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| DOCUMENTARY
Documenting Aids in Africa
By Martin Chemhere
AIDING THE ISSUE – Gideon Mendel interviewing an Aids victim
S
ince 1993 Gideon Mendel has
photographed and explored the
complex issues surrounding HIV/
Aids transmission in Africa, and
his groundbreaking work is widely
recognised in the fields of photography
and film.
More recently the London-based South
African photojournalist and documentary
filmmaker expanded his focus to cover
climate change.
“I have been documenting the impact
of HIV/Aids in Africa and worldwide for
more than 17 years, working in 10
different countries to show the many ways
the disease has devastated the lives of
millions of ordinary people,” he says.
He quickly adds: “Not all my film work
is directly related to HIV issues. Since
2009 my collaborative and film work has
included climate change projects, with my
most recent film about the floods in
Pakistan exhibited at the 2010 Climate
Conference Summit in Cancun, Mexico.”
Mendel says he is not a conventional
documentary filmmaker. His work
combines activism, photography and
filmmaking in documenting images for
showcasing in gallery spaces, television or
the Internet.
His work can be termed interactive.
Many of his projects have included multimedia components such as recorded
location sound, animated stills and
panoramic images. The final products
have ranged from poster sets and booklets
to short films and website presentations.
Through magazine publications,
multimedia web and video presentations
and his book, Mendel has been
commended for empowering his subjects
rather than representing them as objects
of pity.
How does he find it working with
people affected by HIV/Aids? “It’s a big
challenge to work on difficult issues such
as confidentiality,” he says.
“I am not trying to be a filmmaker
neither am I competing with conventional
documentary filmmaking; I am a
photographer just bringing a photographic
eye to documentary filming.
“My work is a response to the current
convergence in photography and film.
The same cameras are capable of
producing high quality stills and video
and the web is an important place to
showcase and view film. I am enjoying
the new storytelling possibilities presented
by these technological developments.”
Most of Mendel’s film work has been
linked to photographic projects and
presented either in a gallery or on the web.
His only work so far to be broadcast on
television is a series of short films made in
2003 entitled The Harsh Divide about the
issue of access to life-saving Aids
treatment in South Africa. The films
were broadcast on Channel 4 in the UK.
Born in 1959 in Johannesburg, he
studied Psychology and African
Economic History and started as a
freelance news photographer in 1983.
Considered one of the world's foremost
contemporary photojournalists, he laid a
solid career foundation documenting
social change and conflict in South Africa
during the lead-up to Nelson Mandela's
release from prison. In 1990 he moved to
London and there he began to document
social issues in Africa and globally using
moving and photographic images.
His HIV/Aids films shed extraordinary
light on the lives of HIV positive people
around the world. His photography has
won several World Press Photo awards
and in 1996 he received the prestigious
Eugene Smith Grant award in New York
for his work on Aids in Africa.
Despite living in London, Mendel
regularly returns to Africa to engage in
substantial documentary work. In
Zimbabwe he shot images about HIV/
Aids transmission in Chirundu, which is
on the border of Zambia and Zimbabwe.
Lesotho Voices, a series of seven short
films made with UNICEF focuses on the
issue of Prevention of Mother to Child
Transmission (PMTCT) of HIV. Each
film tells the story of one mother in
Lesotho who is living with HIV.
We are Living Here is a long-term
project documenting the intimate lives of
five individuals all living with HIV, who
receive life-saving antiretroviral
medication in the Lusikisiki district (a
remote, rural part of South Africa).
Looking Aids in the Face – In the Picture
with Gideon Mendel is a video of a recent
talk given at the Frontline Club about
Mendel’s work on HIV/Aids in Africa.
Kenyan Voices, a series of short films
made with nine young people exploring
their experience of living with HIV today,
provide insight into the stigma and
hardship these young people face, as well
as the hope that they have. Each film
starts with a still image that makes a
startling transition to video that explores
their environment and reveals something
beyond the photograph.
Mendel has produced many films about
the effect that Aids has on people in
Swaziland, South Africa and Uganda.
For Through Positive Eyes he filmed 17
HIV positive people from Johannesburg
who shared their lives through
photographs, film and text. The project
was also shot in Mexico City and Rio de
Janeiro and he will travel to Chennai,
Kiev and New York City.
Over the next two years HIV positive
people in six countries and on five
continents will take part in this unique
initiative to create powerful personal
photo essays. These images will be used
to create local and international advocacy
materials for exhibitions, short films, a
book and a website.
He explains that in each project city he
works closely with a local organisation of
people living with HIV/Aids. This local
organisation selects a group of HIV
positive people who are committed to
sharing their status publicly to fight
stigma.
Next he travels to the home or
workplace of each participant to make a
portrait and to film them in personal
surroundings. The result is a set of
sensitive, dynamic, colorful images and
video clips that reveal a great deal about
each person’s life.
States Mendel: “Alongside the visual
process, we record interviews with each
participant, asking them to share lifestories, experiences and challenges they
have faced living with HIV/Aids. Their
words are not intended as a tool for Aids
education, but rather as an opportunity
for self expression. The interviews are
transcribed so that they exist in both
audio and text format. In the end we have
a collection that combines portraits and
film with the remarkable photo essays
created by each HIV-positive artist.”
In November 2010 he presented his
work at The Bioscope, Johannesburg.
March 2011 | SCREENAFRICA | 43
TELEVISION |
Uncovering treasure
in Cape Town
By Karen van Schalkwyk
During December,
filming was completed
in Cape Town on the
international television
series Treasure Guards.
The overseas producers
were very enthusiastic
about their experience
of crew
and locations.
T
reasure Guards was commissioned
by German broadcaster
ProSiebenSat1 and Italy’s
Mediaset. British filmmaker
Iain B Macdonald (Mansfield Park;
Survivor) directed the series which was
written by Richard Kurti and Bev Doyle
(The Lost Future; Survivor).
Executive producers are Jonas Bauer,
Rola Bauer and Tim Halkin and
supervising producer is Vlokkie Gorden
from Film Afrika Worldwide with
producer Moritz Polter from the Emmy
and Golden nominated company Tandem
44 | SCREENAFRICA | March 2011
Communications (The Pillars of the
Earth; The Lost Future; Rings of the
Nibelungs).
Polter says that this is the second
production that they have shot in
Cape Town. “The first was The Lost
Future. We have always had an
incredible experience shooting here.
The crews are fantastic and the
scenery incredibly diverse. We also
take advantage of the DTI
(Department of Trade & Industry)
rebate which helps, however the
strength of the rand may cause issues
down the line. The films that we do
are high end with budgets of about $6
to $7m. Tandem Communications is
also a distributor and has pre-sold the
series in Italy, Germany, Eastern
Europe and Spain.”
The diversity of locations offered by
Cape Town impressed Polter. “We had to
replicate The Vatican, Italy, Europe and
north Africa. This script’s action
sequences required a lot of special effects.
The story follows a woman archaeologist
Victoria Cater on a dig in Hebron where
she discovers an ancient scroll that may
lead her to Solomon’s Diamond mines.
When the scroll is stolen from her, she
teams up with an agent from a covert
Vatican organisation known as the
Treasure Guards. Together they embark
on an adventure across Europe and north
Africa.”
Polter speaks highly of the actors who
had to cope with action work and tight
shooting schedules – three to four scenes
a day. The international cast includes
Anna Friel (Pushing Daisies), Raoul Bova
(The Tourist; The Company) and South
African actors Patrick Lyster, Andre
Jacobs and David Sherwood.
Thomas Von Hennet of ProSiebenSat1
is enthusiastic about Cape Town as a
location. “It can replicate any part of the
world. The time zones to Europe make
sense and the crews are very hard working
and professional. I think the willingness
of the crews make a huge difference. The
economic situation works to our
advantage and the technical proficiency is
world class.”
Polter says that the international
market is tough. “It is getting more
difficult to recoup money but one has to
be clever about structuring deals.
Predominantly we make action adventure
films. The big challenge with this film is
that we shot it in 24 days.”
Iain Macdonald was chosen to direct
based on his international style. “He has
worked on very diverse projects and is
very versatile. We also shot on the Alexa,
the new Arri digital camera. We have a
great relationship with it and even though
it is always risky to shoot on a new
camera, there were many advantages
about going this route.”
Von Hennet says that there are several
reasons why they commissioned and coproduced Treasure Guards. “We have
worked with Tandem Communications
for many years and have a great
relationship. Two or three years ago we
worked with them on Lost City Raiders
with Cape Town-based DO Productions.
We also co-produced The Pillars of the
Earth with Tandem.
“It was a pleasure working with Film
Afrika Worldwide on this film and the
local production and facilities companies
are fantastic,” he says.
| TELEVISION
DOP speaks Alexa
The new Arri Alexa was the camera of choice on Treasure Guards. Here
cinematographer Trevor Brown discusses his experience using this camera for the
first time.
O
ne of the first things Trevor
Brown (Winnie; Blue Crush;
Lord of War; 10 000 BC –
camera operator) points out
is that the Alexa is similar to a film
camera. “All you need is the battery to
shoot. It’s also valuable knowing the setup
time of the camera is quick which enables
you to discuss a shot or grab quick
moments without having to wait,”
explains Brown
This was the first time that Brown had
shot on the camera and he was excited by
the prospect. “As the shoot was an
adventure movie on a tight schedule, I
knew we would be pushing the camera to
its limit in fairly rough terrain and in all
weather conditions. The camera is
compact, rugged and easy for rigging
purposes.”
Brown maintains that the colour
rendition, low noise ratio and latitude of
the camera are key benefits. “It is also
versatile, compact and budget friendly and
allowed us to work quickly and efficiently,
creating different looks throughout the
film with fantastic results.”
The story takes place in Italy, London,
FIRST IMPRESSIONS – The Arri Alexa camera
Tunisia and Egypt and on some fantastic
sets. This gave us a lot of freedom to
create interesting looks for the different
locations. We also had a fair amount of
green screen to shoot and the sensitivity of
the camera made it much easier as we did
not have to light as much of the scene as
we usually do as the censor reads green
screen well at 400 ISO.
“The camera menu is simple and quick
to implement your requirements. The
options the camera offers in terms of ISO
ratings and colour temperature are hugely
beneficial. You can manipulate your
colour temperature on camera according
to your personal requirements which
enables you to get closer to the look that
you’re trying to achieve.
“The camera’s flexibility allows you to
choose ISO ratings between 160 and
1 600. Depending on your requirements
this allows for less lighting needed. If you
were shooting a night exterior and wanted
to use available light –– say city lights in
the background –– then the lighting you
would use to supplement for your artists
wouldn’t necessarily have to be big units.
The same goes for interior sets where all
the lighting is controlled.
“Having said that, it depends on the
look you’re trying to achieve in terms of
depth of field and the amount of noise
that you’re prepared to tolerate. In my
opinion a noise rating of higher than 800
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can be quite noisy,” says Brown.
He maintains that the major advantage
of using the camera is the post-production
process. “The convenience of the post
workflow whether you’re shooting REC
709 or LOG C. Data is recorded onto
SxS cards which can then be downloaded
onto a Mac and viewed immediately. This
saves costs.”
While Brown is impressed by the
Alexa, he suggests that like all new tools
there are teething problems. “Arri is
addressing these problems but this doesn’t
stop you from getting great results.”
With the Alexa the rushes can be
viewed immediately. “This is hugely
beneficial if there is any doubt or
discrepancy over the material you have
shot. It also allows you to shoot a test and
view it on set if you want to do something
different maybe with a shutter angle and
camera speeds and you are worried about
flicker. It is not something that you would
want to do regularly but it is helpful
knowing that the facility is there.”
Brown believes that digital filmmaking
is here to stay. “It is still a new medium
and the advances being made are
definitely heading in the right direction.
But digital will never replace the
aesthetics of film –– they are two very
different mediums. But at the end of the
day if you’re telling a story and you can
understand and manipulate your images,
you will end up with a very pleasing and
beautiful result.”
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FESTIVAL |
A film festival devoted to the projects of young people in the Eastern Cape was launched in Port Elizabeth
in December 2010. It was so successful that it will now become an annual event.
By Martin Chemhere
festival
PE launches film
T
he first South Africa Youth
International Film Festival
(SAY IFF) was launched this
year and ran from 6 to 12
December in Nelson Mandela Bay, Port
Elizabeth.
Festival director Bryony Roughton
states that: “Overall we were thrilled with
the success of the festival, especially as a
first time event of this nature in Port
Elizabeth.”
She adds that the success of the SAY
IFF stems largely from its association
with the Nab'Ubomi Inter-School Short
Film Competition, which has been
running for the past four years in the
Eastern Cape. It already has significant
support from the Department of
Education, the SABC and the
National Film Video Foundation
(NFVF).
“By linking the final stages of the
Nab'Ubomi project (the premier
screening of 14 short films made by
youths in schools across the Eastern Cape
along with the Nab'Ubomi Awards
Event), we were able to pull a large
audience at the start of the festival.
“We also secured a 100-strong
Nab'Ubomi delegation to attend the
festival, which was sponsored by the
Eastern Cape Department of Education.
This delegation formed the foundation of
the festival audience and is something
that we hope to continue in future,” says
Roughton.
SAY IFF’s vision is to find, nurture
and develop talent for the film and
television industry by connecting with
young people at the start of their careers
46 | SCREENAFRICA | March 2011
to create a better understanding of the
industry, how it works, the challenges,
various career options and different career
paths that exist.
The festival showcases films made by
young South Africans alongside those of
young people in other countries.
“We also want to connect the dots, so
to speak, between young people looking
to enter this industry, those already
studying, those already working in the
industry and the main industry players
who should keep an eye on rising talent,”
adds Roughton.
About 250 people registered for the
weekend and the festival also had
screenings in libraries and community
venues in the week leading up to the
festival where 150 people attended.
Sets of films from specific countries
and projects included Nab'Ubomi 2010
films (14 short narrative films made in the
Eastern Cape); Angeläget (12 short
documentaries from Sweden); Future
Film Festival (selection of short films from
the British Film Institute); Northern Stars
(series of shorts from the Northern Stars
Film Academy in Newcastle, England);
Amandus (a selection of award winning
films from Norway, featured at the 2010
Amandus Film Festival); Media Education
Centre in Belgrade, Serbia (another
selection made through the centre); The
Factory (a selection made by youth at The
Factory in California); and Beyond Borders
(a series of documentaries looking at how
young people cope with conflict made by
youths around the world including
Jordan, Korea and Afghanistan). A few
short films from Germany and the Congo
were also featured.
In addition space was created to show
student films from some of the main
tertiary institutions in the Eastern Cape
including Nelson Mandela Metropolitan
University, Rhodes and Walter Sisulu
University among others.
Roughton says as a debut festival the
biggest challenge was dealing with
international couriers to get the film
Africa United to the event in time for its
first screening in South Africa. The film
has caught attention overseas but had not
yet been screened in South Africa, despite
its strong connection with South Africa,
and it was the ideal feature film to
premiere at the youth festival.
“Logistically it's a challenge to run a
complex event first time round – we had a
core team of six people leading up to the
event. This expanded to 18 people and
various other key people facilitated
peripheral elements of the festival.
It was a complex event to facilitate but it
went off with only a few minor hiccups,”
he says.
Roughton says that it is always a
challenge convincing partners and
potential partners that an event like this is
possible and that you have the right team
to do it.
Several partners got involved including
primary sponsor the Nelson Mandela Bay
Municipality (Film and Music Office).
The Eastern Cape Department of
Education is another main supporter and
the SABC Industry Development and the
NFVF are supporters as an extension of
their support of the Nab'Ubomi Project.
SAY IFF also worked with NMB
Libraries, the Mandela Bay Development
Agency, Nelson Mandela Bay Tourism,
Bay FM, The Swallows Partnership and
NMMU in various ways during the
project’s roll out.
Roughton says after the success of the
first event, they expect more support from
their provincial government and film
office as well.
“We knew its primary impact in the
first year would be mostly on a provincial
scale but from next year we believe it will
make an impact nationally.
“I think we achieved everything we
could reasonably expect to achieve. We
know that people simply do not attend
events like this unless they have a vested
personal interest in attending and we
managed to deliver that.
“We had a hugely successful
Cinemasports Youth Cup Challenge event on
the final day which was a competition
between youths in Nelson Mandela Bay
and San Francisco Bay – 10 short films
were made in 10 hours and we had a great
turn out to make the films and watch
them.”
Workshops were well attended by
filmmakers from the UK, Congo and
Sweden who shared their skills and
experience alongside industry people from
Johannesburg, Cape Town and the
Eastern Cape.
“Our partners and sponsors are
happy and potential future partners are
looking at the event with interest so
we're happy and confident the SAY IFF
will indeed fulfill its vision as we move
into the future,” states a jubilant
Roughton.
| BUSINESS
Defining Success
“You have it all in you to be all that you want to be.”
Mariam Sha has worked with international
best practice standards and has assessed and
advised over 100 organisations. Her clients
range from large organisations to developing
small organisations across all sectors.
“SWOT Analysis”
When developing a business plan, the
term SWOT Analysis is often used.
This is a good planning tool to take a
look at any organisation to gauge its
Strengths and Weaknesses, to
discover Opportunities and to
identify Threats.
By unpacking each of these areas
the entrepreneur becomes more
aware of what is working well
(strengths); what is not working
(weaknesses); what opportunities
there are in the marketplace; and
what external factors may put your
company at risk (threats).
The SWOT analysis is a useful tool
to develop and confirm your goals
and your marketing strategy.
Strengths and weaknesses are
internal factors that can be
controlled. Strengths are anything
the company is doing well and that is
helping growth. These may be the
advantages over competitors; a
positive brand; exclusive access to
natural resources; well established
distribution networks; excellent
management; people relationships;
experienced and motivated staff; a
healthy company culture; sound
financial fundamentals; sizable market
share etc.
Weaknesses may include poor
brand image; disreputable customer
service; unskilled and incompetent
staff; low people morale; high costs;
bullying; unmotivated staff etc.
Weaknesses are factors that are
within your control that detract from
your ability to obtain or maintain a
competitive edge. They are also
potential opportunities for
improvement.
Opportunities and threats, on the
other hand concern external factors.
Opportunities are the very reason
businesses exist and grow as were it
not for the consumer demand
businesses would not be offering
special services and products.
Opportunity may be a new
technology; a new product line; weak
opposition; a new/unfulfilled
customer need; change in market
trends; economic and political
environment etc.
Threats include factors beyond
your control that could place your
marketing strategy, or the business
itself, at risk. A threat is a challenge
created by an unfavourable trend or
development that may affect your
business. These may be new
regulations; a shift in customer
needs; a new competitor; unforeseen
economic crashes etc. An alert,
forward looking organisation will be
better able to withstand threats, and
with suitable contingency plans
address them, thereby converting
threats into new opportunities.
How to conduct
a SWOT Analysis
•
•
Keep the SWOT analysis simple,
clear and specific.
Conduct an inventory of the
internal strengths and
weaknesses in your
organisation.
•
•
•
•
•
•
Note the external opportunities
and threats that may affect the
organisation, based on your
market and the overall
environment.
Capture the factors you believe
are relevant in each of the four
areas.
Review what you have noted in
the SWOT analysis as you work
through your marketing plan.
SWOT analysis should
distinguish between where your
organisation is today, and where
it could be in the future.
Always apply SWOT in relation
to your competition.
Be realistic about the strengths
and weaknesses of your
organisation.
Limitations of SWOT
Its interpretation is subjective and
should be used as a guide and not a
prescription. Adding and weighting
criteria to each factor increases the
validity of the analysis
SWOT analysis is also an excellent
tool to take stock of your personal
life to plan for your own personal
growth and development.
For customised business
solutions, personal coaching and
training and development contact
[email protected]
March 2011 | SCREENAFRICA | 47
Continued from page 1 |
Aussie / SA co-prod treaty update
Wild Talk Africa time
take a few months for the agreement to come into effect.
Kabalu elaborates: “The treaty is not yet in force as Australia and
South Africa must first complete a domestic treaty approval process.
The Australian treaty approval process can take up to nine months
and requires that the agreement be tabled for consideration in the
Australian Parliament. The treaty is scheduled to be tabled in the
next few months.”
Dzebu says that the treaty is extremely beneficial and will provide a
framework for cultural exchange and collaboration. “The projects that
will be approved as co-productions under the agreement will be
treated as national films from both countries. These projects will be
eligible for tax and financial incentives that are available in both
countries. Also these films will benefit from easier immigration
requirements for the entry of skilled personnel for the purpose of
making or exploiting a co-production film, as well as duty free
imports of production equipment.”
Kanalu maintains that the treaty will open up new markets for
Australia and South African productions. “The agreement will
potentially increase the output of high-quality production in both
countries. The historic and current link between the countries should
facilitate development of co-productions which have cultural
resonance with audiences in both countries. The films will potentially
attract broad international markets.”
Dzebu says that this treaty is similar to the ones that South Africa
has with other countries. “All the agreements seek to enhance
cooperation and exchange. The treaty does not allow for finance only
for co-productions but allows for third party participation — unlike
the SA / UK and Canadian treaties. We hope that South African
producers will take advantage of the opportunities that the treaty
presents. Once the treaty is in place it is up to the co-producers in
both countries to develop projects and find suitable partners to
develop the project,” she says.
Geographic Channel International; and Animal Planet.
There are a number of local newcomers attending as well as
representatives from companies such as Earth-Touch, Triosphere,
WildEarth, Wild Images, Aquavision TV Productions and
Homebrew Productions.
Says Wild Talk Africa CEO Sophie Vartan: “We are very excited
to see more films, more international high profile delegates and more
locals coming to the 2011 event. Whereas in the past companies
would send only one delegate, they are now sending three or four
people.”
This is the first time Wild Talk Africa will be held in Cape Town –
it previously took place in Durban. The move was motivated by
requests from delegates at the last Wild Talk Africa event in 2009.
“It was agreed that Cape Town could have more of an appeal for
international delegates,” explains Vartan. “Everyone felt that a more
natural setting, rather than a city centre, would add to the experience
that Wild Talk Africa offers.
“Spier was chosen because of its location – in the heart of the Cape
winelands – and its superb conference facilities. It also has the
advantage of providing hotel facilities on the premises which suits our
international delegates. All evening events will be held at Spier.”
Delegates will have the opportunity to visit ‘Cheetah Outreach’,
‘Eagle Encounters’, go on designated walking and hiking trails, horse
riding and enjoy a wine tasting, while at Spier.
As in previous editions, Wild Talk Africa 2011 will include
seminars, workshops, and film screenings. A lot of time has been set
aside for networking to give delegates an opportunity to meet and
pitch ideas. See page 36. for more on the workshops.
Refinery opens CT post-prod company
ROSCARS
Wild Talk Africa’s awards element, the ROSCARS, received a record
267 entries from around the world including 40 from South Africa.
Fifty judges, all local and overseas industry professionals, judged the
first round of the competition with the second round whittled down
to 10 judges.
Winners will be announced at a prestigious gala event at Moyo,
Spier’s African-chic venue. Dave Salmoni will host the ceremony.
The Best Children’s Natural History Production Award was
judged by the following schools: Victory Christian Academy in
Durban, Sunlands Primary School in Cape Town, Micklefield
Primary School in Cape Town and Clarendon Park Primary School
in Port Elizabeth.
All 39 ROSCAR Award finalist films will be screened at the Labia
Theatre, Orange Street in Cape Town during the festival.
Wild Talk Africa also includes an exhibition component.
Exhibitors include WildEarth, Wild Images, Visual Impact, Mama
Dance!, Cape Film Commission, NHU Africa, Zululand Film
Office, IFAW (International Fund for Animal Welfare), EarthTouch and The Wildlife Film Academy.
“The feedback we have received from exhibitors is that it’s an
excellent opportunity for furthering relationships as well as giving
valuable brand awareness within the wildlife filmmaking industry,”
says Vartan.
NEW HOME – Boulevard Park, the new building housing Refinery in Cape Town
with a more boutique style facility with a core team of top artists and
a refined workflow pipe-line that can service the commercial, features
and television market in Cape Town.
“It will be small with between 10 and 12 staff,” says Van der
Merwe. “We have formed an equity partnership in the venture with
two well known Cape Town artists Heino Henning and David
Grant. They will manage the business with our support and offer
clients the individual and client-focussed treatment typical of a
boutique.“
The facility will be located in Searle Street, which is in The
Boulevard Office Park off Eastern Boulevard in Woodstock.
“We aim to break the mould and give it a fresh name and image, so
we decided against Refinery Cape Town” says van der Merwe.
“Searle Street will be a brand with its own identity. We chose the
locality because it is close to several agencies, production companies,
edit houses and all other services as well as the Cape Town CBD. A
further bonus is that we are in a brand new office block with ample
48 | SCREENAFRICA | March 2011
undercover visitor parking.”
Van der Merwe is reluctant to disclose the exact type and
configuration of equipment which will be installed at this stage, save
to say that it is the latest technology and will cater for both
commercials and longform work.
“We believe the market has the capacity to sustain an additional
facility and the market feedback we have received has been very
positive with regards to our plans,” says Van der Merwe. “We hope to
open in April. The premises are custom made to our specifications,
and should be completed by the end of February. We believe that a
facility of this nature will be a boon to the Cape Town industry.”
Refinery says its Film Lab involvement will see a Millenium
telecine installed at The Film Lab in March equipped with an
OCEAN controller. It will be configured for SD only and its prime
function is for quality control so there are no record formats at this
stage. Though essentially for QC, with its A-grade monitor, clients
may also view dailies before the negative goes to a facility. A Rank
specialist will commission the telecine and an OCEAN operator will
commission and train on this device.
Life, Above All
scoops SAFTAS
have to work fast so they churn
out formulaic scripts. Henrietta,
on the other hand, creates
complex and psychological
scripts that are true to
characters. I must pay tribute to
Rosa Keet, former
commissioning editor at SABC2
for her input in guiding
Henrietta.”
Heaney was also judged Best
TV Comedy Director for
Konstarnasie Oppie Kasie and
David Clatworthy, who plays
Clive in the series, won Best TV
Comedy Actor.
Curious Pictures won several
awards in the SAFTA Fiction
category with its productions
4Play, Hopeville and Rhythm
City. It also won Best Factual
Educational Entertainment for
its series A Country Imagined.
Says Curious Pictures’ Harriet
Gavshon: “A Country Imagined is
a 13-hour series produced for
SABC2 in which musician
Johnny Clegg travels round
South Africa and looks at how
landscapes are represented in art.
A number of directors including
Guy Spiller, Vincent Moloi,
Faizel Mamdoo, Terri Ella, Liza
Key, John Trengove and Tim
Greene worked on the project.
“We are delighted to win the
SAFTA as this was a hard and
painstaking project to do. It
required huge amounts of
research and so it’s gratifying to
get recognition.”
A series in its 34th season was
winner of the Best Game Show
award.
Says the producer / presenter
of the ever-popular SABC2
Afrikaans musical game show,
Noot vir Noot: “Recognition is
always so special. We will never,
even after 20 years of Noot vir
Noot, take any award for granted
so are thrilled about the win. All
those years ago we decided to
put all our eggs into one basket
but to watch that basket very
carefully. We monitor the games
constantly and adapt them all
the time to stay fresh. This
means keeping up with
changing audiences, preferences
and trends in the industry.”
Let’s Chat… With Mel,
produced by Clive Morris
Productions, won the SAFTA
for Best Talk Show.
Says producer / director
Genna Lewis: “It feels fantastic
to have won and I’m honoured
to be recognised by the SAFTA
judging committee. The show
was quite a labour of love.
Because it is female-skewed we
wanted most of the crew to be
women. We really put our heart
and soul into the show. Presenter
Melanie Bala proved immensely
popular with the viewers.”
December 2010
| Audience Ratings
This monthly feature selects prominent local productions and ranks them in terms of
audience ratings (ARs). Selected foreign programmes are shown only for comparison.
ARs are weighted over the period of transmission and the number of transmissions
during the calendar month. Data is supplied by the South African Advertising Research
Foundation and processed by Interactive Market Systems (South Africa) (Pty) Ltd.
The cream of the local productions
Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how
often it is transmitted – D=Daily, W=Weekly, S (followed by a number) indicates a series of that number
of episodes. Television Universe estimated at 5.232 million households. One ratings point of all viewers
The top five programmes
Date
01/12/2010
13/12/2010
13/12/2010
13/12/2010
15/12/2010
M-Net
Rank Programme
Date
1
Alvin And The Chipmunks The Squeakquel 12/12/2010
2
Carte Blanche
05/12/2010
3
Anywhere But Home
19/12/2010
4
CSI Miami
07/12/2010
5
The Time Traveller’s Wife
05/12/2010
e.tv
Rank
1
2
3
4
5
Programme
Rhythm City
Scandal
The Longest Yard
Double Impact
Gridiron Gang
Date
15/12/2010
14/12/2010
05/12/2010
12/12/2010
19/12/2010
Genre
Dram
Vari
Dram
Sitc
Sitc
Genre
Dram
Dram
Soap
Soap
Soap
Genre
Movi
Maga
Movi
Dram
Movi
Genre
Dram
Dram
Movi
Movi
Movi
AR
14.5
10.2
9.6
9.4
8.3
AR
6.5
6.0
5.3
5.2
5.2
AR
1.0
0.9
0.9
0.9
0.9
AR
11.8
10.0
9.8
9.7
9.1
We feature the top five shows viewed for each of the channels.
Nov 2010 AR
Date
07/12/2010
21/12/2010
21/12/2010
12/12/2010
09/12/2010
3
2.0
2.0
W
e
5.0
6.1
Soap
18:30 M-F S5
2
6.8
7.7
Binnelanders Sub Judice
Soap
18:30 M-F S5
M
0.4
0.5
Carte Blanche
Maga 19:00 Sun
W M
0.7
0.9
Fokus Actu 18:30 Sun
W
2
3.8
4.9
Generations
Soap
20:00 M-F S5
1
19.7
21.5
Gospel Gold
Musi
09:00 Sun
W
2
4.8
5.4
Isidingo:The Need
Soap
18:30 M-F S5
3
3.4
3.5
Jam Alley
Vari
18:30 Fri
W
1
3.6
4.2
Live Lotto Draw
Quiz 21.30 W/S S2
2
4.9
3.8
Morning Live
Maga 06:00 M-F S5
2
2.0
2.3
Muvhango
Dram 21:00 M-T S4
2
9.7
9.5
News at Seven
News 19:00 Daily D
e
5.8
6.5
News at Seven on 3
News 19:00 Daily D
3
2.8
2.9
Pasella
Maga 19:30 W
W
2
4.6
4.8
Rhythm City
Soap
18:30 M-F S5
e
7.1
8.2
Scandal
Dram 19:30 M-T S4
e
8.0
9.1
Selimathunzi
Vari
18:00 Sat
W
1
3.6
4.4
Special Assignment
Docu 20:30 Tue
W
3
2.6
2.7
Top Billing
Maga 19:30 Thu W
2
2.9
3.2
Yo-TV
Y-Ent Vari
D
e
2.4
2.5
3 Talk Talk
3rd Degree
Maga 21:30 Tue
7de Laan
Frequency
16.4
14.8
Day/s
Spor
Dram
Start Time
04/12/2010
09/12/2010
Genre
AR
23.9
18.8
17.4
Dec 2010 AR
SABC3
Rank Programme
1
Knight Rider
2
The A-Team
3
Generations – R
4
Isidingo – R
5
Days Of Our Lives
Genre
Soap
Dram
Dram
Channel
SABC2
Rank Programme
1
Muvhango
2
Powerball
3
Phamokate
4
Stokvel
5
Ga Re Dumele – R
Date
15/12/2010
13/12/2010
21/12/2010
Name
SABC1
Rank Programme
1
Generations
2
Zone 14
3
Intersextions
4
Telkom Knockout Cup Finals:
Orlando Pirates vs Kaizer Chiefs
5
Montana
represents about 145 590 viewers.Key to genres: Actu: Actuality, Docu: Documentary, Dram: Drama,
Educ: Education, Maga: Magazine, Musi: Music, News: News, Quiz: Game Show, Real: Real life,
Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth Entertainment,
16:40 M-F S5
Vari
Top foreign shows
Days of Our Lives
Soap
17:10 M-F S5
1
4.0
4.2
WWE Wrestling Smackdown
Spor
20:30 W
W
e
4.2
5.7
The Bold and the Beautiful
Soap
18:00 M-F S5
1
6.6
7.2
The above represents a selection of programmes only, and is calculated on the total
calendar month’s weighted average of the total audience over all age groups. If you want a particular programme included
please contact Enid Venter on +27 (0)11 884-3162. The purpose of the schedule is to show the types of programmes
South African audiences view, and to what extent.
March 2011 | SCREENAFRICA | 49
P R O D U C T I O N U P D A T E S
FOR FURTHER DETAILS VISIT
www.screenafrica.com
Those productions in red are newly listed this month
Order of Information
1. Title
2. Production Company
3. Director
4. Genre
IN THE PIPELINE
general post
the finest freelance
post-production & creative crew
editors * researchers * animators * visual effects artists
storyboard artists * directors * sound engineers * writers
post-production producers & supervisors
ALSO offering flexible, cost-effective
post-production solutions for the
commercials industry
tel: 0860 111 553 fax: +27 11 706 7949
[email protected] www.generalpost.co.za
after hours emergency number: 076 225 9173
Looking for
Production Music?
56 libraries, 214748 tracks.
One phone call!
073 1499 408
SIREN
HAPTICS
ARTIST: Don Searll
3D Artwork
a lion in the bedroom
Two Oceans Production
Prod: Giselher Venzke/ Bertha Spieker
Feature
in a different time
Two Oceans Production
Prod: Giselher Venzke/ Bertha Spieker/
Jayson de Rosner
Feature
PROJECT HAMMER
Two Oceans Production
Prod: Giselher Venzke/ Bertha Spieker
Feature
TIME FRAME
Two Oceans Production
Prod: Giselher Venzke/ Bertha Spieker
Feature
THE FILM MAKER
Elle Bolt Productions
Prod: Elle Bolt
Reality Series
THE HUNTER’S DAUGHTER
Two Oceans Production
Prod: Giselher Venzke/ Bertha Speiker
Feature
ZERO DIET
Two Oceans Production
Prod: Giselher Venzke/ Bertha Spieker
Feature
IN DEVELOPMENT
AS GOOD AS IT GETS
DO Productions
Prod: Marlow de Mardt/ Brigid Olën
Feature
AMBUSH ALLEY
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
CHILLI CHICKS
International Radio Pictures, Inc
Kit Reynolds
TV series
CHILDREN OF FAMOUS PEOPLE
Current Affairs Films/ French
Connection
Jane Lipman/ Eric Ellena
Doc/ Drama Series
GO DRAGON”S FEAST 3D
NHU Africa
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
OD LIFE
Film Afrika
Bonnie RodiniFeature
IIQ
Sukuma Media
Dir: Bonginhlanhla Ncube
Feature
JEWELS
Current Affairs/ French Connection/
Up Front Entertainment
Jane Lipman/ Eric Ellena
Doc/ Drama Series
KAYA
Two Oceans Production
Prod: Giselher Venzke/ Bertha Spieker
Feature
Operation Crane H2O
Two Oceans Production
Prod: Giselher Venzke/ Bertha Spieker
Feature
PETROLHEADA/
PETROLJUNKIES
International Radio Pictures, Inc
Kit Reynolds
TV Series
REPLAY
Two Oceans Production
Prod: Giselher Venzke/ Bertha Spieker
Feature
SAVING RHINO PHILA
NHU Africa
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
SHARON & MUGABE’S
ELEPHANTS
NHU Africa
Exec Prod: Vyv Simson & Sophie VArtan
Wildlife Documentary
SO YOU THINK??
International Radop Pictures, Inc
Kit Reynolds
TV Series
SUPERMAMA
GoogelPlex Productions
Dir: Karen van Schalkwyk
Feature
TRUE DREAM 2
South African Great Moves Production
Prod/ Dir: John Wani
Feature
ZEBRAS
DO Productions
Dir: Bruce Beresford
Feature
IN PRE-PRODUCTION
AFROX AFRICA INSIGHT EPS 4
FC Hamman Films
DOP/ Dir: Dirk Steyn
Corporate Video
AFROX YEAREND RESULT
FC Hamman Films
DOP/ Dir: Dirk Steyn
Corporate Video
ANGUS BUCHAN’S ORDINARY
PEOPLE
FC Hamman Films
Dir: FC Hamman
Feature Film
CORTEX MINING
FC Hamman Films
DOP/ Dir: FC Hamman
Corporate Video
GNLD AFRICA CONVENTION
FC Hamman Films
Prod: FC Hamman
Corporate Video
HARTLAND
Bottom Line Entertainment
PM: Lloyd Dawson
TV Drama
MANDELA SPECIAL
ABC
Exec Prod: ABC America
TV Magazine
www.redigloomusic.com
VitalSta’tis’tiks |
The Cape Town Lab suprisingly had no feature work but is expecting
camera tests for Safe House and Strike Back to start shortly.
International commercials and local commercial figures are lower for
the same period in 2010. Most of the processing has been on 35mm.
The Johannesburg Lab remains without feature work, however
commercials have picked up somewhat. Bulk printing continues at a
reasonabl;y high level with 39 feature prints for The Mechanic, and over
2 290 commercial bulk prints. There were 390 trailer bulk prints.
The commercials submitted by Media Host shows another drop off
from the previous month. We would like to thank the laboratories and
Media Host for the information they have supplied to us.
50 | SCREENAFRICA | March 2011
POPCRU 7TH CONGRESS
FC Hamman Films
Pm: Odette van Jaarsveld
Corporate Event
SOLENTA AVIATION
FC Hamman Films
DOP/ Dir: FC Hamman
Corporate Video
There’s a Leopard on my
Branch
NHU Africa
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
VKB BRANDING LAUNCH
FC Hamman Films
Prod: FC hamman
Corporate Video
IN PRODUCTION
3RD DEGREE
e.tv
Investigative TV series
AFRO CAFƒ SEASON 7
Bonngoe Productions
Exec Prod: Pepsi Pokane
Adult Contemporary/ Music
AFRO SHOWBIZ NEWS
SABC News International
Exec Prod: Jody-Layne Surtie
TVMagazine
AFROX CO2 PLANT
FC Hamman Films
PM: Odette van Jaarsveld
Corporate Video
AFROX – SHEQ INDUCTION
FC Hamman Films
Prod: FC Hamman
Corporate
ALL ACCESS
Homebrew Films
Prod: Paul Venter/ Hannes van Wyk/
Tammy Anne Fortuin
Magazine Show
ANIMAL COMMUNICATION
NHU Africa
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
BINNELANDERS SUB Judice
Stark Films
Dir: Danie Joubert
TV Drama
BOPSY BUNNY
Firefly Animation Studio
Exec Prod: Antony Steel
Short Films
CHEETAH DIARIES 3
NHU Africa
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
EASTERN MOSAIC
Red Carpet Productions
Magazine Programme
GENERATIONS
Morula Pictures
Exec Prod: Mfundi Vundla
SOAPIE
GROEN
Homebrew Films
Prod: Jaco Loubser
Wildlife
HOUSE CALL
Izwe Multimedia/ Urbanbrew
Series Prod:Annalie Potgieter
Live Medical Talk Show
Statistics for January 2011
Through the labs:
Johannesburg
Features
0
Cape Town
Features
0
Shorts
0
Commercials
18
Doccies
0
16mm
3
35mm
15
Shorts
1
Commercials
28
Doccies
1
16mm
3
35mm
26
Commercials submitted to broadcasters via media host
December:997 compared with 1320 last month
P R O D U C T I O N U P D A T E S
ISIDINGO
Endemol South Africa
Dirs: Raymond Sargent/ Johnny
Barbazano
Daily TV Drama
JOU SHOW MET EMO
Homebrew Films
Prod: Jaco Loubser
Variety Show
JOURNEY INTO THE INTERIOR
Tekweni TV Productions
Prod: Sandra Herrington
Documentary
MARY ANNE
Shadow Films
Exec Prod: David Forbes
Documentary
MK Campus
Homebrew Films
Prod: Jaco Loubser & Ben Heyns
Student Show
MOTSWAKO
Carol Bouwer Productions
Prod: Vesko Mrdjen
Talk Show
MZANSI INSIDER
Bonngoe Productions
Exec Prod: Pepsi Pokane
TV Magazine
ONS MENSE
Homebrew Films
Prod: Jaco Loubser
Current Affairs
PASEKA EASTER ELEPHANT
NHU Africa
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
PASELLA
Tswelopele Productions
Insert Dirs: Liani Maasdorp/ Werner
Hefer
TV Magazine Programme
PEACE PARKS
NHU Africa
Exec Prod: Vyv & Sophie Vartan
Wildlife Documentary Series
REDI ON MZANSI
Imani Media
Prod: Bruce Townsend
TV Series
RHYTHM CITY
Curious Pictures
Series Prod: Anthony Shaw
e..tv Soapie
RHYTHM CITY INTERACTIVE
Curious Pictures/ e.tv
Prod: Devon Brough
Interactive Platform Media
ROCKING FUTURE
Summertime Productions
Prod: Sean Gardiner & Tanya
Vandenberg
Educational Video
ROER
Homebrew Films
Prod: Jaco Loubser
Cooking Show
SAFE HOUSE
Moonlighting
Prod: Genevieve Hofmeyer
Feature
SCANDAL
Ochre Moving Pictures
Series Prod: Romano Gorlei
Daily TV Soap
SHORE – THING
Homebrew Films
Prod: Jaco Loubser
Reversioning
SLENDER WONDER
FC Hamman Films
DOP/ Dir: FC Hamman
Commercial
STRANDED
NHU Africa
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
STUDIO 53
M-Net Inhouse Productions
Insert Dirs: Navan Chetty
Mag Programme
THE STORY OF LITTLE FOOT
Paul Myburgh Film
Prod: Paul Myburgh
Documentary
TOP BILLING
Tswelopele Productions
Prod: Patience Stevens
TV Magazine
TOUCHING THE DRAGON
NHU Africa
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
VILLA ROSA
Spectro Productions
Dir/s: Luhann Jansen / Andries van der
Merwe/ Leroux Botha/ Isabel Smit
TV Drama
POST-PRODUCTION
A MILLION COLOURS -eLollipop 2
Cloverleaf Films
Exec Prod: Charles Fries
Feature
AFROX AFRICA INSIGHT EPS 3
FC Hamman Films
DOP/ Dir: FC Hamman
Corporate
DEPT OF SOCIAL
DEVELOPMENT CONGRESS
FC Hamman Films
DOP/ Dir: FC Hamman
3 Day Corporate Event
Chameleon
NHU Africa
Exec Prod: Sophie Vartan
Wildlife Documentary
CHEETAH DIARIES 2
NHU Africa
Exec Prod: Vyv Simson & Sophie Vartan
Wildlife Documentary
CITY ZOO
NHU Africa
Exec Prod: Sophie Vartan
Wildlife Documentary
DANGEROUS TRAILS:
ELEPHANTS IN THE
MINEFIELDS
NHU Africa
Exec Prod: Sophie Vartan
Wildlife Documentary
DOOMSDAY
Rogue Pictures
Dir: Neil Marshall
Feature
ENDANGERED
NHU Africa
Exec Prod: Sophie Vartan
Wildlife Documentary Series
IMATU CONGRESS
FC Hamman Films
PM: Odette van Jaarsveld
3 Day Corporate Event
PURPLE TOWN
Sukuma Media
Dir: Bonginhlanhla Ncube
Documentary
SOKHULU AND PARTNERS 2
Paw Paw Films
Prod: Roberta Durrant
TV DRama
TASTE OF RAIN
Luna Films & On Land Productions
Prod: Bridget Pickering & Richard
Pakleppa
Feature
THE AMBASSADOR
Two Oceans Production
Prod: Giselher Venzke/ Bertha Spieker
Feature
TREASURE GUARDS
Tandem Communications
Exec Prod: Jonas Bauer/ Rola Bauer
Feature
WINNIE
Ma Afrika Films/ Equinoxe Films
Dir: Darrell James Roodt
Feature
ZAMA ZAMA
Kokamoya Productions
Prod: Bertus van der Walt
Feature
ZION
Brainstorm Entertainment
Dir: Mosese Semenya
Feature
COMPLETE
AFROX HELIUM RESCUE
FC Hamman Films
DOP/ Dir: FC hamman
Corporate
AFROX INDIGO COSMETICS
FC Hamman Films
DOP/ Dir: FC Hamman
Corporate Video
AFROX AFRICA INSIGHT EPS 2
FC Hamman Films
DIR/ dop: fc HAMMAN
CORPORATE vIDEO
AFROX PPE
FC Hamman Films
DOP/ Dir: FC Hamman
Corporate Video
ALBERT SCHWEITZER
Two Oceans Production`
Prod: Giselher Venzke/ Bertha Spieker
Feature
CONGO
Two Oceans Production
Producers: Giselher Venzke/ Bertha
Spieker
Feature
DEPT OF SOCIAL
DEVELOPMENT VIDEO
FC Hamman Films
DOP/ Dir: Archie Mzazi
Training Video
INHLIZIYO YAMi
Sukuma Media
Exec Prod/ Dir: Bonginhlanhla Ncube
Music Video
THE BETRAYAL
Shakarny Inovations
Prod: James Kingston
Feature
RAWSON PROPERTIES
FC Hamman Films
PM: Odette van Jaarsveld
Training Video
Team GR 8
Sukuma Media
Dir: Bonginhlanhla Ncube
Short Film
TEN 2 C – GAUTENG &
SURROUNDS
Sukuma Media
Exec Prod: Bonginhlanhla Ncube &
Lazarus Moyo
Documentary
S
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S
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Screen Africa relies on accuracy of information
received and cannot be held responsible for any errors or
omissions which may occur. E-mail production updates to:
[email protected]
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March 2011 | SCREENAFRICA | 51
Close up |
Events |
SAFTAS
MARCH
MCs Joey Rasdien and Thami Ngubeni
Masechaba Lekalake
Naomi Mokhele (NFVF)
Thuli Thabete and partner
Animation SA / Services SETA Workshop
Lee and Stacy Pearson (Touchvision), Kevin Geiger and Tim Argall
Networking at the Animation SA Services SETA Workshop
6 CTO Digital Broadcasting Switchover Forum
th
26 Feb – 5 FESPACO – The Panafrican Film and Television
Festival of Ouagadougou
Ougadougou, Burkina Faso www.fespaco.bf 27 – 29 Dubai Lynx Awards
The Middle East & North Africa Advertising Awards
for Creative Excellence
The Palladium, Dubai Media City, UAE www.dubailynx.com
28 – 31 Wild Talk Africa
Spier, Cape Town www.wildtalkafrica.com
APRIL
13 – 17 International Pan African Film Festival
Cannes, France www.festivaldufilmpanafricain.org
2–3
MIPDOC
Cannes, France www.mipdoc.com
4–8 MIPTV
Palais des Festivals, Cannes, France www.miptv.com
9 – 14 NAB – National Association of Broadcasters
Las Vegas www.nab.org
20 – 1 May Tribeca Film Festival
New York, USA www.tribecafilmfestival.org
28– 8 May 2010 Hot Docs
Toronto, Canada www.hotdocs.ca
MAY
Alan Downie (CBA) and Lynn Mansfield
(SADIBA)
Stanislas Chimgoga (Malawi Authority), Joseph Chikagwa
(MBC), Patrick Musiyapo (Malawi Authority)
Dave Hagen (M-Net) and Aldred Dreyer
(SABC)
New Appointments |
Endemol South Africa has appointed
Helga Palmer as head of the Creative
Department and Lesetja Mogoba as EWB
(Endemol Worldwide Brands) Commercial
Manager.
Palmer will be responsible for all new
creative development for the South African
and Sub-Saharan African market. This
includes both Endemol International and 3rd
party formats.
Within Endemol Mogoba will be focusing
on the merchandising and licensing of
consumer products, gaming and gambling
(where South African law permits), live
events as well as music publishing, mainly
focusing on composition rights.
Glasshouse has appointed two new editors
– Dale Venediger and Dawn Pike.
Venediger was previously employed
as the off-line / on-line FCP editor for
Ministry of Illusion*. His position entailed
being involved in the full post-production
workflow, including off-line editing,
LOG ON TO NEWS
•
•
•
•
•
|
www.screenafrica.com
Government increases
NFVF funding for three
years
•
SABC falls foul of unions
•
Durban Film Fest calls
for entries
SACP statement on
SABC News court
ruling
•
Loeries Annual out
•
African Film Festival of
Tarifa offers movies
online
FilmAfrica! Training
workshop calls for
applications
NFVF / SASFED
agreement
52 | SCREENAFRICA | March 2011
consultation in the visual effects process
– primarily 3D and compositing, grading and
final on-line approvals. Pike began her career in post-production
after completing her degree in multimedia
and design. She is now focused on
developing herself as an offline editor.
•
Cannes Young Lions
registration
World’s first “iPad
newspaper”
•
Reaping SA’s digital
dividend
•
Doc opportunities at
Durban FilmMart
•
SA films still on circuit
•
•
Ghanaian / Dutch joint
venture
New NFVF CEO
appointed
•
•
Matthews to run SABC
TV News
Iran film wins Berlinale
Golden Bear
•
•
Wild Talk’s finalists for
the ROSCAR awards
M-Net to cater for
satellite and terrestrial
viewers
11 – 22 Cannes International Film Festival
Cannes, France www.festival-cannes.fr
JUNE
6 – 11 Annecy International Animated Film Festival
Annecy, France www.annecy.org
9 – 26 3th Encounters South African
International film festival
Cape Town, Johannesburg
11 – 18 The 8th African Film Festival of Tarifa, Spain
Calle Monte Carmelo, 5 bajo 41011 Sevilla España
www.fcat.es
15 – 26 Edinburgh International Film Festival
Edinburgh, Scotland, UK www.edfilmfest.org.uk
18 – 26 Zanzibar International Film Festival (ZIFF)
Stone Town, Zanzibar, Tanzania www.ziff.or.tz/
19 – 25 Cannes Lions International Festival of Creativity
Cannes, France www.canneslions.com
www.encounters.co.za
Advertisers List |
AJA Video Systems.......................19
Atlas Studios ................................51
Avmark Systems ..........................51
Black Magic Design.........................9
Blade bfx...........................................1
Cam-A-Lot.....................................23
Camera Facilities...........................32
Camera Station.............................29
Case Connection, The . ..............50
Digitalfilm.......................... IBC
F.I.L.M. ............................................11
General Post ................................50
HM Productions............................25
IDC..................................................39
Jaycor...............................................42
Lion Park.........................................41
Mediatech Africa............... IFC
MIPTV.............................. OBC
Nates Audio Visual..............26 – 27
Panasonic........................................13
Panavision South Africa...............29
Photo Hire.....................................31
Pink Room......................................37
Pro-Sales.........................................21
Puma Video.........................FC
Puma Video.....................................24
Questek / Barco............................35
Red Igloo .......................................50
Romney Park.................................45
Spescom............................................7
Stock Options ..............................51
Telemedia........................................17
Time Frame....................................29
Titanium Television.......................42
Turbolite..........................................31
Vision Cases .................................51
Visual Impact ................................47
Wicked Pixels................................15
Wild Earth......................................37
4 - 7 April 2011
Palais des Festivals, Cannes, France
www.miptv.com
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More than an exhibition floor.
Fresh content. New deals.
One week. Four shows. The entire international entertainment content
community. Come face-to-face with the global leaders in fiction,
animation, documentary, formats, new media and technology for a
new lease on entertainment.
Where the story begins.
Your future business is here.
The world’s entertainment content market