision Award for his role as a creative defender of African Cinema. “We believe that the Expo Centre is the ideal location for an undertaking of this nature,” says Mbalo. In addition to the sheer size of the venue, it’s extremely practical. There is an adequate power supply with access to plug points all over the venue and a sufficient water and ablution supply,” he says.

The multipurpose facilities of the JEC provide more than 50 000m² of indoor space, more than 100 000m² of versatile outdoor space as well as a multipurpose arena that can

accommodate up to 20 000 people. It is accessible from all major highways and conveniently located 30 minutes away from both OR Tambo International Airport and Lanseria Airport. There are also a number of three, four and five star hotels all within 15 minutes of the venue.

The Expo Centre has also proven its worth among film producers in the past, having provided facilities for the famous science-fiction thriller, District 9, directed by Neill Blomkamp and produced by Peter Jackson.

“The JEC was an ideal venue for our production of District 9,” says Michael Murphey. “It worked extremely well as a film studio – the size, the layout, and the location all worked perfectly for us.”

“We believe that Studio Joburg will become an important content and entertainment hub for the Gauteng province,” says Mbalo. “It’s an exciting venture that will benefit in particular the people of Johannesburg and Soweto,” he concludes.

STUDIO JOBURG OPENS AT EXPO CENTRE! The Johannesburg Expo Centre (JEC) is proud to announce the launch of Studio Joburg, a fully- fledged film and television content hub.

Craig Newman and Lance Gibbons

FRIDAY, 17 JUN

E SATU

RDAY, 18 JUN

E SU

NDAY, 19 JU

NE

MO

NDAY, 20 JU

NE



09h00-10h00Kw

aZulu-Natal Film Com

mission

Panel Discussion




09h00 – 13h00 Tele-dialogues09h00-10h00 Using Short Film

s To Build Brand And Audience – Todd

Brown, Head of International

Acquisitions, XYZ Films

09h00 – 13h00 Business Model Canvas Trainers’ Bootcamp (closed)





09h00-10h00W

indow to

the World:

Roundtables with

Intl Festivals and M

arkets

09h00-10h00Panel Discussion: New

Strategies for Financing

Independant Film

10h00-13h00 Business Model Canvas Producers’ Workshop

09h00-13h00 Finance Forum Meetings (closed to official projects)





Presales Agreem

ents: Creating

value for your investors


The Dynamics

of Curating a Festival

Programm

e




09h00-13h00 Talents Durban Mentorship(closed)

09h00-13h00 Tele-dialogues

10h00-11h00Storytelling and Story Selling (w

ith the Business M

odel Canvas)10h00-12h00

Packaging Independent Comm

ercial film

s for the US Market, Jeff Byrd,

Featherfilms

10h00-12h00 W

hat determines a good story tell

and how to tell it? Junaid Ahm

ed and Akin Om

otoso

10h00-12h00 The Restless

Pitch: Public Pitch

Session

10h00-11h00 Film

and Publications

Board: Online content

distribution

11h00-12h00Restless Talent: “How

to Pitch and Not Fall Flat on Your Face”

12h00-13h00 Opportunity and Transform

ation in the Anim

ation Sector presented by NFVF

12h00-13h00Co-Production w

ith Netherlands presented by NFVF

12h00-13h00 Financing Your Film

through Distribution and M

arketing presented by NFVF

12h00-13h00Case Study: South Africa and France

Treaty presented by NFVF

LunchLunch

LunchLunch

14h00-16h00Talents Durban on Story: W

hat’s yours and how

can you tell it?” Selina Ukw

uoma




14h00-15h00SONOfind Online Search M

ade Easy - Barbara Hinterm

eier, Sonoton

14h00 – 1-7h00 Business Model Canvas Trainers’ Bootcamp (closed)




14h00-15h00 Im

merse Yourself - Virtual Reality -

Where it’s at?



14h00 – 16h00 Jumpstart (closed to Selected Projects)


14h00-16h00Authenticity is Key - Building

Credibility with Audiences

with GG Alcock



09h00-13h00 Jumpstart (closed to Selected Projects)


15h00-16h00Panel Discussion: W

here Social M

edia and marketing m

eet

16h00-17h00Finding the Right Partner: A Round Table w

ith Industry Professionals

15h00-16h00Talking through com

pletion bonds w

ith Film Finances SA

15h00-17h00Talents Durban Story Junction

16h00-17h00Panel Discussion: VOD: Scream

ing for Stream

ing - Where do you sign up

16h00-17h00SAGE - Building Relationships, Building

Stories: What to expect and what you get

in the editor/director collaboration

2016 Industry Programm

eat the Durban International Film

Festival 2016

7th

durban Filmmart

16-26 JuNE 2016DURbAN INTERNATIONAL FILM

FESTIvAL17-20 JuNE 2016

DURbAN FILMM

ART

04 / SPOTLIGHT www.thecallsheet.co.za

When The First Kiss fi rst hit local television screens, we all winced involuntarily at the

graphic result of a moment of forgetf ulness neatly wrapped up in a beauti ful love story. Produced by Marti na Scheider and directed by Jason Fialkov, the Safely Home campaign created a sti r – sparking heated discussions on social networks on the importance of seatbelts and the power of shock adverti sing. The spot was shot in studio and on locati on in Woodstock and the Bo Kaap, with the fi nal crash capturing the scene with astounding accuracy.

Scheider says Y&R approached Egg Films with the concept, which is based on a successful campaign run in Ireland and Northern Ireland for the same purpose. It saw a 100% increase in backseat seatbelt wearing, and a 50% increase in front-seat wearing rates. “The brief was to adapt it to a local market and add the twist of the kiss. We were aligned on this from the beginning. It was important to me to build the love story upfront to ensure the emoti onal impact of the crash scene,” she explains.

“My job was to bring it to life

emoti onally. It was important from the start of the fi lm to misdirect the viewer, taking them along on a love story,” says Jason. “Then ‘CRASH!’ – take everything beauti ful away; that’s what happens when you don’t buckle up.” He goes on to say that working on this campaign has aff ected him, too. “To be honest, I never used to wear my seatbelt before making this commercial. I defi nitely do now. It’s not a joke. I defi nitely think the ad will stay in people’s minds on a subconscious level.”

Twenty-year-old Nikita Khan is the face of the campaign. Liesel Hardenberg, Director at

MyBooker, says Nikita’s sunny personality landed her the role. “She is incredibly warm and unaff ected, as soon as you meet her, you love her, and this is exactly what her character in the PSA needed, a lead role that the public would love and feel the loss and sadness … making the message of the PSA so memorable and powerful. Gott a love a director who is so confi dent in his skills, he is prepared to take a chance on a completely inexperienced performer for such a demanding role.”

Nikita is extremely excited about the campaign, and just as confi dent in its ability to sway

viewers. “What stood out for me was how real everything looked, especially the crash… People say that the ad is too brutal to show, but that’s real life, it happens, we need to face this possibility and be responsible.”

Fialkov worked closely with DOP Willie Nel and Stunt Coordinator Gideon van Schoor to create the crash scene, while post-producti on was done by Upstairs Ludus and Wicked Pixels. But perhaps the reason this PSA is so eff ecti ve because, as Jason says, “You’re not trying to sell a product; you’re trying to save lives. It’s a whole diff erent kind of world you fi nd yourself in.”

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SAVING LIVES WITH A KISSThe First Kiss, a PSA by the Western Cape Government in South Africa and Y&R, is part of an extremely effective campaign with a simple message: wear your seatbelt, folks.

The Safely Home campaign The First Kiss was produced by Martina Scheider and directed by Jason Fialkov © Egg Films

SPOTLIGHT / 05www.thecallsheet.co.za

Call Sheet I-2 p Ad 05-2016* 5/15/16 8:14 PM Page 1

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1Take Media has begun producti on on Comatose, a dramati c Afro-futurism feature fi lm set to be

released in early 2017. The fi lm explores an African perspecti ve on the euthanasia debate, with award-winning actors Fabian Adeoye Lojede (Jacob’s Cross, Man on Ground), Hakeem Kae Kazim (Black Sails, 24, Hotel Rwanda), Mary Twala (Sarafi na, The No1 Ladies Detective Agency) and other acclaimed local

and African talent such as Aissa Maiga, Bimbo Akintola, Robert Whitehead and Deborah Lett ner starring. Comatose is directed by Mickey Madoda Dube, with producti on set to begin in Durban and conti nuing in Nigeria.

The fi lm is adapted from a play writt en by prolifi c Canadian-Nigerian writer Jude Idada. It follows siblings Segun (Lojede) and Omowunni (Akintola) as they batt le over the life of their ailing

mother Nana (Twala), who is in a coma. One wants to pull the plug, one wants to keep her alive. One resides in Lagos and the other in California. In this batt le of wills, dark family secrets come to light, relati onships are shatt ered, and the true meaning of love is revealed.

This argument has been raging for decades across the globe. Comatose will dig into the matt er, off ering a variety of perspecti ves to this complex issue. “This is going

to be the most challenging role I’ve played. The fi lm has so many layers: visual and narrati ve,” says Lojede, who co-wrote the script and who is co-producing with Dude.

1Take Media begins principal photography on 13 June 2016, with funding from the South African Department of Trade and Industry (the dti ), the Nati onal Film and Video Foundati on (NFVF) and the KwaZulu-Natal Film Commission.

NEW FILM COMATOSE IN PRODUCTIONComatose brings South African and Nigerian talent together to tackle the challenging subject of euthanasia.

Comatose ©1Take Media

Sunrise Productions, creators of the award-winning animated series Jungle Beat, have made new senior appointments across the business.

NEWS / 07www.thecallsheet.co.za

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Jungle Beat © Sunrise Productions

Jennifer Burgos will join the senior management team and be responsible for driving commercial and

business development. Jennifer’s focus will be the deepening of current, and growth of new strategic partnerships globally. Jennifer’s extensive experience includes Turner Broadcasti ng, Aardman Animati ons and Discovery Networks.

Joining the Story team are BAFTA award-winner Will Brenton, and writer Robin Crowther-Smith.

Will has co-created, writt en, produced and directed highly successful children’s television including The Tweenies, Wibbly Pig and Mighty Mites. Robin has writt en on Shaun the Sheep and Morph.

Eric Lessard will join the Producti on team as Animati on Director. Eric previously worked at Dreamworks as the Senior Animator on Shrek, Shrek 2 and Madagascar, and as Animati on Supervisor on Shrek 3.

Commenti ng on the

appointments, Founder Phil Cunningham said: “We are delighted to welcome Jennifer, Will, Robin and Eric to the team. They all join us with a wealth of experience in the children’s sector and we’ve already benefi tt ed from their experti se. We have ambiti ous plans for growth over the next three years and these key appointments enable us to reach our goals.”

Sunrise is currently in-producti on on a brand new TV series set in the world of Jungle Beat.


show of its kind to deal with adult topics pertaining to what it actually means to be part of the LGBTI community, and how, as humans, we share the same struggles and dreams.

“Financing animated series’ is always a challenge in SA,” says Spinks, “But our main challenge may lie in breaking into the greater African market. This series can be considered controversial to many, but it will break ground and we believe there to be a substanti al and growing niche audience globally.”

The Squeers teaser goes live on 6 June. For more informati on, visit www.squeers.com.

Introducing Squeers – a new, edgy and hilarious animated television series in development by Cape

Town creati ve Matt Torode and Joburg-based writer Lebogang Mogashoa. The 7-minute episodes are based on the original South Africa LGBTI comic strip by Roberto Millan, originally published in The Pink Tongue. The show follows Neil and Artel, two gay squirrels in search of success, love and happiness, as they navigate their lives in the treetops of the City Gardens.

Wendy Spinks of Zero Point Studios is att ached as Creati ve Producer and EP. The show is

currently looking for investment and broadcast partners, with 78 episodes planned for Season 1. Pop the Culture and Zero Point Studios are involved in presenti ng and producing the adaptati on, with the NFVF supporti ng the project

and funding the development to produce a teaser video, a writt en script and a few episode outlines of the show while it is pitched to potenti al broadcasters and investment partners.

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79316 Callsheet 136x203.indd 1 2016/05/13 11:05 AM

FOR THE LOVE OF NUTS!Squeers is a new LGBQT satirical animated comedy currently in development by some of SA’s animation trailblazers.

Squeers © Pop the Culture & Zero Point Studios

Visual Impact now represents Digital Sputnik (DS) in Southern Africa.

NEWS / 09www.thecallsheet.co.za

Digital Sputnik’s modular RBG LED lamps are one of the most innovati ng developments in lighti ng

technology in the last 10 years. With this modular system one can combine individual lighti ng units to create a larger lamp or break it down to create smaller units. A key feature of these fl icker free lamps is complete RGB colour control via a WiFi app. The lamps have a very wide range of colour temperatures from 1500 Kelvin to 10 000 Kelvin.

These features create fl exibility, modularity and mobility enabling smaller teams, reduced power consumpti on and faster setup without compromising on the light quality or output. Digital Sputnik provided the main lighti ng fi xture for Star Wars Rogue One. Other recent fi lms using DS were Ghost in the Shell, The Neon Demon and Jason Bourne.

The content creati on industry is going through a fundamental change. Visual Impact is proud to be part of this change starti ng

with the adopti on of digital imaging and it’s fusion of Camera, Post-producti on and Lighti ng disciplines. Please contact

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AFS worked on Old Spice’s cam

paign Legendary Man ©

AFS Productions

COMMERCIAL HIGHLIGHTS IN 2016

By all reports, South Africa has had a robust, busy commercial season in 2015/16 that has extended

well into winter time. A number of production companies have reported continuous work from both local and international advertising agencies and brands, with the weakening Rand encouraging spend despite

clients continually tightening their purse strings. Says Monica Rorvik, “Wesgro Film and Media Promotion has been very pleased to hear how active the commercial and stills season has been.”

Ginger Pictures Producer Julie Ah Fa says this is the best year they’ve had since they started in 2008, with most of their shoots taking place in Johannesburg

for Pan African clients. The company will also be bringing in new clients and a new director soon. “We have worked with McCann, Ogilvy, TBWA, FCB with whom we won a Silver Award for best TV commercials for a series of three commercials. The brands worked for were mostly cellphone providers like Orange, Tigo, Vodacom and

Pan African food like Jumbo, Castel Beer, XXL energy drink, Peak and Bonnet Rouge milk. So for us it was an innovative year because we did a lot of food advertising,” she explains.

AFS Productions also saw an exciting commercial season. Their recent commercial for Heinz aired during the US Superbowl in 2016, and was featured on AdWeek.

/ 11www.thecallsheet.co.za

South Africa has had a bumper commercial season this year. Kim Crowie explores the joys, triumphs, trends and challenges of the sector, from production companies, locations and studios to tabletop, short-form animation and post production.

AFS Productions' Heinz commercial aired at the 2016 US Superbowl © AFS Productions Castel Beer TVC © Ginger Pictures

12 / www.thecallsheet.co.za

The ad sees adorable wiener dogs donning the most delightf ul litt le hot dog bun suits, locally manufactured by Captain Costumes. Another highlight was their Old Spice campaign Legendary Man.

“This year we celebrate our 20th year in business and we are sti ll having as much fun as when we started the business!” says Brin Kushner. “The South African Rand has devalued greatly against the US dollar and this had defi nitely led to an infl ux of foreign producti ons wanti ng to shoot in South Africa.”

Egg Films has once again made a splash in the commercial world. They were the highest-ranked South African producti on company in the offi cial Loerie rankings for 2015, with Terence Neale as the second-ranked local director and Rozanne Rocha-Gray and Julia Schnurr came fourth and eighth respecti vely in the producing category. Stellar work like Your Future Is Not Mine for Adidas Originals (Johannes Leonardo), Mr. Cuddles for Wimpy (FCB), and First Kiss – Jason Fialkov’s shocking

but well-received seatbelt PSA for the Western Cape Government (Y&R) – rose to the top. Egg Film Service has also been on a roll with car ads recently, servicing spots for Porsche, BMW, Audi and Volvo.

“We were really happy that two of our most popular campaigns this year – for Wimpy and for Careers24 – were dialogue-driven,” says Egg Films Managing Director and Executi ve Producer Colin Howard. “Out of ten boards we receive, it’s rare for more than two to be dialogue-driven. We love voiceovers, vignett es and visual storytelling as much as any agency art director but we also believe that memorable dialogue sti ll stands out, perhaps now more than ever while there’s so litt le of it. So we’re hoping it’s going to make a comeback.”

Their sister company, Arcade Content, has also had an incredible year. 2015 was the company’s second year in the business and they worked with a number of top agencies, creati ves and brands well into 2016, according to William Nicholson, Producer and

Co-Founder. From Rob Smith’s One Rand Family for Sanlam to Lebogang Rasethaba’s Ziyabanda for Castle Lite and Kyle Lewis’ Up! campaign for Volkswagen – Arcade is pushing boundaries with their cutti ng edge creati ve concepts.

“The single most exciti ng trend we’ve observed is how agencies and clients alike are becoming increasingly bold and open-minded about what fi lm adverti sing can be,” Nicholson says. He cites King James and Sanlam, and Ogilvy Cape Town seeing potenti al in Lebo’s and Kyle’s reels. “They knew the work was not going to look or feel traditi onal, which is why they came to us.”

bouffant saw some exciti ng

growth in their company with Thabang Moleya shooti ng feature fi lm Happiness is a Four Letter Word, and Dean Blumberg and Marc Sidelsky working in branded content for Nestlé. “Marc Sidelsky shot a beauti fully fi lmed Ford Ranger commercial for JWT Dubai,” says bouffant’s Executi ve Producer, Peter Carr. “Dean Blumberg was the only SA fi lm director to make it into the recently announced Gunn Report Showreel of the Year for his Student Flights campaign with TBWA\Hunt\Lascaris. Petar Spiljevic, Gordon Lindsay, Dean Blumberg and Erik Van Wyk have all featured in Adforum’s Top 5 Directors throughout this year.

WE ALSO BELIEVE THAT MEMORABLE DIALOGUE STILL STANDS OUT, PERHAPS NOW MORE THAN EVER WHILE THERE’S SO LITTLE OF IT. SO WE’RE HOPING IT’S GOING TO MAKE A COMEBACK.

Kyle Lewis uses his bold, visual aesthetic for Volkswagen © Arcade ContentWimpy’s Mr Cuddles was directed by Dani Hynes © Egg Films

Montego production © bouffant Behind the scenes on a service shoot © Namib Films

[email protected] www.afsproductions.com

Your gateway to filming in Africa, the continent with the most spectacular locations on Earth!

SOUTH AFRICA OFFICE Metal Lane, 4 Kloof Street, Cape Town, 8001 T: +27 21 424 9999 F: +27 21 424 9998 M: +27 83 635 9699

AMERICA OFFICE 507 N. Almont Drive, Los Angeles, CA, 90048, USA T: +1 310 273 9693 F: +1 310 273 9698 M: +1 213 675 5411

AFS_Cannes 203x136_2016.indd 1 2016/05/09 7:37 AM


bouffant was ranked joint 11th in the Best Ads on TV Rankings of Global Creative Advertising in the Production Company category; Erik and Dean were listed as 19th and 29th in the Directors rankings respectively.”

Moonlighting, too have reported a great season, working with clients from the UK, US, France, Sweden, Dubai, Germany and Finland, among others. “What’s stood out is where

the clients have really taken advantage of the production value by coming to Cape Town for a few weeks and shooting for 10 – 15 days, delivering multiple spots to different agencies throughout the world,” Beccy Kellond, Moonlighting’s Marketing Manager explains. “For a major French brand, we had a new agency team arriving every other day with additional artists from all over the world. We’ve just

done the same for a US company, where we ultimately delivered 42 spots to numerous markets.”

As Navigator Films Executive Producer Tina Talbot says, “After almost two decades and another bustling film season behind us, we yet again stand back in wonder and amazement at the unpredictable, from time to time thrown into unprecedented, territory. Cognisant of that adrenaline rush that binds us all

in the intensively creative nature of film production, we reflect on how some of ‘back-then’ stressful and head-scratching moments have dissolved into the pride and gratitude for our talented crew, our loyal clients and supportive suppliers. We have a strong industry that only continues to grow from strength to strength. Proud of our people, proud of our work. ‘We’ll be right back after this commercial break’.”

Heinz’s US Superbowl ad sees adorable wiener dogs donning lit tle hot dog bun suits. © AFS Productions Terrence Neale’s work on Adidas Originals garnered international at tention © Egg Films


COMPANY NAME SERVICES NOTABLE CLIENTS/BRANDS WEBSITE1410th Street Full Production Services,

Animation, MultimediaWimpy, SA Dept. of Energy, Telkom, Ariel, Nando’s, Sasol

www.fourteententh.co.za

1 BIGdoor Entertainment Group

All-inclusive Entertainment Group

Company Affiliates: Shootaway, Colt Talent, Just R1, 1BIG Fence, OSCASA, IPS (Payroll)

www.1bigdoor.com

Shootaway Production Full Production Services Mika Kallio, Amazing Race Asia, DNA, Vuka!, Formula 1

www.shootawayproduction.com

7 Films Directors Pupa, Kinder Joy, Kronos, CrashCarBurn www.7films.co.za 9mm Films Full Production Services www.9mmfilms.com Africade Productions Full Production Services Human, Landrover, Amazing Race Asia &

Australia, Samsungwww.africadeproductions.com

AFS Productions Full Production Services Heinz, Old Spice, Microsoft, Apple, IKEA, Hersheys

www.afsproductions.com

AmberRay Productions Full Production Services www.amberray.co.za Area 51 Productions Full Production Services Boardmans, Shoprite, Pep, The Farm, Air Extreme www.area-51.tv Atomik Pictures Full Production Services Flying Fish, Papaya Films, The Bank, Opus Films,

Skywww.atomikpictures.com

Axis International Directors Nestle, Audi, Glo, Pepsi, Coca Cola, Ford, Guinness

www.axisinternational.co.za

Bang Bang Films Full Production Services Swatch, Danonino, Mastercard, Kiri, Coca Cola, ProNutro

www.bangbangfilms.com

BeatRoute Productions Full Production Services, Tabletop

Tiger Brands, Beacon, Buy Smart, www.beatroute.co.za

BFX Studios / Bladeworks Production Services, Post Production

Skrillex, Cell C, SuperSport, Skittles, Aquelle, Hennessy

www.bladeworks.co.za/bfx

Big Banana Films Full Production Services BBC Earth, Channel 4, MIA Films, M3 Creative, IWC Media

www.bigbanana.co.za

Bigmouth Studios Directors Kraft Post, Eject Media, Blue Door, Time Square Prod.

www.bigmouthstudios.co.za

Bioscope Films Directors Bar One, Toyota, Musica, Orange, Pantene, Coca Cola

www.bioscopefilms.co.za

Birdfilm Full Production Services Orange, Nestle, Ribena, Toyota, Suzuki, Activia www.birdfilm.com BlackGinger VFX, Post Production,

Animation for CommercialsHunters, Nedbank, Vodacom, M-Net, Johnnie Walker

www.blackginger.tv

BLM Productions Full Production Services Volkswagen, Air Norwegian, Sanlam, Truworths, Renault

www.blmsa.com

Blue Sky Films Full Production Services in East & Central Africa

Lyons Tea, Tusker, Johnnie Walker, Guinness, Coca Cola

www.blueskyafrica.com

Blue Wizard Productions Full Production Services Nestle, ICASA, Sasol, Transnet www.bluewizard.co.zabouffant Directors Dimension Data, KFC, DStv, Total, Honda,

Lucozade, Samsung, Robertsonswww.bouffant.tv

CAB Films Full Production Services Absa, Adidas, Honda, IKEA, T Mobile, Nike, Guinness, Ford, Bells

www.cabfilms.com

Can Can Films Full Production Services Glass Film, Home Corp, Nutopia, Brave Films, Sneezing Tree

www.can-canfilms.co.za

Cape Direct Full Production Services Brave Films, Twin Films, Tantrum, Hapi, Traktor, Biscuit, Blink

www.capedirect.com

COMMERCIAL PRODUCTION HOUSES OPERATING IN SOUTH AFRICAWe bring you a comprehensive list of the major production houses and companies operating in Southern Africa, offering a range of services across the commercial sector.


COMPANY NAME SERVICES NOTABLE CLIENTS/BRANDS WEBSITECape Film Full Production Services www.capefilm.co.za Catapult Directors Hippo, Leadway, Mazda, Ford, DStv, Romans,

Blackberry www.catapult.tv

Chroma Television Productions Full Production Services Pick n Pay, Vodacom, Toyota, Mutual & Federal, WBHO

www.chromatelevision.co.za

Cinergy Full Production Services, Directors, Post Production

Coldplay, Glasfit, Mitsubishi, Opel Corsa, Rompetrol

www.cinergy.tv

Clive Morris Productions Full Production Services Microsoft, Telkom, SKA Africa, Hisense, Sun International

www.cmproductions.co.za

Coastal Connection Producers Full Production Services BLM, Final Touch, Maxfilm, Bedford Falls, Onesuch Films

www.coastalconnection.co.za

Collective Energy Full Production Services www.collective-energy.co.za Conduit Productions Full Production Services,

Animation, CGI, VFXHunters, Locnville, Alcatel, Coca Cola, SAB Miller, Guinness

www.conduit.co.za

Cool Banana Production Company

Full Production Services Barclays, BMW, i-D Castle Lite, Credit Suisse, Nokia, Nikon

www.coolbanana.co.za

Creative Vision Full Production Services, VFC, Animation

Tsogo Sun, Jelly Tots, Hertz, Dimension, Nando’s www.creative-vision.co.za

CSQUARED Productions Full Production Services, Media

SuperSport, TWT, Sunfoil, Barclay’s Premier League

www.c2.co.za

Darling Films Directors Environ, SABC, KFC, Datsun, Metro FM, VUZU, Sprite

www.heydarling.tv

Dancing Light Productions Full Production Services Coughex, Lifebuoy, Pandigital, LG, Volmer, Meritz www.dancinglight.co.za Delicious Fresh Film Full Production Services JWT, Tiger, Magnum, MacDonalds, OMO,

Pilkington, Lacostewww.deliciousfilms.tv

Dragonworx Full Production Services www.dragonworx.co.za Dv8 Films Full Production Services MTV www.dv8.co.za Edenrage Media Full Production Services, Live

Events and Immersive MediaVirgin Atlantic, MTN, Pamper’s, Liqui Fruit, SABC, Tiger, Veet

www.edenrage.tv

EFX Productions Full Production Services FIFA, SuperSports, SABC3, ABSA, IBM, Ericsson, Barclays

www.efxproductions.co.za

Egg Films / Arcade Content Directors Castle, Sanlam, 1Life, Absolut, Vodacom, Adidas, VW, Loeries

www.eggfilms.tv www.arcadecontent.tv

Eject Media Full Production Services SABC, Nokia, Sasol, Vodacom, Coca Cola, Old Mutual

www.ejectmedia.co.za

EuroConnection Production and Management

Full Production Services Coca Cola, Converse, KLM, Nivea, Polo, Selfridges, Danone

www.euroconnection.co.za

Evidencia Africa Productions Full Production Services Y&R, Décathlon, Tropicana, Vania, Airwick, Frontline

www.evidencia.co.za

Farm Film / Farm Africa / WeShootFood

Full Production Services, Tabletop

Coca Cola, Nissan, Goodfellas, Audi, BBC, ABC, PBS, MTV

www.farmfilm.tv www.weshootfood.tvwww.farmafrica.tv

Feel Good Films Full Production Services Nescafe, Audi, NSW, Maggi, Nivea, VW, Spar, Mars, Doritos,

www.feelgoodfilms.tv

Figment Films Full Production Services, Commercials, Shorts

Telkom, Sanlam, Darg, VW, Drive Dry, Coronation www.figment.tv

Founder/Exec Producer:Anton Rollino

[email protected]

+27 82 560 8256Cape Town, South Africa

View our showreel on See you at Cannes Lions 21st - 26th June. Let’s grab a coffee or a glass of rosè.

Whatever your vision, whatever your budget, whatever your challenges, we’re your first call for passion, innovation, integrity and excellence.

THE ESSENCE OF PRODUCTION DISTILLED OVER 23 YEARS


COMPANY NAME SERVICES NOTABLE CLIENTS/BRANDS WEBSITEFigure One Films Full Production Services Sony Music, Ster-Kinekor, Wrestlerish, Die

Windpompwww.figureonefilms.com

Film Machine Directors www.machine.co.za Fineline Productions Full Production Services Philips, Big Joe, Spears, Gallagher Bassett www.finelineproductions.net Filmworks Full Production Services McDonalds, Lays, Cheetos, Atlantis, General

Motorswww.filmworksgroup.com

First Productions Full Production Services, Stock and Editorial Images, Commercials

T-Mobile, BMW, Swan Insurance, Graces Property

www.firstproductions.co.za

Fly On The Wall Directors MTC Namibia, MTN, Diesel, Vice UK, Nike Africa, Dove

www.flyonthewall.co.za

Fopspeen Moving Pictures Animation, Full Production Services

Piet Grobler, Sanna’s Garden www.fopspeen.co.za

Freelink Full Production Services Corsodyl, Levi Jeans, Sprite, Flair, OMV, UMC, Audéo

www.freelink.co.za

Fresh Eye Films Directors BMW, Mini, Nissan, Mercedes-Benz, Karstadt www.fresheye.co.za Frieze Films Commercial Producers,

Directors, Full Production Services

Fosters, Visa, LG, Vizir Animals, Stelth Ulvang, Naked Ape

www.friezefilms.com

Fuel Media Full Production Services VUZU, Channel O, MTV Base, World Bank, Liberty Life

www.fuelmedia.co.za

Gatehouse Full Production Services Citroen, Gillette, Carling, Walgreens, Bombay Sapphire

www.gatehouse.co.za

Gavin Schneider Productions Full Production Services Allianz, Anglo Gold, Becks, Chevrolet, Davidoff, Ellesse

www.gsproductions.co.za

Gentlemen Films Full Production Services National Geographic, Klipdrift, SANBS, MultiChoice, Huggies

www.gentlemenfilms.co.za

Giant Films / Giant Africa Full Production Services, Directors

Guinness, Johnnie Walker, Windhoek, Yardley, Amstel,

www.giantfilms.tv

Ginger Pictures Full Production Services, Stills, Audio/Radio

Orange, Tigo, Catle, BGFI Bank, Coca-Cola, Vodacom, Bic

www.gingerpictures.tv

Glo Films Full Production Services Hallmark, Liberty Life, Garnier, Nivea, Radox, Dark & Lovely

www.glofilms.tv

Golden Planes Directors Oral B, OMO, Primus, Always, Adidas, Pampers www.goldenplanes.com Go Trolley Films Full Production Services, Stills BBC Sport, Good Pitch 2, ADFA, NFVF,

Nederburg, Bozzawww.gotrolley.com

Grinder Films Directors, Tabletop, Stills Clarins, Amarula, Q-Skyr, Møllerens Flour, Amstel www.grinderfilms.com Groundglass Full Production Services,

Tabletop, DirectorsCitroen, Nivea, Burger King, Lipton, Amstel, BBC, Andrex

www.groundglass.co.za

Hammersmith and Elephant Full Production Services Chevrolet, BMW, Bridgestone, McCain, Manhattan, Telkom

www.hefilms.co.za

Happy Cat Films Full Production Services, Stills, Directors

Nivea, Arrow, Ponds, Tomtom, Micromax LED, Coca Cola

www.happycatfilms.co.za

Homebrew Films Full Production Services War Horse, Media24, Tweesent, Da Vinci www.homebrewfilms.tv Hungry Films Full Production Services,

DirectorsCastle Lite, SARS, Coca-Cola, Mugg & Bean, Everlast, KFC

www.hungryfilms.co.za

I Love That Productions Production Music, Commercials, Corporate, TV

SABC, Bombardier SA, DJ Mshega, www.ilovethat.tv

Juice Film Full Production Services 25 Framces, Cap Gun Collective, Henry, Iconoclast, Pulse

www.juicefilm.tv

Jump SA Full Production Services VW, MTN, Nedbank, First For Women, Coronation

www.jumpsa.net

Jumping Dust Productions Full Production Services www.jumpingdust.co.za Kaap Film Full Production Services Philips, KLM, BNN, Nescafe, Unilever, Canon,

Endemolwww.kaapfilm.com

Kaapland Films Full Production Services www.kaaplandfilm.com Kalahari Film & Media Full Production Services Jeep, Scuba Pro, Hisense, IKEA, Halls, Chrysler,

Kotexwww.kalaharipictures.com

Lemon Reel Film Services Full Production Services in Namibia, Ethiopia, Angola, Djibouti, South Sudan and Eritrea

Terra Mater, National Geographic, Pathe, Zodiak Media

www.lemonreel.com

Let it Rain Films Full Production Services Outsurance, Spar, Nedbank, Allan Gray, Hyundai, Axe

www.letitrainfilms.com

Lobster Tree Full Production Services www.lobstertree.com Lucky Fish Productions Full Production Services Audi, Goodyear, Chevrolet, Investec, Bugatti,

Knightswww.luckyfishproductions.co.za

Founder/Exec Producer:Anton Rollino

[email protected]

+27 82 560 8256Cape Town, South Africa

View our showreel on See you at Cannes Lions 21st - 26th June. Let’s grab a coffee or a glass of rosè.

Whatever your vision, whatever your budget, whatever your challenges, we’re your first call for passion, innovation, integrity and excellence.

THE ESSENCE OF PRODUCTION DISTILLED OVER 23 YEARS


COMPANY NAME SERVICES NOTABLE CLIENTS/BRANDS WEBSITELucky Rabbit Films Full Production Services KIK, BBVA, McCain, Coca Cola, Cornetto, RCI

Banquewww.luckyrabbit.co.za

Machine Directors www.machine.co.za Made In Africa Films Full Production Services Taylor Swift, Publicis, Vaseline, Evergreen,

Vertbaudetwww.miafilms.co.za

Magic Monkey Productions Full Production Services ADT, SAB Miller, Zodiac, Coca Cola, Eden Campus, BP

www.magicm.co.za

Man Makes a Picture Stills and Video Production Wesgro, Sasol, The Parlotones, Pepsi www.manmakesapicture.co.za Mannequin Films Full Production Services www.mannequinfilms.co.za Masters and Savant Commercials, Branded

Content, Animation, VFX, Directors

VW, Ultramel, Kellogg’s, iWyse, Discovery Insure www.mastersandsavant.com

McKenzie Rudolphe Film Services

Full Production Services Robinsons, Garnier, Bombardier, Nike, Bridgestone, Visa

www.mcrud.com

Metal Tiger Productions Full Production Services BBD Productions, Oursin Film, Dynamo Film www.metaltigerproductions.co.za Migrate Films Full Production Services Birds Eye, VW, Oryx, Bentley, General Electric,

Land Roverwww.migratefilms.tv

Miros Films Full Production Services Woolworths, Glo, London Olympics, Conoil www.miros.co.za MO Production Full Production Services Audi, Corbis, Getty, Pedigree, Reebok, Chloé www.moprod.co.za Monkey Films Full Production Services Guinness, Adidas, Shell, Nescafe, Goodyear,

Duluxwww.monkeyfilms.co.za

Moonlighting Film Production Services

Full Production Services Garnier, North Face, Jack Links, Zoegas, Audi, Sony, Toyota

www.moonlighting.co.za

Motion City Films Directors VW, Adidas, Cell C, Elle, Jameson, RE Jeans, Bobbi Brown

www.motioncityfilms.com

Muti Films Full Production Services Barlowworld, Pretoria Zoo, World Design Capital (Taipei)

www.mutifilms.co.za

Mushroom Media Full Production Services iStore, Heineken, Gill, Microsoft, DSv, VUZU, BMW, MTN

www.mushroommedia.co.za

Naashon Zalk Media Full Production Services DFID, IFC, SA Dept. of Social Development www.naashon.co.za Namib Films Full Production Services 20th Century Fox, BBC, CNN, Endemol, ITV, Egg

Films, Cool Banana, Made in Africawww.namibfilms.com

Natural History Media Production House Minanawe Marketing, Sanlam, Katanga Express www.naturalhistorymedia.com Navigator Films Full Production Services Bacon Films, Bonkers, Cobblestone, DR. Film,

Element, Tuna Filmswww.navigatorfilms.co.za

Nomad Production House Full Production Services Virgin, Gallus, Sony, Miller www.nomadprod.com North South Productions Full Production Services Adidas, Audi, Club Med, Corbis, Nissan, Nintendo,

Nokiawww.northsouthproductions.com

Nowhere Else Productions Film and Stills Production Peugeot, Décathlon, BMW, McDonalds, Kiri, Yves Rocher

www.nowhereelse.co.za

Off the Fence Full Production Services, Distribution, Corporate, Stock Imagery

MTV US, BBC, ZDF, Fox International, Nuvo TV, Smithsonian

www.offthefence.com

Ohenemedia Full Production Services www.ohenemedia.com Okuhle Media Full Production Services,

Commercials, Corporate, TVMelrose, Chappies, Woolworths, Shoprite/Checkers

www.okuhle.co.za

Ola Films Directors, Full International Production Service

Hollard, KFC, Castle, Foschini, King Price, Captain Morgan

www.olafilms.tv


COMPANY NAME SERVICES NOTABLE CLIENTS/BRANDS WEBSITEOrange Films Full Production Services, Stills,

Music videosGarnier, Kellogg’s, GMX, C&A, Gallia, Cuprinol, Florana

www.orangefilms.co.za

Our Time Productions Full Production Services, Commercials, Film, TV, Animation

www.ourtimeproductions.co.za

Passing Trains Film & Television

Full Production Services Spur, Big Korn Bites, ProNutro, Klipdrift, Isuzu www.passingtrains.co.za

Penguin Films Full Production Services, Film, TV, Branded Content, Commercials

OMO, Red Arrow International, Nedbank www.penguinfilms.co.za

Philo Films Full Production Services Save The Children, Nokian Tyres, BMW, Yamaha, Peugeot

www.philofilms.co.za

Picture Tree Full Production Services VUZU, Jet, Cadillac, KWV, VW, DStv, Vital, M-Net, MWeb

www.picturetree.co.za

Pistoleros Films Full Production Services www.pistoleros.co.za Plank Film Productions Full Production Services Wrigley’s, Chicken Licken, Hollard, Nando’s, Halls www.plank.co.za Prinz Productions Full Production Services VW, Citroen, Sony, Vogue, Bilka, Dansk,

Chevrolet, Picardwww.prinzproductions.com

Propeller Films Full Production Services FedHealth, Panadol, Amstel, Adidas, Access Bank www.propellerfilms.co.za Red Dot Productions Full Production Services Amstel, FCMB, Star, MTN, Sterling Bank, Indomie,

Compasswww.reddotproductions.co.za

Red Petal Full Production Services, Locations

VW, Kayak, BICO, Nivea, Opel, Coca Cola, Close Up

www.redpetal.co.za

Reeleyes Full Production Services Campina, Deloitte, Garnier, Securex, Renault, Vital

www.reeleyesfilm.com

Renegade Pictures Full Production Services www.renegadepictures.co.za Rocket Films Africa Full Production Services Ecobank, Netflix, Nestle, IOC, Oreo, Hershey’s,

Sonywww.rocketfilmsafrica.com

Riverstone Films Directors Dreher, Neotel, Edgars www.riverstonefilms.co.za Rolling Pictures Directors VW, Orange, Cesar, Davidoff, Labello, Maggi,

Pantenewww.rollingpictures.co.za

Rolling Thunder Full Production Services Land Rover, Father Coffee, Samsung, Nokia, Viva, Veet

www.rollingthundersa.co.za

RP Productions Full Production Services Barclays, Jumbo, Telkom, Cellone www.rpproductions.co.za Sidewinder Films Production Services,

Locations, Wildlifewww.bigbanana.co.za/sidewinder-films

Silver Lining Pictures Directors, Stills Coca Cola, Altel, Ponds, Tab, Sprite, Bertolli, Tomtom

www.silverliningpictures.tv

Silverline 360 All-In-One Film Service Group Company Affiliates: Media Film Service, Media Outside Broadcast, Moonlighting, Searle Street Post, Refinery, Digital Film Service, Movie Mart

www.silverline360.com

Skinny Films Full Production Services Swiss Bankers, Fiat, Nurofen, Nationale Suisse, Go Compare

www.skinnyfilms.tv

Smokin’ Gun Productions Full Production Services, Stills, TV, Commercials

Absa, Wii Lego, Whiterose, Taxi Violence www.smokingun.co.za

Southern African Natural History Unit (SANHU)

Production Services, Wildlife CBBC (BBC), Tigress Productions, BR, Eurovision, ARD1

www.sanhu.co.za

Spitfire Films Directors Mpesa, Huawei, Isuzu, SANBS, Sony, Telkom, SA Tourism

www.spitfirefilms.tv

Star Productions Directors Coca Cola, Visa, Outsurance, Tusker, Vodacom, Hollard

www.starproductions.co.za

Steel Productions Full Production Services BMW, Carlsberg, Chevron, IBM, Sony, SA Tourism, Puma

www.steel.co.za

Stillking Films Full Production Services Guinness, Stella Artois, IKEA, Jean Paul Gaultier www.stillking.com SugarStone Full Production Services Stretta Café, Twizza Beats, Suncoast, FMI,

Hellmans, Li-Letswww.sugarstone.co.za

Sukuma Media Full Production Services www.sukumamedia.co.za Sweet Spot Content Directors Heinz, Black Dog, 1Life, BASF, Hippo, Tusker,

Toyota www.ssc.tv

Talking Pictures Production Services, Wildlife, Stock Footage

Nature on Track, Animal Planet, USAID, Discovery www.talkingpics.com

TEC Video Production Services, Commercials, Motion Graphics

Discovery Activate, Eskom, Samsung www.tecvideo.co.za

Tekweni TV Production Services, Digital Media, Aerial, Underwater, Stock Footage

Earthbeat, Jan Smuts (Documentary) www.tekweni.co.za


COMPANY NAME SERVICES NOTABLE CLIENTS/BRANDS WEBSITETerraplane Full Commercial Producti on

Serviceswww.terraplane.co.za

The Big Picture Company Full Producti on Services Coors, Pampers, Lidl, Maggi, Halls, Homeland (Promo)

www.thebigpicture.co.za

The Bomb Full Producti on Services MTN, FNB, Primus, Vodacom, DStv, Engen, Amstel

www.thebomb.co.za

The Fabulous Boomtown Boys Directors, Commercial Service Coca Cola, Mars, Pepsi, Milo, Nescafe, Nokia, McDonalds

www.boomtownfilms.co.za

The Film Company CT Full Producti on Services, DOP Perrier (Grand Prix Lion 91), Christi an Dior, Cote d’Or

www.thefilmco.com

The Kinetic Full Producti on Services M-Net, VUZU, KFC, Samsung, Joy of Jazz, Nomad, SAFTA

www.thekinetic.co.za

The Network Full Producti on Services Hyundai, Cell C, Starsat, Route 66 www.thenetwork.co.za The Shooting Gallery Full Producti on Services Mahindra, Lidl, DKV, Levi’s, Iveco, Coca Cola,

Lucozade, AXAwww.theshootinggallery.co.za

The Worx Digital Media Full Producti on Services, Film, Commercials

Atlanti s, Nissan, Skinnygirl Cocktails, Coca Cola www.theworx.tv

They Directors Toyota, Ocean Basket, Barclays, Engen, Nedbank www.they.za.com Time Frame Productions Producti on Services CBS, BBC, ABC, Fox, Nat Geo, Sky, MTV www.timeframetv.com Townsend Productions Producti on Services, Locati ons www.townsendproductions.co.za Trike Films Full Producti on Services Legit, Lamborghini, Bridgestone, MTN, Albany,

Edgars, Olawww.trike.co.za

Twin Films SA Full Producti on Services www.twinfilms.co.za Uncle Morris Films Full Producti on Services,

Films, Commercials, TVHero, Foxy Bingo, Sony, Gerber, VW, Grill Gilde, C&A

www.unclemorrisfilms.com

The Upstairs Ludus Post Producti on, VFX for Commercials

Engen, Investec, Vanish, African Bank, Y&R www.upstairspost.co.za

Velocity Films/Velocity Afrika Directors BMW, MTN, Canon, Investec, VW, 5FM, Ster Kinekor, SAA

www.velocityfilms.com www.velocityafrika.co.za

Velvet Films Full Producti on Services, Animati on

Montego, Sterling Bank, Bidvest, Ellis & King, Jik, Veet

www.velvet.tv

Waterston Entertainment Full Producti on Services, Corporate, Animati on, VFX

Discovery Vitality, MovieRide FX, Emperor’s Palace

www.waterston.tv

Way Ahead Producti on Services www.wayahead.co.za What We Want Entertainment Full Producti on Services Absa, Citro Soda, Coca Cola, Pampers,

McDonalds, Peugeotwww.whatwewant.tv

Wicked Pixels Animati on, VFX for Commercials

Hyundai, JC Le Roux, M-Net, Ola, Nike, Smirnoff www.wickedpixels.com

Wildflower Productions Full Producti on Services Nissan, Unisa, MTB www.wildflowerproductions.co.za Wink Films Full Producti on Services Samsung, Nescafe, Outsurance, Heinz, Peugeot,

Orangewww.winkfilms.tv

Yeeha Media Producti on Services, Corporate, Digital Media

Macpherson Paints, Microsoft , GT Runfl at www.yeehamedia.co.za

Your Girlfriend Directors Sti morol, VW, Tropica, Toyota, Suzelle DIY, Metropolitan

www.yourgirlfriend.tv

Disclaimer: Although there are hundreds of production companies servicing the local and international commercials sector, due to limited space in the Callsheet we are unable to include them all. We have done our best to cover all major companies operating in the industry and apologise if your organisation has been omitted.

TERRENCE NEALE

A director who has gone from strength to strength in recent years, his most recent work for Johannes Leonardo (via RSA Films, who represent him in the UK and USA) brought him into the internati onal spotlight again this year. Adidas Originals Your Future Is Not Mine cracked February’s Best Ad On TV, was Top Spot of the Week on Shoot, and was Editor’s Pick on Creativity and Little Black Book.

KYLE LEWIS

A bright, young creati ve known for his bold, capti vati ng visuals, Kyle Lewis has fast transiti oned from directi ng music videos and branded content for SA’s top

arti sts to the commercial realm. Represented by Arcade Content, he recently worked on the presti gious Loerie Awards promo, as well as a job with Volkswagen.

ROB SMITH

Another director from Arcade Content, Rob Smith made waves last year with his work on Johnnie Walker’s Wager and the award-winning One Rand Family for Sanlam – which brought home Bronze at The One Show most recently. Rob was number 3 on the Loeries list and is one of the most awarded directors overall, with his work featured everywhere from Adweek and Osocio to Shoot and Ads of the World.

ARI KRUGER

Although perhaps not as well-known as other directors, Ari Kruger made his way into the hearts of South Africans with his hugely successful web series SuzelleDIY. His sense of comedic ti ming has brought a number of sponsors to the show including Lasher and Checkers, with a number of high-profi le guests including Western Cape Premier Helen Zille, Cooked in Africa’s Justi n Bonello, and renowned Banti ng expert Tim Noakes.

KARIEN CHERRY

An exciti ng young director and Giant Films newest talent, Karien Cherry is already proving herself. She picked up a Gold Pixel Craft Award and Bronze Pixel Award at the IAB Bookmarks in March for

New Balance spot Baby vs. Dale Steyn, conceived by King James Group. Although a versati le director, on her spare ti me she dabbles in long form and was selected to parti cipate in the 2015 Berlinale Talent Campus.

DEAN BLUMBERG

A renowned, award-winning director with three Cannes Lions, four Creati ve Circle Awards, and a whopping 18 Loeries under his belt, bouff ant’s Dean Blumberg most recently completed an 8-episode online content piece with Marc Sidelsky for Nestlé that will see us edging into new and innovati ve forms of adverti sing. Blumberg was the only SA fi lm director to make it into the Gunn Report Showreel of the Year for Student Flights with TBWA/Hunt/Lascaris.

Commercials Directors have seen another successful year, with a number of awe-inspiring names rising to the top. Here are just a few you should have your eye on in 2016.

Karien Cherry’s Baby vs. Dale Steyn for New Balance © Giant Films

Kyle Lewis’ recent promo for The Loeries © Arcade Content

Terrence Neale’s work for Adidas Originals Your Future Is Not Mine © Egg Films

Ari Kruger is the director behind hugely popular web series SuzelleDIY © SuzelleDIY


DIRECTORS TO WATCH

[email protected] | [email protected] | CPT: 021 424 4971 | JHB: 011 807 0100 | www.velocityfilms.com

knows who is going to decide to come to shoot in SA as there is quite a bit of competition out there, but thankfully we had lots of clients coming this past season, all of whom were very happy with their shoots – naturally!” she says. “Our Gauteng office also saw a huge growth, which is very positive for us. Most of the Gauteng shoots are for the

local market – but we did host some international productions too.” Amazing Spaces hosted The Great South African Bake Off in one of their Gauteng locations, with a range of high-profile commercial brands shooting with them over the last year or so. These include McDonalds, Renault, Samsung, Nestlé, Toyota and IKEA. “Our

experience with international clients is always positive,” she says, “they are respectful of our locations and the teams are friendly and professional.”

Aquila Private Game Reserve is a preferred destination for stills and film shoots, local and international. According to Aquila’s Marketing Manager, Anna-Marie Janse Van Rensburg,

Amazing Spaces has amazing locations for film & photo shoots, events & accommodation. We have everything from beach houses, farms, classic homes, interiors & gardens to modern architectural masterpieces, offices, restaurants & sports fields.

We are a one-stop-shop, providing amazing service & locations that can replicate New York, the French Riviera, Prague, Syria, the Mediterranean, the English countryside & many more.

21 Durban Road, Wynberg, Cape Town, SA t: +27 21 761 3445 or +27 11 646 9172 e: [email protected] www.amazingspaces.co.za

AS-CallSheet-June-2016.indd 1 2016/05/13 10:33 AM


LAND OF

STRIKING LOCATIONSSouth Africa has doubled as a huge amount of destinations on screen, including Europe, the Middle East and the Caribbean. Here’s a brief look at the country’s location offerings, trends and services.

South Africa has always excelled as a service industry provider and this year’s international

commercial season saw good return for most, thanks to a weakening Rand and a lengthy summer. Julia Finnis-Bedford heads up Amazing Spaces, one of the foremost location companies in South Africa. “One never

Lions relaxing at Aquila © Aquila Private Game ReserveDior © Amazing Spaces

this year saw them play host to a number of feature fi lms, series and other producti ons. Part of the reason for their popularity is their turnkey off erings, she explains. “Aquila has a dedicated and experienced team of staff that are allocated to fi lm shoots. These include game rangers, drivers and banqueti ng staff , amongst others. Depending on requirements, we normally allocate two vehicles per shoot but can accommodate much more.” Added to their breath-taking landscapes is

the bonus that the reserve has never been used for hunti ng – meaning the animals are comfortable around vehicles and directors can get astonishing close-ups. Plus their salt pan area makes for spectacularly stark setti ngs, not to menti on their three helipads and an air strip for fi xed-wing air craft .

Because South Africa is well-positi oned as a locati on for fi lmmakers, it doesn’t succumb to trends and fads in the wider sector too oft en, although ti ght


FAST FACTS

• South Africa has portrayed over 57 diff erent parts of the world and has a number of reputable and award-winning locati on scouts, companies and networks supporti ng the sector.

• The Western Cape has experienced an excepti onally long commercial season and together with its incredible natural beauty, highly-skilled crew and ideal Mediterranean climate, it remains a fi rm favourite for locals and internati onals.

• Gauteng is a broadcast hub, with Johannesburg, known as the City of Gold, at its pulsing epicentre. The region is sought aft er for its variety of locati ons including gritt y urban backdrops, sophisti cated cityscapes and ample studio space.

• KwaZulu-Natal is a paradise

of natural locati ons from golden beaches to historical batt lefi elds and capti vati ng wildlife. It is home to the annual Durban Internati onal Film Festi val, with The Loerie Awards and its Creati ve Week returning to the city for a second year running in 2016.

budgets are becoming more and more commonplace. “As much as we would have thought that the Rand being weak would have meant easier budgets, this has not been our experience at all,” Finnis-Bedford explains. “A big percentage of all of our enquiries come to us with a ti ght budget.” She adds that there has also been a defi nite trend of shooti ng later into the night this season, with some shooti ng right through to the next morning.

AQUILA HAS A DEDICATED AND EXPERIENCED TEAM OF STAFF THAT ARE ALLOCATED TO FILM SHOOTS. THESE INCLUDE GAME RANGERS, DRIVERS AND BANQUETING STAFF, AMONGST OTHERS.

www.bouff ant.tv

PETAR SPILJEVIC

COMMERCIAL STUDIOS AND GEAR

South Africa’s commercial studios have experienced quite a busy year with a number of studios and

rental spaces expanding their offerings to accommodate new technologies, clients and requests. Most recently, Panavision and Panalux have been consolidating into a 12 000 m2 premises, according to Michele St Arnaud, Operations Director for Panalux. The

company also owns Gold and Cape Island Studios in SA. “Bringing these two business units under the same roof will allow us to facilitate operations and better meet the demands of our customers who will now enjoy the benefit of having lighting, grip and studios all in one location,” she explains. “We make it a priority to listen to our clients’ needs and what productions demand in terms

of kit and facilities. In addition to integrating cameras, grip and lighting under the same roof, we will be complementing Cape Island Studios with an extra two studios, now totalling five studios.”

In terms of technology, studios and equipment companies are always on the lookout to advance. Media Film Service recently acquired three of only 30 ARRI Alexa


©Panavision

South Africa has a wide variety of commercial studio space available for hire, as well as a range of world-class, cutting-edge equipment used in some of the latest international productions.

SOUTH AFRICA ADDED ANOTHER NOTCH TO ITS NAME BEING THE FIRST COUNTRY TO USE THE NEW 65MM ALEXA – ON THE SHOOT OF STEPHEN KING’S THE DARK TOWER.


65 cameras in the world. The system comprises a 65mm digital cinema camera, custom-designed prime and zoom lenses, and fast, efficient workflow tools. “This dynamic and innovative camera, developed by ARRI Rentals in the UK, has taken the industry by storm”, says Neil du Toit, CEO of Media Film Service. “We are pleased that we are in a position to continuously offer world-class equipment to our clients and to grow the expertise in our industry.” In addition to this equipment’s exclusivity, South Africa added another notch to its name being the first country to use the new 65mm Alexa – on the shoot of Stephen King’s The Dark Tower.

Another company combining

both studio space and equipment sales and rental is Visual Impact, who now represents Digital Sputnik in Southern Africa. Their modular RGB LED lamps are one of the most innovating developments in lighting technology over the last decade. This move is in line with the high demand for more sustainable products – a definite trend emerging in the industry, says Michele. “Our R&D team have released several proprietary LED products including the LED Flex Light, a thin, flexible and super lightweight LED Panel, and the LED Spring Ball – an LED battery-powered soft light.” Panavision’s local camera inventory is also growing faster than ever, she says. “We’ve

introduced the new ARRI Alexa Mini, Sony A7 and RED Epic Weapons to our stock in recent months, and continue to benefit from key support from our worldwide network of Panavision offices and distributors. These important factors enable Panavision to offer leading technologies and workflows to every corner of the industry.”

Another trend in the industry is the rise of a much leaner method of filming – on-the-go shooting. This has arguably come about as a result of the many online platforms consumers frequent. “The influence of live-streaming and content providers such as YouTube, Netflix, Prime and iPlayer mean that the industry is no longer

looking to shoot solely for TV but are also looking to target a wider audience, shifting filming onto new digital platforms,” Michele explains, saying that part of what allows them to compete on an international scale is their in-house engineering and product development team – who are currently pushing the envelope in LED lighting. “Panavision continue to innovate and push the envelope in terms of development of optics for the motion-picture industry. With the recent Introduction of large-format digital cameras and the resurgence of shooting large format film, Panavision have invested in several series of spherical and anamorphic large format lenses purposefully designed to work with these larger format cameras. The Primo 70, Sphero 65, System 65 and Super Panavision 70 spherical series of lenses, as well as the Ultra Panavision 70 anamorphic lenses are all currently available. Panavision are also introducing the T-series anamorphic lenses, specifically designed for digital imagers. With a large variety of lens choices, cinematographers are able to achieve a unique look to fulfil their unique vision.”

Media Film Service recently aquired 3 of only 30 ARRI Alexa 65 cameras © ARRI

McDonalds © Island Studios

WE’VE INTRODUCED THE NEW ARRI ALEXA MINI, SONY A7 AND RED EPIC WEAPONS TO OUR STOCK IN RECENT MONTHS, AND CONTINUE TO BENEFIT FROM KEY SUPPORT FROM OUR WORLDWIDE NETWORK OF PANAVISION OFFICES AND DISTRIBUTORS.

TABLETOP PRODUCTIONS

COOKING UP A STORM


Tabletop producti on companies are always going to be in demand. Not only do we love eati ng

(and can’t live without it), but the yummier something seems, the more folks will fl ock to it. Enter South Africa’s small but fabulous group of tabletop professionals. Companies like Grinder Films, who work between Warsaw and Cape Town, or Beatroute who can breathe life into a loaf of bread for kids, or WeShootFood who represent Robert Payton, one of the world’s most renowned food DOPs…these are the backbone of the tabletop industry. These are the people innovati ng to create the next great food montage.

WeShootFood has had a good year, with Payton working on campaigns in Europe, Ireland and Thailand recently, as well as local brands like Checkers,

Knorr and Bisto. The Callsheet caught up with him in December to chat about his Checkers campaign. “My approach to this Checkers shoot was one of playful inventi veness,” Payton said, “Let the food perform, and capture it in ultra-slow moti on with Phantom cameras.”

High quality, 4K cameras have been all the rage in the tabletop sector of late, with Grinder Films also working with the Phantom Flex for a Woolworths project last year. The company recently worked on Q-Skyr and Cott age Cheese through their Warsaw branch, as well as a number of other local and internati onal brands like Nestlé, Clarins, Iglo, Amstel, McDonalds and Diageo. In January, Grinder was joined by ex-M&C Saatchi Abel Cape Town Producer Sarah Matt hes to focus on the increasing

has worked with a number of local FMCG brands including Albany, Beacon, Doom, Joko and their hugely successful campaign for Tiger Brands’ Buy Smart initi ati ve.

We take a look at what scrumptious and mouth-watering imagery local tabletop companies are creating this season.

THE HOTTEST FOOD TRENDS IN 2016

Although these trends hardly change the capacity, type of work and att enti on to detail that goes into tabletop producti on, it does speak to what we can expect in terms of food and beverage adverti sing and the way in which it is done. Healthy consumpti on is making a huge comeback, with a number of trends pointi ng towards locally sourced products and sustainable living. Here are some of the hott est foodie trends in 2016, according to www.restaurant.org. • Locally sourced meats,

seafood and produce• Chef-driven fast-

casual concepts• Environmental sustainability• Natural ingredients and

minimally processed food• Homemade or arti san ice

cream, butchery and pickles• Farm or estate

branded items• Ancient grains• Food waste reducti on

and management• Street food and food trucks• Ethnic-inspired

breakfast items

demand from the South African food and beverage market.

“There is huge potenti al for Simon (Barnes) in the South African commercials market and bringing Sarah on board shows how seriously we are approaching this,” Grinder Executi ve Producer David Rowley said recently. “She will work exclusively with Simon as a team, bringing her knowledge and experience of how agencies and clients work and her understanding of what they need.”

Another trend surfacing in the absorpti on of multi ple disciplines under one roof. Beatroute Producti ons does this fabulously with succinct yet integrated creati ve off erings: TV producti on, music, ti me-lapse photography and home renovati on. Andrew Cleland, who heads up the company,

© WeShootFood / Farm Film

Di Britz EXECUTIVE PRODUCER

+27 83 227 3041+27 21 434 9632

[email protected]

MADE IN SOUTH AFRICA

Di Britz Di Britz Di Britz

ANIMATION IN SA: THE LONG AND SHORT OF IT

SA’S ANIMATION INDUSTRY AT A GLANCE

• Three South African films were accepted into Annecy’s official selection this year: Triggerfish Animation and Magic Light Pictures’ Stick Man, Naomi van Niekerk’s stop-motion short ‘n Gewone Blou Mandagoggend (An Ordinary Blue Monday Morning), and Arid, the first student film from SA to make it to the festival.

• Cape Town International Animation Festival was a hit in February. The event saw 11 international speakers, four international delegations and over 76 hours of programming over four days, with attendance figures tripling since the previous festival.

• Pixcomm’s show Jabu’s Jungle was picked up by Gulli Africa in a deal that will see the show broadcast in 22 French-speaking territories.

More often than not, animation is left behind as the rest of the film industry is swept

through periods of disruption, celebration and movement. This year, however, saw a marked change in the sheer amount of animated service work being done across the board – in both long and shorter formats.

“Commercials have always been the underpinning of the South African animation industry. The innovative, take-charge sensibility that is characteristic of South African studios, and the fact that we are first-language English speakers, make us attractive to international clients and offer strong competition for other countries that can

offer comparable rates,” says Julia Louw, Animation SA Chair, Communications Committee. “That said, we are now emerging out of an era of being purely service providers and into the original content space. More and more studios are getting into features and series.” She cites Triggerfish (Khumba), Sunrise (Jungle Beat), Luma (Bun & Bunee), Strika

Entertainment (Supa Strikas), Car2n.tv (My Child) and Pixcomm (Jabu’s Jungle) as examples of growth.

ANIMATION TRENDS AND ACCOLADESA number of tertiary institutions have ramped up their offerings to include online media, animation and a number of digitally-driven courses and degrees. “This year

Short format animation and motion graphics for TVCs is a well-known phenomenon, but it hasn’t been until recently that the South African animation sector has reaped the rewards of their service work.


Arid, by Charl van der Merwe, will be at Annecy this year © The Animation School

“If this is the trend, then why should a forward-looking film school push out students who are expected to make media such as long-format films that will be consumed at the cinema? The fundamentals are still the same, light hasn’t changed since the Big Bang, but the thinking around it has changed. We aim to focus more on the short-format style since it is more achievable for

has been very exciting for us since we have started implementing our long-term vision for the film department, namely to embrace new distribution (VOD, YouTube, live streaming, etc.). It came about when we realised that most of our students don’t consume media in the traditional way, for example, at the cinema.” Bryce Hepburn, Head of Film Production at SAE Institute South Africa explains.

students and it’s also up-scalable.” Some of SAE’s successful alumni include Michelle Nel and Dirk van Niekerk of Young Guns, and promising documentary student Francis Hweshe whose recent film Lost Tongue won a Female Critics Circle Award in New York and is now set to screen at DIFF 2016.

The Animation School recently garnered three top awards at the prestigious New York Festival.

Arid, directed by Charl van der Merwe, won World Gold Medals in both the Student Film and the Short Film categories. Aurora, directed by James Mann, was awarded a World Silver Medal in the Student Film category. These are just the latest accolades, however. Two films created by 2014 final year students won SAFTAs for Best Student Film (Jabu, directed by James Mann)


THE FUNDAMENTALS ARE STILL THE SAME, LIGHT HASN’T CHANGED SINCE THE BIG BANG, BUT THE THINKING AROUND IT HAS CHANGED. WE AIM TO FOCUS MORE ON THE SHORT-FORMAT STYLE SINCE IT IS MORE ACHIEVABLE FOR STUDENTS AND IT’S ALSO UP-SCALABLE.

Jabu’s Jungle was sold to Gulli Africa and will be broadcast in 22 territories © Pixcomm

and Best Animated Film (Burgeon, directed by MW Guldenpfennig). Paint (dir. Nico Venter and Luke Berge) and Aurora (dir. James Mann), won prizes at February’s Cape Town Internati onal Animati on Festi val Student Awards, earning their creators trips to Nickelodeon in LA and a tour of various studios in Japan.

Arid was also accepted into the Graduati on Film Selecti on at Annecy Internati onal Festi val of Animati on in France this year. “We are delighted with the stream of great news that 2016 has brought, but the key to conti nued success is consistency,” says Principal Nuno Marti ns. “We’re proud of our progress, but we have some new relati onships in the pipeline that we’re sure can push us even further as a school. As our industry grows, so does the demand for technically excellent graduates who also understand character and story. Our goal is to meet and surpass internati onal standards so our studios can conti nue to att ract the best commercial and content projects in the world.”

Most recently Nina Pfeiff er and Ree Treweek of Shy the Sun fame have started on a new venture. Tulips and Chimneys showcases a variety of print and animati on work with additi onal insight into the pre-producti on of each project. Their services include

animati on directi on, illustrati on, character design, producti on design, and concept development.

CHALLENGES AND FORWARD MOTIONAs with the rest of the industry, animati on budgets are ti ght for short formats, says Bryce. “The problem is that it’s not possible to do a desktop calculati on of how advert budgets react to a decline or growth in a countries economy. In other words, if the economy shrinks by ten percent, it doesn’t mean that ad budgets will shrink by the same amount. It is one of the fi rst things to be reduced if companies are compensati ng for changes in the market,” he explains. “Also, TVCs for brands that you would expect established producti on houses would land are awarded to smaller producti on companies. This could be for cost-saving purposes or the fact that with the dramati c changes in fi lm making and digital equipment, smaller producti on companies can now achieve what only established producti on houses could do in the past. For whatever reason, it is very interesti ng.”

The bott om line is, despite the challenges and changes in the adverti sing landscape; the sector remains solid and healthy, and at least for now it conti nues to benefi t from the weakened Rand.


Open Mokka TVC was directed by SAE alumnus Dirk van Niekerk of Young Guns © Young Gun Films

Nina Pfeif fer and Ree Treweek’s new venture Tulips and Chimneys showcases print and animation work. © Tulips and Chimneys

BreatheSunshine

AFRICAN MUSIC CONFERENCE

CAPE TOWN

POST PRODUCTION FOR COMMERCIALSPOST PRODUCTION


South Africa and more specifically the Western Cape is a robust commercial hub and as such, a number

of post-production companies have a presence in the city of Cape Town, as well as Johannesburg in Gauteng. “South Africa is finally coming into its own as a destination packed to the brim with exceptional animation and VFX talent,” Conduit’s Executive Director and MD Marc Ziman told the Filmmaker’s Guide to Africa this year. “These factors, coupled with the production values SA promises, poise to entrench SA as a go-to supplier for animation and VFX worldwide.”

According to Lauren van Rensburg, GM and Post Supervisor at Searle Street Post Production (SSPP), there is some real traction in the local TVC market, which has formed part of this year’s extended commercial season – something she says is very encouraging. “There are discussions that this is a downturned market, but from my seat it’s anything but,” she says, “The message doesn’t die, the medium simply evolves.”

Refinery’s Managing Director Tracey Williams says the SA commercial sector “appears to be consistent with not much significant growth”. Despite their sterling reputation, the company

rarely services international commercial jobs through post production, with most foreign work coming from the African continent. “Johannesburg is ideally suited to service this work and it might relate more to conveniences such as flights, etc. Refinery tends to service many international brands with version and re-purposing for our market – L’Oreal, Maybelline and Nivea – plenty of healthcare products and cars,” she says.

An ever-growing trend across the commercials industry has been branded content; with some of the advertising spend moving towards this online media space.

As a result, companies like Priest have grown their offerings not only to cater to the post side of the business, but also the production and creative sides. In 2013 they produced Silver Slipstreams for Mercedes via MBLife magazine, which was nominated for a Loerie the following year. They’ve since expanded to work with Native Young, Pick n Pay, Techsys, CNN and the University of Cape Town on branded content, creating an offering that extends from end to end.

Another trend, albeit small, is the rise of collaborations between post houses or post production and other sectors of the industry.

Priest’s visually stunning production Silver Slipstreams for MBLife © Priest

South Africa’s ability to deliver on all levels has extended more and more into the post-production arena, with a number of renowned companies paving the way for more post work to be done in the country.

in the pudding. You only have to scan a few show reels and online community portals to see the incredible work that is being delivered on the local TVCs. Along with all this talent and high-speed internet, video conferencing, Skype, screen sharing and other cool, new-age bits and bobs, the reasons for not finishing here disappear.”

can do this very easily from afar.”SSPP’s Lauren adds that

although production companies are experiencing a boom in international work, the post industry gets little exposure to the foreign TVC market apart from VFX set supervision, some on-set editing or processing, and data uploads. “This is really where we need to spend some

A great example of this is Refinery and SSPP as part of the Silverline 360 Group, or Searle Street Post and The Upstairs Ludus joining forces to work on Investec’s Fire Pool and Pro Maths (directed by Keith Rose of Velocity).

Production companies are also realising the importance of working within the local post-production realm and with local post houses. Peter Carr, Executive Producer at bouffant, says post production is probably the biggest area of change in the SA industry. “More facility houses are offering improved online capabilities and their access to better online and audio operators around the globe is allowing us more options to finishing our films. Our directors like to remain involved in their films all the way though the video finish. We believe this is so important to making sure the end quality is the same as we pitched to clients. Nowadays we

POWERFUL IMAGE THE IMPACT OF A

Cape Town’s premier post-production facility. Offline editing, full digital intermediates, visual effects, VFX set supervision, cinema encoding, mastering, QC and broadcast deliveries. Front end services range from graded dailies, media management and backups to high speed uploads. [email protected] 021 469 2820 www.sspp.co.za


time and energy. In developing the confidence that creative, technical and complicated boards can not only be shot here, but edited and executed to the high exacting standards they can expect anywhere else in the world. I believe we have some exceptionally talented editors, colourists and online artists in the market. The proof is already

Post-production by Refinery © Refinery

South African companies working in the commercial sector have serviced some incredible, award-winning work to date. Here’s what their clients have had to say.

MOONLIGHTING

“I just wanted to say an official, BIG thank you for such a terrific job you and your team did on the recent shoot for us. Michelle, Kerry and co were incredibly professional, always helpful and an absolute joy to work with. All the personnel they recommended and assembled were totally top notch. The client, agency and brand ambassadors were all delighted with the way they were treated and the results we were getting. I’ve only just started putting the edits together, but it’s already clear we have come away with excellent content, and that is of course down to the excellence of Moonlighting.”– Mike Morley, Director

“Cape Town is brilliant. Great weather and ambiguous locations that could literally be anywhere in the world...It’s a great place to shoot and the crews are fantastic so I highly recommend it.”– Bruce St. Clair, Director, Serial Pictures


THE CLIENT SAYS IT BEST

AFS PRODUCTIONS

“Working with AFS in South Africa easily rates as one my best production experiences globally. AFS’ roots enable them to appreciate the needs of production, agency, and client alike. They have a profound intuition for the challenges and solutions of production, and are veritable partners (true team players) in getting the job done, and done well. I highly recommend AFS in South Africa not only as a resilient and world class production facility, but also as a team who by nature of their talent, dedication, and spirit have become good friends.”– Ken Arlidge, Director, Aero Films

OPEN SKY STUDIOS

“I can say without a doubt that the Open Sky back lot allowed us to achieve our production value on an epic scale. Our recreation of Mogadishu was made possible because of it. The company’s openness and flexibility was also immense. Thank you all.” – Bronwen Hughes, Director

BOUFFANT

“The last time I trusted a director as much as I do Dean Blumberg was working with Keith Rose on the 8.ta launch. I just love working with him, his attention to detail, his coming through and talking agency through his thinking all the time, his willingness to try something beyond the expected and agreed to, his dedication to getting the shot and more, and just all-round approachability and striving for excellence. Thank you for helping us with this production and being available and ready for all requests and considerations. Looking forward to finishing it beautifully.”– Vanessa Pearson, ExecutiveDirector Creative,HouseofBrave

“Your (Petar Spiljevic) ears must be burning because we presented the commercial to client today. They were over the moon – as were we. Congrats!!! You all worked your tails off and delivered on every level. Casting included... We definitely stand apart in our high-end yet approachable look and feel. So when you guys come to NYC to celebrate, we’ll take you out.”–ChristinaCooley,Roberts & Langer DDB New York

AMAZING SPACES

“Working with Amazing Spaces makes location sourcing and management a dream – how did we do it before?”–BevWynne,Executive Producer, Gatehouse Commercials

Lothian House © Amazing Spaces

An example of AFS Productions’ recent work.

Montego production © bouffant

THE CLIENT SAYS IT BEST

Digital Therapy is a Sales and Service company that represents an expanding roster of highly skilled

DITs and VTOs. Our Expert OnSet Workfl ow Supervision and High-Spec On-Set Kits are what make Digital Therapy the best choice for any producti on looking to shoot in South Africa and abroad. Our services include: Workflow Supervision, Quality Checking the Footage, Syncing Sound, Onset Colour Grading, Transcoding for Offl ine’s or Dailies Creati on delivered on iPad, Flash Sti ck or Online Reference, FTP of dailies or offl ine to the client/post overseas and fi nally LTO Archiving OnSet. At Digital Therapy we provide a central nexus point between buying ‘prosumer’ digital imaging hardware components and access to high quality training courses which are current and industry relevant. Digital Therapy is about developing meaningful, interpersonal relati onships in the South African fi lm industry in the form of an online community or social network of well respected fi lm industry professionals from across the world. We supply a range of onset and in house hardware and soft ware soluti ons.

Werner Grobbelaar is a Partner and Workfl ow Supervisor at Digital Therapy. Color

Jersey Shore series. Dean is a Red owner operator, when his is not on set as a Data Wrangler or DIT.

Lize Engelbrecht is one of the hardest-working people I know. She is not only an amazing VT operator, but also a solid Data Wrangler.

Trent Sam has been busy on long form assisti ng some of the best VT operators in the country, and when he is not busy running cables for six cameras, he is pushing butt ons for us.

Antonie Stemmet went to AFDA and excelled at Cine before deciding to become a Data Wrangler. He has been very busy on long form and we look forward to seeing him again soon.

Nicholas Warner is the youngest members of the team but is in no way the weakest. Nicholas has been VT assisti ng on commercials and is currently out on a feature as a VT Operator.

We are recruiti ng in Johannesburg – anyone with experience as a Data Wrangler, DIT or VT operator is welcome to get in touch with us. Website: www.digitaltherapy.co.za

Management is Werner’s passion. Aft er high school Werner studied Photography at VUT then began his career in fashion photography and and worked in IT. This led him to work as a broadcast engineer. Recently Werner has been live grading on commercials and is currently on a feature fi lm where he is the Dailies Colorist.

Whenever one of the guys need help; Werner is never too busy to take their call or drive out to help them in an emergency. There is no one I would rather take to war with me.

Christi ne Pedersen is our Accounts Manager and Sales Advisor at Digital Therapy. Number wrangling and fi nding soluti ons to impossible problems are Christi ne’s passion. Previously, Christi ne worked for one of our largest suppliers and her previous knowledge and att enti on to detail have made her one of our biggest assets. Mother of two and engaged to a best boy grip, so she understands the needs of the guys onset and empathises with the client’s need to be in budget.

Marcel Klopper has a background in broadcast engineering, when he is not working with us as a DIT he is working as a Libra head technician. His cool calm collecti veness makes even the

most complicated jobs seem easy. Nic Divischek has only recently

joined us from the Quata & Europe where he was working as an Grader and Online Guru in a post facility. Nic owns a Phantom 4K Flex and goes out as the Phantom Operator and Technician. Nic’s knowledge of post workfl ow makes him an asset to the team.

Warrick McLeod is one of the fi rst DITs in South Africa, and has seen it all. Experience is defi nitely something he brings to the table, as well as a keen eye. Warrick has won a number of awards for his cinematography and is appreciated by the older internati onal DOPs.

Nicky Van Zyl is quickly growing with us at Digital Therapy. He is one of the best Data Wranglers we have seen in a while. He is diligent, meti culous, hard working and takes his job seriously. A true example of a data wrangler and one day he will defi nitely be a force to be reckoned with.

Christi aan Herbst has a background in corporate IT which serves him well for the job of Data Wrangling. He is professional, polite and precise. He has been on Skeem Saam for the last two years and has proven to be reliable and committ ed.

Dean Shamley got his fi rst taste of fame when he and his friend shot Jozi Shore – a spoof on the

DIGITAL THERAPY / 37www.thecallsheet.co.za

TEAM DIGITAL THERAPYMEET OUR AMAZING TECHNICIANS

WERNER CHRISTINE MARCEL NIC

DEAN LIZE

NICKY

TRENTCHRISTIAAN ANTONIE NICHOLAS

WARRICK

DURBAN FILMMART 2016

TIPS FOR SUCCEEDING AT DURBAN FILMMART, BY UGA CARLINI“The Durban FilmMart will always be a big basti on in the Alison journey. It was there where I pitched my fi nal Alison concept - aft er developing it for a few years, and it was there where aft er pitching, the fi nal few adjustments were made that eventually became the movie we have today. It was also extremely valuable to hear the feedback from diff erent type of commissioning editors, broadcaster and fi nanciers from other countries. Especially with a story like this, which we as South Africans know so well and are so loyal to. It was quite something to hear objecti ve responses not ti ed to the story and who didn’t have any loyalti es to this heroine. A great exercise to give that fi nal confi rmati on to myself as to why I would just never be willing to

compromise certain elements of my visual realisati on and to fi nd partners who felt the same.

Some wonderful partnerships came out of my Durban FilmMart experience - partnerships that stretched beyond the Durban FilmMart and have become partnerships that can last a lifeti me - as for me it’s all about

sustainability. The idea is to have many more and to fi nd the perfect fi t for partnerships that are solid, partnerships with heart that can also profi table for both parti es at the same ti me. It’s show business aft er all. It was aft er Durban that I closed all my deals - and in a big way - because of what transpired at DFM.”

UGA’S ADVICE FOR DELEGATES PITCHING AT DFM“Show Durban FilmMart some love. You got chosen, someone else didn’t and ulti mately you will be benefi tti ng from this opportunity. You have also just come one step closer to potenti ally opening doors for the story that you have worked

38 / FEATURE www.thecallsheet.co.za

This year’s edition of the Durban FilmMart runs from 17–20 June, and is a co-production and finance market and a joint programme of the Durban Film Office (DFO) and the Durban International Film Festival (DIFF).

Crew on location at Alison’s house, Courtesy of Anne Kruyer, Fineheartworks

Alison with Christia Visser as Young Alison

KNOW WHEN TO STAND YOUR GROUND, DEFEND YOUR VISION AND WALK AWAY. THE BEST ADVICE I EVER RECEIVED IS: “NEVER IN ANGER - ALWAYS IN STRATEGY AND HEART.”

so hard to get this far. So make it count! Seize the opportunity! And arrive prepared. Treat it like this is THAT chance. The moment you have been waiting for all your life. Never underestimate or overestimate anything. Work with and seek only the “yesses.” The “no’s” just tie you down but remember it takes at least what feels like a hundred “no’s” to get the one “yes” and one “yes” is all you need. Listen, consider, and sleep on things. And know when to stand your ground, defend your vision and walk away. The best advice I ever received is: “Never in anger - always in strategy and heart.””

DFM PROGRAMMEAn insightful industry programme has been scheduled for this year’s DFM, which has as its objective to stimulate the development of project collaboration between African filmmakers in order to kindle the creation of film on the continent and increase the visibility of African cinema on a global platform.

This year’s DFM industry development programme has a strong focus on story development, the essential starting point for any film, and so a number of sessions will delve into topics that will address the subject of “What is an African story and how to sell these African stories”. South African filmmakers Junaid Ahmed and Akin Omotoso will share their experiences of developing their latest films – Happiness is a Four Letter Word and Tell Me Sweet Something respectively. United

Kingdom-based Selina Ukwuoma, a script consultant who has worked extensively with the likes of Curtis Brown and projects ranging from 2008’s BAFTA winning Boy A to the more recent Teddy and FIPRESCI Prize-winning Hoje Eu Quero Voltar Sozinho, will be presenting a masterclass on storytelling. South African author and entrepreneur, GG Alcock, will present an unusual Masterclass under the banner of “Authenticity is Key – Building Credibility with Audiences”, where he will talk about the vital necessity of engaging with an audience on their own terms through an authentic understanding of local narratives. Then the Business Model Canvas Programme based on Alex Osterwalder’s book Business Model Generation will demystify the business model design for film which to help businesses to get their first principles right – starting with who their customer might be.

Another key highlight of this year’s industry programme “Packaging for the US Market” with Hollywood producer director Jeff Byrd, a protégé of Spike Lee (Byrd worked on Mo’Better Blues, Jungle Fever and Malcolm X with Lee). Byrd is joined by well-known SA Producer Themba Sibeko Managing Director of Ziya Pictures who has over 25 years of experience in film, television and video and has worked with the likes of Bill Duke (A Rage in Harlem, Deep Cover, Sister Act 2), Danny Glover (Lethal Weapon, The Color Purple), Ruby Dee (American Gangster, Do The Right Thing), and Isaac Hayes (Shaft) to name a few.

DFM 2016 PROJECT SELECTION:

DOCUMENTARY:

• Dungeon Keepers - South Africa. Producer: James Walsh, Director: James Walsh

• For Your Precious Love – South Africa. Producer: Steve Buxt, David Heitner, Director: Keith Jones

• Hatim’s Dream - Uganda. Producer: Nathan Magoola, Director: Matthew Bishanga

• Lift like a Girl – Egypt. Producer: Mayye Zayed, Co-producer: Moritz Helmes, Director: Amrosh Badr

• Spirits of the Karoo – South Africa. Producer: Zinzi Nkenene, Directors: Engelbert Phiri and Zinzi Nkenene

• Testament – Kenya. Producer: Meena Nanji, Directors: Meena Nanji and Zippy Kimundu

• The Letter – Kenya. Producers: Maia von Lekow and Chris King, Directors: Maia von Lekow and Chris King

• Voetsak! Us, Brothers? – South Africa. Producer: Trish Urquhart, Co-producer: Sean Moloi, Director: Andy Spitz

• Where we Belong – Ghana/South Africa. Producer: Osei Owusu Banahene. Director: Ben Johnson


• Wiz of Zim – South Africa. Producers: Lesedi Oluko Moche and Carolyn Carew, Ddirector: Samora Sekhukhune

FICTION:

• Abnormal Loads – South Africa. Producer: Elias Ribeiro, Cait Panesgrouw. Director: Neil Coppen

• Disco Afrika – Madagascar. Producer: Razanajaona Ambinintsoa Luck, Executive Producers: Herizo Rabary and Randriamantsoa, Director: Razanajaona Ambinintsoa Luck

• Down and Dirty – South Africa. Producers: Damir Radonic and Angie Mills, Director: Angie Mills

• Headland – South Africa. Producer: David Horler, Director: Elan Gamaker

• Imprisoned – South Africa. Producer: Suda Sing, Director: Jayan Moodley

• Inga, Inge – Zimbabwe. Producer: Veronique Doumbe, Director: Tsitsi Dangarembga

• People You May Know – South Africa. Producer: Laurence Hamburger, Director: Zandile Tisani

• The Mango Tree that Danced with Sea Breeze – Kenya. Producer: Lungeleni Zondi, Director: Phillippa Ndsi-Herrmann

• Un Fils – Tunisia. Producer: Habib Attia, Director: Mehdi M. Barsaoui

GG Alcock Tell Me Sweet Something, Courtesy of UIP

CBN AFRICA / 41www.thecallsheet.co.za

CLASSIC SUPERBOOK®- HOW IT ALL BEGANIn 1981, The Christi an Broadcasti ng Network created a children’s animated Bible series as part of an outreach to the nati on of Japan. The English name for this series was “Superbook”. Research performed during and aft er the outreach showed that this series was an unprecedented success. It is esti mated that over four million people watched each weekly episode of Superbook® on television, resulti ng in the Bible becoming the best-selling book in Japan the same year.

From Japan, the classic Superbook® series went on to air throughout the world from Asia to North America. By 1989, in the midst of economic and politi cal turmoil, classic Superbook®

began broadcasti ng in the Soviet Union to astounding results. When the series aired during primeti me on the Soviet Nati onal Channel, CBN received over six million lett ers from children.

Since fi rst airing in Japan, the classic Superbook® series has been broadcast in over 106 countries, translated into 43 languages and viewed by over 500 million people.

WHY SUPERBOOK® REIMAGINED“It’s ti me to produce a new series that will honour the life-changing legacy of the original animated series and re-introduce it to a new generati on.” –Gordon Robertson, Executi ve Producer

Superbook® Reimagined teaches children around the world ti meless moral truths and life lessons through these capti vati ng, Bible-based adventures. The familiar and the futuristi c interact with ancient people, places and events to create a sense of wonder, anti cipati on, empowerment and personal breakthrough as the children witness God’s involvement with man.

Currently, there are 34 episodes produced and counti ng.

STUNNING 3D CGI Superbook® is produced and created by a team of arti sts and storytellers whose credits include Mulan, Beauty and the Beast and The Lion King. The brand is fully interacti ve with curriculum, web, gaming and mobile applicati ons.

The series has already aired on networks such as ABS-CBN (Philippines), RCTI (Indonesia), America TV (Peru), Azteca America (USA), and Planet Kids (Italy).

GLOBAL IMPACTSince the fi rst broadcast in 2013, Superbook® Reimagined has broadcast to over 252 million viewers in 90 nati ons across the globe. Reaching children on all platf orms, the Superbook® app has over two million downloads to date.

CBN AFRICA PROGRAMMINGSuperbook® is not the only programme that CBN AFRICA has to off er! Look for these other programmes in CBN AFRICA’s catalogue: 700 Club International and Turning Point.

UPCOMING LAUNCH!Don’t miss Superbook® coming soon to South Africa’s e.tv network. Launching September 18, Superbook® will air at 08:30 every Sunday.

AN ANIMATION THAT’S FUN FOR THE WHOLE FAMILYJoin Chris, Joy and their robot friend Gizmo as they travel back to Bible times to relive the greatest stories ever told! Superbook® takes children, ages 6 and up, on an exciting journey to meet the heroes of the Bible while teaching valuable life lessons like honesty, courage and respect.

CBN AFRICA: CAPE TOWN (HEAD OFFICE)

Tel: +27-(0)21-7011-776/732 Email: [email protected] Website: www.cbnafrica.org

Superbook ® : In the Beginning, Courtesy of CBN Africa

A hot topic at the moment for filmmakers is the subject of Virtual Reality and how this will play out in the film space. Leading a workshop on this topic is Ingrid Kopp who is Director of Digital Initiatives at the Tribeca Film Institute in New York City where she overseas the TFI New Media Fund and leads the Institute’s digital and interactive programmes including TFI Interactive and

the national Tribeca Hacks hackathon programme.

Todd Brown, founder of the international film website TwitchFilm.com, and director of international programming at Fantastic Fest in Austin, Texas, USA, will present a masterclass on “Using Short Films to Build Brand and Audience”.

Other workshops and masterclasses include “Video on Demand - How Filmmakers can access this New Distribution

Stream”, “Where Social Media and Marketing Meet”, “New Strategies for Financing Independent Film”, “Presales Agreements: Creating value for your investors”, “Talking Through Completion Bonds with Film Finances SA”, “Building Relationships, Building Stories: What to expect and what you get in the editor/director collaboration” with SA Guild of Editors and “How to Pitch and Not Fall Flat on Your

Face” with Restless Talent. Round-table discussions will include “Finding the Right Partner for Film” with industry professionals and “Window to the World” with international festivals and markets to enable delegates to grow and establish their networks across the continent and further afield.

The National Film and Video Foundation of South Africa, will present a number of sessions including “Financing

Finance meets Creative ExpressionWe o�er �nance and accounting services that allow creatives to actualize their vision with

excellence by applying our knowledge and skill to ensure their business success. We contribute to the creative process through the following:

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As I Open My Eyes The JourneyMen – Beaufort West

FEATURE / 43www.thecallsheet.co.za

Film through Distribution” and “Marketing and Co-Production with Netherlands”.

“We are really pleased with the programme for this year’s DFM,” says Toni Monty, Head of the Durban Film Office which partners with the DIFF to present the DFM. “The topics and speakers are all on point in terms of what is happening in the industry on a global level and we look forward to hosting delegates for an exciting four

day programme, networking, negotiating and film loving!”

Partners and supporters of this year’s DFM include AfriDocs, Berlin Talents Campus, Business Model Canvas, The Callsheet, CineMart, Documentary Filmmakers Association, DTI, Durban Tourism, Dutch Film Fund, Film Finances SA, Film and Publications Board, French Embassy, German Embassy, Goethe-Institut, Hot docs Blue

Ice Fund, Institut Francais, International Documentary Film Festival Amsterdam, KUMISA, KZN Film Commission, Mnet, National Film and Video Foundation, Opdocs, OIF, Produire au Sud, Restless Talent Management, SABC, SAGE, Sonoton, Sørfond, Sundance Institute, Talents Durban, Tsogo Sun, Tribeca Institute, Versfeld & Associates, Variety and VideoVision Entertainment. ZCFO Advert 203x136.fh11 5/13/16 3:39 PM Page 1

Composite


I Shot Bi Kidude Endless River © Dook Photo

WE ARE REALLY PLEASED WITH THE PROGRAMME FOR THIS YEAR’S DFM. THE TOPICS AND SPEAKERS ARE ALL ON POINT IN TERMS OF WHAT IS HAPPENING IN THE INDUSTRY ON A GLOBAL LEVEL.

Now also offering services in: Ethiopia, Namibia, Angola, Djibouti, South Sudan and Eritrea

2016 Callsheet Half Page.indd 1 2016/05/11 11:27:10 AM

44 / LOCATION SPOTLIGHT www.thecallsheet.co.za

Namibia is an incandescent jewel in the African landscape. Not only is it a major African

diamond producer, endowed with shimmering sand dunes, but it also boasts an incredible 300 days of sunshine a year. It is more than six ti mes the size of England and comparable to Pakistan and Mozambique in area. This southwestern African country of 825 418 km2 with its arid landscape is adjacent to Botswana, borders South Africa in the south, while Angola and Zambia border it to the north.

The UNESCO World Heritage

employment for 544 Namibians. South Africa, Germany, the United Kingdom, the United States, and France mostly use Namibia’s unique locati ons for their producti ons. Commercials have displayed the most growth, followed by documentaries. The latest big producti on to be shot

partly in Namibia is The Mummy. This just shows that Namibia is ready for producti ons of any size.

Namibia is currently working on an incenti ves programme to draw foreign investment to the country. Besides providing local funding for short fi lms, features, documentaries and low budget

NAMIBIAMesmerising locales, by Imogen Campbell.

Site, The Namib Desert, runs along its enti re Atlanti c coastline. Though rugged, it has so much to off er a discerning fi lmmaker. Magnifi cent fi lming vistas of the desert, Africa’s largest canyon - the Fish River Canyon, Skeleton Coast and Swakopmund all boast unique merit.

Namibia Film Commission confi rmed that since 2010 there has been a notable increase in fi lm projects done in Namibia. Due to its aggressive internati onal marketi ng strategies, the Namibia Film Commission (NFC) att racted 115 foreign fi lm producti ons creati ng

© Namibian Tourism Board

LOCATION SPOTLIGHT / 45www.thecallsheet.co.za

www.namibfilms.com

No matter what size your production, there is really only one choice in Namibia…

Callsheet 2015 Cannes.indd 1 15/04/2015 14:50:13

Florian Schott is a German-born fi lmmaker living in Namibia since 2009. He has worked in the fi lm-business since 2002 and as a First Assistant Director all over the world. In 2012 Florian wrote, produced and directed his self-fi nanced Short Comedy Everything Happens For A Reason, which won the Afrinolly Short Film Competi ti on in Nigeria in 2014 as well as the Awards for Best Director and Best Editor (Haiko Boldt) at the 2014 Namibian Theatre & Film Awards.

Florian directed and co-wrote his fi rst feature fi lm in 2014, Katutura, an Acti on Drama set in Namibia’s famous township, produced by Tulinane Entertainment.

FLORIAN SCHOTT - FILM DIRECTOR

Florian Schott , German-born fi lmmaker

fi lms, the Commission issues fi lm and photography permits and assists with informati on on locally available talent, crew, producti on resources and faciliti es, visas, locati on scouti ng, aviati on services, catering, security, transport, Nati onal Parks, accommodati on,

telecommunicati ons, and the use of indigenous communiti es.

Namibia delivered splendidly with Mad Max: Fury Road. It catapulted its locales into the hearts of a mesmerised audience and was lauded during Oscar acceptance speeches. This sun-drenched locale has a populati on

density of about 2.6 people per km2 and guarantees seclusion.

It is also one of the more developed countries in Africa and therefore has infrastructure to support a producti on. Currently it doesn’t have fi lm studios or tax incenti ves for foreign fi lms and commercials.

Mad Max: Fury Road © Warner Bros Entertainment 2014

crew that they already have worked with, ranging from production assistants to local HODs. She said that first-time foreign productions are usually a bit hesitant, but will obtain CVs and references for their own peace of mind, especially with regard to any HOD and technical crew positions. She said that the local drivers are very popular as they also double as tour guides. She added that some of their local crew had been mentioned during the recent Academy Awards with regard to Mad Max: Fury Road.

Guy Nockels of Namib Films and Desert Ace said that at the moment Namibia is flooded with fashion stills shoots, most of them focusing on the famous red Dunes of Deadvlei, but that they are also busy with a number of reality television shows, particularly in the survival genre.

46 / LOCATION SPOTLIGHT www.thecallsheet.co.za

CLIMATE

It is mostly desert and therefore exhibits typical weather for such a climate. Rainfall is sparse; with the north-eastern areas of Namibia getting the most rain.

GETTING THERE BY AIR

Major Airport and airlines flying in: Hosea Kulako International Airport is the aerial hub for Windhoek. International airlines include:

• South African Airways• British Airways• Air Namibia• Kulula.com • Condor • Lufthansa

POPULATION

2 212 307 (Estimate July 2015) Source: World Fact Book

Namibia’s population comprises the demographic groups as follows; Black 87.5%, White 6% and Mixed 6.5%. This characterises the looks available to use on a shoot. Neighbouring South Africa has expertise and diversity that is easily accessible to crews shooting in Namibia.

CONTACTS

Namibia Tourism Board Tel: +264 61 2906000Email: [email protected]: www.namibiatourism.com.na

FIXERS IN NAMIBIA

Lemon Reel Film Services Tel. +264 81 122 7717Email: [email protected]: www.lemonreel.com

Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec

40°C

20°C

0°C

Max temp Min temp

Average Min and Max Temperatures in Windhoek, Namibia

© www.weather-and-climate.com

© www.weather-and-climate.com

400mm

200mm

0mmJan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec

Average Monthly Hours Of Sunshine Over The Year

FEATURE FILMS SHOT IN NAMIBIA THAT CONTRIBUTED LARGELY TO THE COUNTRY’S ECONOMY:

• Mad Max: Fury Road• 10 000 BC• The Prisoner• Gallowalker• The Cell• Flight of the Phoenix• Beyond Borders• The Young Black Stallion• Dhoom 2• Dust Devil

Namibia’s small film industry does not really receive much funding and Namibian stories have remained relatively untold, however, its first feature film Katutura was released in 2015.

Anke Stier at Crew-Hub says that foreign productions, that have shot there before, like to make use of the local

© Namibia Film Commission

Namib Sky Balloon Safaris

FIXERS OF NAMIBIA: DESERT ACE

Contact person: Stella Onesmus | Tel: +264 64 46 3371 | Fax: +264 64 46 1993E-mail: [email protected] | Website: www.desertace.com.na


African fi xers have the know-how and connecti ons to provide the silver

bullet to defuse any problem encountered. The Callsheet compiled a list of Africa’s seasoned professionals with a special focus on Namibia’s Guy Nockels at Desert Ace and Bernd Curschmann at Lemon Reel Film Services cc.

Guy Nockels stated that

their group of companies have been fi xing/facilitati ng internati onal producti ons since 2000. With an experienced staff and a CEO, who has been acti ve in the industry since 1973, they have tremendous local and industry knowledge. The group has serviced over 300 various producti ons in Namibia, from Hollywood and Bollywood feature fi lms to documentaries, reality television,

commercials and music videos. Lemon Reel fi xed for clients

in Indonesia, Qatar, Ethiopia, Kenya, Tanzania, Angola, Namibia, Ghana, Germany, Austria, Cuba, Burundi in the last year. Locati ons that are new, unseen or have a reputati on are now in demand and that these areas are accessed through on the ground fi xers that can work without the backing of a big offi ce crew. Lemon Reel has

built up stock of a variety of equipment to make the job easier and cheaper for the clients.

As fi xers they deal with logisti cs that take the worry out of language barriers, local and cultural customs and deal as quick as possible with bureaucracy and paperwork, sourcing all the elements that a fi lm crew needs to work within its budget and deadlines to create an amazing product.

FIXERS IN AFRICA Troubleshooters with a silver bullet, by Imogen Campbell.

NAME COMPANY NAME

REGION TEL. EMAIL SPECIALITY

Helen Atty Two Seas Tv Western Cape, South Africa

+27 21 801 0986+27 82 728 9818

[email protected] 15 years’ experience in producti on of television series and commercials.

Karen Brooks Freelance Gauteng, South Africa

+27 83 259 6324 [email protected] Line producer, wildlife fi xer and researcher

Margie McMahon

Freelance Africa +27 82 557 63 21 [email protected]. Line producing, locati ons, logisti cs, equipment

Jason Merle Banana Boys KwaZulu-Natal, Mauriti us

+27 73 747 9311 [email protected] Locati ons and Logisti cs

Derrick Kibisi Talking fi lm PRODUCTION

Uganda & Rwanda +25 6792 902 991 [email protected] Locati on Scouti ng and fi xing.

Bernd Curschmann

Lemon Reel Film Services

Africa and abroad + 264 81 122 7717 [email protected] Services such as locati on scouti ng; visa’s & permits, accommodati on, crew, transport/travel, casti ng, equipment and much more.

Tamer Abbas Egypt producti ons LLC

Egypt +20 2 2415 3830 [email protected] Comprehensive services including scouti ng, permissions and paperwork.

Janice Beatty African Environments

Arusha, Tanzania +255 784 506 600 [email protected] Fixing services required for a shoot. Experti se covers a range from blue chip wildlife to a BBC comedy series..

Jean Hartley Viewfi nders EPZ Ltd

Kenya +254 716 875 928 [email protected] Facilitati on, documentary fi lm crews, permits.

Khalil Lougmani Magic Pictures Morocco +212 37 29 67 86 [email protected] Locati on scouti ng, equipment and other services.

Guy Nockels Magic Touch Films

Namibia +264 64 46 3371 [email protected] Extensive local and fi lm industry knowledge.

EVENTS TO DIARISE / 49www.thecallsheet.co.za

Gardens Centre+27 21 461 [email protected]

Large Format Digital Printing Flatbedcanvas callsheets ABSposters contact cards glass banners brochures wood plans booklets perspex wallpaper business cards chromadekwindow vinylwindow vinyl graphic design foam board Open late!

Constantia Village+27 21 794 [email protected]

V&A Waterfront+27 21 419 [email protected]

Tygervalley Centre+27 21 914 [email protected]

Stellenbosch Eikestad+27 21 883 [email protected]

JULYINDIE KAROO FILM FESTIVAL 1 - 3Prince Albert, South Africa

TAIPEI FILM FESTIVAL 9 - 14 Taipei, Taiwan

ZANZIBAR INTERNATIONAL FILM FESTIVAL9 - 17Zanzibar City, Tanzania

PLETT FOOD FILM FESTIVAL 11 - 13Plett enberg Bay, South Africa

GIFFONI FILM FESTIVAL15 - 26Giff oni Valle Piana, Italy

SAN FRANSISCO FROZEN FILM FESTIVAL 21 - 24San Francisco, USA

PERIPHERY OF EMPIRE SHORT FILM FESTIVAL – 7TH EDITION 22 - 31 Sessa Aurunca, Italy

JAPAN FILM FESTIVAL OF SAN FRANCISCO23 - 31San Francisco, USA

JUNEENCOUNTERS SOUTH AFRICAN INTERNATIONAL DOCUMENTARY FESTIVAL 2 - 12Cape Town, South Africa

MIDNIGHT SUN FILM FESTIVAL 15 - 19 Sodankyla, Finland

AMERICAN BLACK FILM FESTIVAL 15 - 19 Miami, USA

DURBAN INTERNATIONAL FILM FESTIVAL (DIFF)16 - 26Durban, South Africa

DURBAN FILMMART 17 - 20Durban, South Africa

BRUSSELS FILM FESTIVAL 17 - 24Brussels, Belgium

MUNICH FILM FESTIVAL23 - 2 July Munich, Germany

EAST END FILM FESTIVAL 23 - 3 July East London, UK (various venues)

ISCHIA FILM FESTIVAL 25 - 2 July Naples, Italy

BERLIN SHORT FILM FESTIVAL 30 - 4 JulyBerlin, Germany

GRAHAMSTOWN NATIONAL ARTS FESTIVAL 30 - 10 July Grahamstown, South Africa

Tell Me Sw

eet Something, Courtesy of UIP

coproduction/ co-financing markets and scheduled to be held from 15–17 September. It invites producers to submit projects and industry organisations to register. The deadline is 26 June 2016.

This year the focus is on dramatic feature film, television, and digital fiction series projects created for new and emerging platforms including projects in all stages of development. It will include 50 producers worldwide, representing a ‘best in class’ roster of officially selected projects.

It offers a full agenda of 25 minute, pre-scheduled 1-2-1 meetings with investors, broadcasters, distributors and sales agents as well as participation in investor and coproduction focused roundtable sessions etc.

For more information about the Trans Atlantic Partners producers, go to www.coproduction-training.com

For additional submission details please see: nfvf.co.za/home/index.php?ipkArticleID=447

50 / OPPORTUNITIES www.thecallsheet.co.za

INSTIDOC: APPLICATIONS FOR FILM SUBMISSIONSThe third edition of the INSTIDOC – Ciclo do Documentário Institucional, a festival of institutional documentaries takes place in October 2016 at CCFM (Centro Cultural Franco-Moçambicano) in Maputo, Mozambique.

Applications for film submissions for INSTIDOC are now open and will close on July 15th, 2016.

The festival aims to promote a platform for the exhibition of national and international productions focusing on areas such as Human Rights, Health, Education, Religion, Politics and Society, Economics, Culture, Sports, Nature and Sustainability, among others.

Contributors include producers, independent filmmakers, governmental and non-governmental organisations, and other profit and non-profit organisations.

For more information, please follow Facebook or check the regulation and registration form on: instidoc.files.wordpress.com/2016/03/instidoc_ficha-de-inscricao_registration-form_2016.pdf

OR instidoc.wordpress.com

2016 SOUTH AFRICA HORRORFEST SUBMISSIONSThe Horrorfest will celebrate its 12th edition in 2016!

The first round deadline is 1 July 2016. The late submission period is 2 July – 1 September 2016

All submitted Feature Films and Short Films will be viewed by the selection panel, and if chosen will be screened at the SA HORRORFEST. Official Selection status will be awarded and various winning categories selected where deemed fit.

Entrants are exhorted to read the submission requirements carefully.

Submission Formats: • DVD-PAL viewing copies (x2)*• Plus 1 data disc containing:- SD or HD QuickTime file (25fps)* / High Quality H2645 .mov file (mp3 audio, 25fps) or - SD or HD Windows AVI (25fps)*Please note: If the film’s spoken language is not in English, English subtitles must be hardcoded / burned into the film and not supplied as a separate track or file.

Short film running time should not exceed 30 mins.

For physical entry submission details and more information please see: www.horrorfest.info/subform.html

NATIONAL FILM AND VIDEO FOUNDATION (NFVF): 2016 PRODUCER PROJECT SUBMISSIONS / INDUSTRY REGISTRATIONS NOW OPEN! Strategic Partners 2016 is one of the world’s most established

OPPORTUNITIES: JUNE

Horrorfest Promo Trailer screengrab © Horrorfest

© Instidoc 2015

ASSOCIATIONS NEWS / 51www.thecallsheet.co.za

SOS, MMA TO CHALLENGE PRIVATISATION AND MONOPOLISATION OF PUBLIC AIRWAVES

The SOS and MMA have lodged an appeal to the Competition Appeal Court with regard to the judgement as passed down by the Competition Tribunal on 11 February 2016. The appeal is due to the contractual agreement that arose between the SABC and Multichoice Africa (MCA) and the resultant use and transfer of control over the SABC’s archives.

The appellants believe that the SABC had handed over control of a considerable proportion of productive capacity and decision-making authority over signifi cant policy positions to MCA. This constituted a notifi able merger between the national broadcaster and its direct competitor.

Their concern about this SABC- Multichoice relationship is about the public broadcaster entering into business arrangements that seem to edify a subscription broadcaster’s growing monopoly over content services. It also seems to assist it to profi t from public institutions operating out of public resources.

As a matter of principle, they state that they cannot allow the capture of the national public broadcaster, the SABC by private interests.

The following were points of concern: • They cannot allow

commodifi cation, privatisation and monopolisation of South African airwaves and content archives by subscription broadcasters.

SUPPORT PUBLIC BROADCASTER (SOS)

Another Digital Terrestrial Television (DTT) victory for South Africa’s poor.

Minister of Communications, Faith Muthambi recently announced the de-linking of the TV licence requirement from the STB subsidy registration process. This effectively means that it will reduce the burden on South Africa’s poor. It will also accelerate and widen their ability to access set-top boxes so that no one is left behind in the digital migration project.

The minister also confi rmed commitment that South Africa would only announce the analogue switch-off date once 80% of households have been migrated to DTT. This would be different to some other African jurisdictions where a switch-over resulted in thousands of households left without access to television services.

Though good news, it does not solve problems relating to the migration which impacts dearly on the free-to-air market. Every day there is a delay in migration, it causes more viewers to cross-over to subscription packages and this could result in a two-tier system of broadcasting. The net result is that only those who can afford it have access to rich and diverse content services leaving the poor behind.

SASFED: SABC CANCELS REQUEST FOR PROPOSALS (RFP) BOOKS

The SABC has stated that it has established in house production capabilities enabling it to produce more new local content for the SABC1, SABC2 and SABC3 platforms as well as some planned new “language based” TV channels for digital terrestrial television (DTT).

It will therefore scale back already reduced international content on its three entertainment channels favouring locally produced content. SABC‘s Hlaudi Motsoeneng explained that the SABC is getting rid of the Request for Proposals (RFP) book. This also means the reduction especially of American shows and movies on these stations.

Buying less international content means a reduction on content impairment costs on the SABC’s balance sheet in favour of local content commissioned by the public broadcaster. Effectively, this means that it can also repeat content it owns multiple times and sometimes also license to other broadcasters for residual income.

On the other hand, the move can endanger its existing relationship with various international content distributors. International TV content acquisition is also about business relationships alongside personal dealmaking.

• This means that the public is expected to pay for the informative, educational and entertainment content that should be accessed openly and freely because they are in the public domain.

• Most importantly, they cannot allow the type of deal to happen seemingly in darkness under the guise of commercially sensitive information. Public resources managed by public institutions must be made open and transparent and be available for public scrutiny.

SOUTH AFRICAN GUILD OF EDITORS (SAGE)

SAGE has released a contract framework for freelancers. Compiled in partnership with their legal team, it was specifi cally drawn up for post-production professionals acting as independent contractors and who are also provisional taxpayers. It therefore does not cover fi xed-term or full-time employment.

SAGE advises members to familiarise themselves with the Labour Relations Act and Basic Conditions of Employment Act and Amendments so as to make the distinction as to whether a position is indeed a Contract of Work and not a contract of Employment. The contract is designed to protect both parties as much as possible.

Namib Sky Balloon Safaris ©

Cedric Jacquet

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