Digital, digital and more digital

Transcription

SITHENGI
Digital, digital and more digital
Discussions about the plethora of opportunities offered by digital technologies have featured in the global
filmmaking world for many years. But it’s the harnessing of these opportunities that presents the challenge.
SMS Sugar Man
S
MS Sugar Man, co-produced by
South African companies dv/8 and
Reflex Films, was the world’s first
film to be shot on a cell phone. It
is to be released simultaneously on a variety
platforms in early 2007 so that all revenue
streams will open up immediately.
This was revealed by executive producers
Jeremy Nathan and Joel Phiri at the Digital
Overview held at Sithengi. “As a company
we’ve tried to be at the forefront of the digital
movement so that more people can make
films. The old film economy is dead and there
is now a triangular relationship between the
audience, filmmakers and distribution. This
can be empowering because filmmakers can
control distribution,” said Phiri.
Nathan added: “Today films are distributed
through the Internet, video on demand and
satellite video on demand. American online
DVD movie rental service NetFlix has
65 000 films on offer, concentrating on nonstudio product. Thanks to digital we’re seeing
the divide between the rich and the poor –
Hollywood studios and the rest of the world.
“With SMS Sugar Man we are doing a
hybrid form of distribution, using old and
new models and have partnered with mobile
phone operator Vodacom. DVD involves
many layers of content (ie. behind the scenes
footage, interviews, etc.) so the filmmaker has
to factor all this into his budget. The revenue
models for digital are very complicated and
no-one has the answers yet.”
Phiri stressed that South African
producers have to create within their local
economic environment. “At dv/8 we’re
keeping production costs as low as possible
and partnering with telecommunications
companies.”
Canadian producer Daniel Iron recounted
how he made four films on cell phones. “As
a producer of theatrical documentaries
and feature films I had no previous digital
experience. I approached four directors and
told each to make a film without setting
any parameters other than they be shot on
cell phones. One of the films was based on
Spoon
vox pops filmed on the street with people
responding to the question, ‘Is there anything
you want to apologise for?’ That particular
film was a big hit.
“When we set up our distribution network
for these films, it was interesting to find that
like traditional feature films, a distributor of
cell phone films buys the product. The films
went out on TV and at festivals but I don’t
know if anyone has seen them on cell phones.
I have to wonder though if cell phones are
good for anything other than sports and
news,” said Iron.
Reservations
South African producer Zaheer Bhyat, who
made Confessions of a Gambler last year,
expressed reservations about shooting on
digital. “If you don’t have a film print you
lose control of what your film will look like.
Our budget dictated that we shoot on the
Panasonic HVX 200 [the first P2 camera] and
record straight onto a solid state card. This
meant we went from camera straight into
online [no tape transfers, no EDL, no off-line
and no compression]. We did a lot of testing
for compatibility but the risk is playback – if
the projector is not calibrated correctly you
lose control of the picture.”
In terms of distribution a digital release was
considered. “We are still looking at blowing
up to 35mm because in SA digital projectors
are presently not that good. And, the picture
is one thing while sound is another. South
African cinemas can project digitally but
those projectors can’t play out in Dolby
Digital,” noted Bhyat.
Zimbabwean company Sunrise Productions
explored mobile media for its 3D animated
series Jungle Beat. “Cell phones are not a
great way of making money as the service
provider takes half, if not more, of what users
have to pay to download. Our aggregator for
international distribution also keeps a cut.
Another approach we took was to license
the Jungle Beat characters and approach
advertisers who would take the characters
and advertise via SMS. In the meantime,
Confessions of a Gambler
Jungle Beat has been bought by 17 airlines,”
Co-directors of the new South African
film Spoon, Sharlto Copely and Simon
Hanson released their first short film, the 3D
animated Space Shuttle on the Internet. “We
got four million hits – if only we could have
made R1 for every hit. There is a big market
for short films on the Internet and they allow
you to showcase your creativity,” concluded
Hansen.
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January 2007 – SCREENAFRICA
31
ANIMATION
Pax Afrika to the rescue!
By Joanna Sterkowicz
An unsolicited pitch to public broadcaster SABC led to the creation and production of what is believed to be
South Africa’s first fully home-grown long form animation series.
N
ot only is each episode of URBO: The
Adventures of Pax Afrika 24 minutes
in length, but there are 52 episodes
in total. The only other long form
animation series to come out of South Africa
was 2005’s award-winning 3D series, Magic
Cellar (20x12-minutes), co-produced with
Canada and animation outsourced to India.
URBO was entirely made in SA by Cape
Town-based Octagon CSI (Destination
SA, Hip2B2, Keeping It Real with Precious).
Combining science fiction with clever scripts
and pop-culture satire, URBO is about Pax
Afrika, an unruly South African teen chosen
by the spirits of the Ancestors to save the
decaying futuristic world he inhabits.
The series was conceived by executive
producer Sean Rogers, who admits a lifelong
passion for animation. “I met up with four
young animators, Sky Penderis, Wynand
Groenewald, Tyronne Herring and Tim Wang
to talk about creating a truly South African
animated show. Everything had to be local –
storyline, production, animation and actors.
Without the backing and support of the
SABC URBO would never have happened.”
Work on the series commenced in
November 2005 with a team of eight people
including Rogers, the four animators,
award-winning director Matthew Brown
(Clowns), head scriptwriter Lauren Beukes
and lead storyboard artist, Gareth Jones.
The development of three test sequences
wrapped up in March that year whereupon
full production began. Some 50 people now
work on the project full time.
Rogers, who has a long history in sports
shows, documentaries and live action
children’s TV series, chose Brown to direct
because of his background in drama. “With
his talent and creativity, I knew Matthew
would be the one person who would be able
to take this wild idea and make it happen.
“Lauren Beukes was introduced to me as an
accomplished writer, who was doing her MA
in Creative Writing and developing a feature
film script with Matthew. Having read her
novel [to be published next year], which is
also a sci-fi saga set in a future Cape Town,
and meeting with her, I knew she would bring
Pax’s story to life. This is the first animation
project for all three of us.”
What appealed Brown about URBO was
the opportunity to create a completely new
universe from scratch. “I loved the premise of
a bunch of kids who just want to bunk school
and ride their hover bikes who then get called
on to save the world. It’s a classic storyline. I
particularly loved getting to play with taking
where the world is heading now, to its worst
scenario. Although this is a kids’ show, it has
a dark edge.”
Beukes had wanted to write cartoons since
childhood. “URBO was a chance to create
something that was ambitious, brave, hip,
local, smart, funny and relevant. And who
would turn down the opportunity to create a
32
SCREENAFRICA – January 2007
[the lack of outlines] which is something we
have in common with South Park in that it’s
far removed from classic cartoons.”
Brown believes that URBO’s visual style is
unique. “The benefit of living where we are is
that we’re not completely obsessed with either
Western or Asian animation and I hope that
we managed to find our own look. We have
taken references from South African culture
and we’re very proud that some of that comes
through in the show.”
The workflow
THE PAX MACHINE – Gareth Jones,Tyronne Herring, Sky Penderis, Sean Rogers (centre),Wynand Groenewald,
Lauren Beukes, Matthew Brown and Tim Wang
whole new world?”
According to Rogers it was critical to ensure
that the project remained wholly locally
funded and produced. “I think it’s remarkable
that we’ve done it without external funding
or international co-production.”
In SA’s colour conscious society it’s worth
noting that Pax Afrika himself is black. “This
was never a calculated decision. Pax’ race
came through naturally in the designs of who
the character was. Pax means peace in Latin
and is a foreshadowing of his destiny – a child
who will bring about great change in the
world and restore peace,” explains Rogers.
Brown points out that Pax is not a
stereotypical hero or anti-hero. “He’s
troublesome, he’s curious, he has a quick
temper and issues with authority, but most of
all he has a lot to learn.”
Looking at today’s world
With the SABC commission (which followed
Octagon’s five months of development and
research to prove that the story would work)
came the broadcaster’s mandate to focus on
issues relevant to South African kids. Hence
the series looks at consumerism, celebrity
culture, branding, the media, protest culture
and culture jamming, ubuntu, gender
equality and environmentalism. Despite the
sophisticated content, the target age group is
between 9 to 12 years.
Says Beukes, “Our themes are arguably
adult, but kids are getting bombarded
with this stuff every day. In the initial test
audience sessions (run independently by
market research company Back2Basics), the
older kids nailed every nuance, while the
younger ones loved the racing action and the
characters. They responded to traditional
kids’ issues like bullying or bunking
school. The series does genuinely work
on multiple levels and appeals to adults
as well.”
In this 3D animation-heavy world, the
characters in URBO are staunchly 2D,
against 3D backgrounds. Says Animation
Director Wynand Groenewald: “It’s much
easier to stretch reality when you’re working
in 2D because it lends itself to creative
freedom. In URBO we’ve blended the benefits
of 2D and 3D for faster delivery of a better
product. The backgrounds are fully immersive
3D environments which are rendered in
flat shading to match the characters and
props.”
Animation Director Sky Penderis adds:
“After studying the techniques of various
different international studios we went for
Flash software as we wanted something
relatively fast and easy that still looked great.
We’ve developed a proprietary hybrid system
of 2D and 3D, capitalising on the strengths
of each. I guess I’d call URBO’s style ‘lineless’
Careful multitasking is required to produce
an episode, from start to finish, in just 10
weeks. Once the script has been workshopped
and finalised, three storyboard artists design
and draw every single shot and reaction,
according to filmic technique (ie. close up,
long shot, etc.).
Brown then records the episode with
the actors, where after an animatic, using
the storyboard visuals together with the
audio, is created to cut the show to length
and to give exact timings to the animators.
Having the backgrounds built in 3D helps
Brown to quickly set up cinematography
for shots by just pointing a camera in the
right direction and seeing the final result in
real time. The backgrounds get rendered in
vector format and are imported into Flash
along with the audio track for that shot.
Another group of set-up artists takes these
Flash files and adds pre-built 2D characters
and props into the shot based on the
storyboard hardcopies they have. Finally
the animators get their hands on the shots.
The characters are animated in Flash using a
library of expressions and gestures the team
has built from scratch. Each shot gets checked
by an animation director for the movement
and stylistic quality control before it is
rendered and sent to post production to add
smoke, fire, water, lens flares and countless
other effects. The editor replaces all the
rough storyboard shots with final rendered
shots, followed by final audio.
Brown notes that although he expected a
good response, he’s been overwhelmed by
just how phenomenally popular the show has
become in a few short weeks. “It proves we
were absolutely right in sticking to our guns
and making the kind of show we would want
to watch.”
Despite its totally local flavour and feel,
Rogers reports that there has been a lot of
interest from international broadcasters.
“Our first responsibility was to create
a story that would resonate with South
African children but we always hoped that
the product would be able to travel through
its uniqueness and the growing interest
in Africa. We had a great response at the
2006 MIPCOM Junior and negotiations are
underway for international distribution.”
URBO is broadcast on SABC3 every Saturday
morning at 9am.
PROMAX|BDA AFRICA
Compiled by Joanna Sterkowicz
The “in-betweeners”
In mid-November the South African on-air promotions, marketing and broadcast design fraternity
gathered in Johannesburg to be exposed to the latest global trends at the inaugural Promax/BDA Africa
Conference & Awards.
“M
ost people don’t understand
our craft, art and science.
As promo makers we are the
glue between programmes.
The discipline of on-air promotion – that is
to incentivise viewers and capture channel
surfers – is audience management,” said
keynote speaker Lee Hunt of Lee Hunt
Associates (LHA) in his presentation on New
Best Practices. Based in New York, LHA
has launched and branded more than 100
networks.
As TV viewers turn on a TV to be
entertained, the job of the promo maker is to
enhance the viewer’s experience. According
to a snapshot sample of research by MPG
into North American TV, there are between
12 to 17 minutes per hour of commercials
and promos, equating to 28% of an hour.
Hunt pointed out that there are many
things promo makers can’t control in the
viewer experience, such as the TV guide
and the mistakes therein; hence the need for
innovative practices and inspired tactics.
“There has been a big change in the promo
industry over the last two years and it was
initiated by a broadcaster. US network ABC
moved from the three-act drama hour to
a four-act drama hour. ABC’s hit drama
series Lost uses a long opening sequence to
get viewers hooked. This then goes into a
short, 15-second title sequence (as opposed
to the usual 45 seconds) as viewers use title
sequences to surf or leave the room. ABC
sometimes goes from show open directly
back into content such as in the sitcom, My
Wife and Kids, where the titles are put over
the opening sequence. So, ABC is teaching its
viewers that at the top of the hour they will
get content.
“The first season of Desperate Housewives
had a engaging long title sequence while
the new season just has a ‘Previously on
Desperate Housewives’ intro. There is no title
sequence at all.”
According to Hunt, Lost reduced the
amount of promo time at the beginning of
each episode and stacked it onto the end,
mostly concentrated on the shows coming up
next. “ABC believes people will be more open
to wanting to receive promo information
near the end of the drama. However, I would
never advocate sacrificing a good story just to
fit in a break. ABC takes the final act of their
dramas and splits it into two. Most dramas
have a long final sequence whereas in Lost,
end titles are squeezed over a promo for next
week’s episode. Their titles are very plain with
bland backgrounds.”
Accelerated Flow
Hunt recalled how back in the late 1990s,
NBC revolutionised prime time with squeeze
credits and ‘accelerated flow’ (ie. reducing
psychological time and cutting down the
34
They have no added value and in fact
chase people away from the channel
or programme. The first few seconds
of a break are the most important
and should be set aside for promos.
You can lose 20% of viewers in a
commercial break but you only lose
3% with a promo.”
The alternative is sponsored promos
but there has to be a synchronicity
between the programme and the
show. Hunt quoted the example of
Monk (the germaphobic detective)
coupling with a germ-cleaning
product in a sponsored promo.
“However, sponsored promos can
also be confusing. TV networks are
not just selling the show anymore
– they’re selling everything.”
GUIDING TV VIEWERS – Lee Hunt
urge to surf or switch channels).
“Ever since then the networks have been
experimenting with squeeze credits, placed
either at the bottom, top left or right of screen.
This is an acknowledgement that viewers are
not interested in credits. Squeezed credits can
be used as a platform for the promo or you
can tickertape the credits. As your objective
is to hook the viewer and keep them watching
the channel you need to ask – what should go
in the video window? There is no easy answer
and it depends on your priorities.”
Rule Number 1, said Hunt, is ‘Give me
more’ which means, viewers tuned in to watch
this show so they want something similar. “A
good promo entertains the viewer and makes
them tune in. The second rule is ‘Convince
me’ – the promo maker is making a point of
purchase sale here. Rule Number 3 is ‘What
else?’ – what messages do I want to put out?
Discovery Channel used credit squeezes to
sell its products. The successful promo needs
to answer ‘yes’ to the following questions
– does it enhance the viewer experience and
will it get viewers to the next show?
“Don’t underestimate the importance of
audio as often the viewer isn’t actually looking
at the screen during a promo.”
Billboards and
sponsored promos
Hunt described billboards as the bane of
his existence. “These consist of a static logo
and generic narrator and usually sit in the
first section of the first commercial break.
PVRs
Then there is the question of Personal
Video Recorders (PVRs). Just as
PVRs are causing havoc with the traditional
30-second television commercial, they will
revolutionalise promos. “How do you PVRproof promos,” asked Hunt. “Research has
shown that 75% of PVR users watch ads
sometimes and some of these are promos.
So you need a promo that stands out when
running at warped speed.”
Channel branding
Promos are based on linear structure in that
one programme follows another. Said Hunt:
“Our jobs are always about creating demand.
Promo people have to provide viewers with
guidance and we are the navigators. So, how
do we define a channel? Four out of five
American teenagers cannot name the top
four broadcast networks. We have to engage
the channel brand into the show so it is the
primary path for the viewer to go to see it.
The channel brand has to be fused with the
show.”
Hunt commended ABC on successfully
integrating the Lost brand with its own
brand. “It was the gatekeeper to distribution
but now Lost can be bought on iTunes and it
also goes out on satellite or cable, etc. USA
Network has two successful TV shows, The
4400 and Monk, so they fused them together
in one promo. The lead character of Monk
meets the characters from The 4400 and says
that the address for both is USA Network.
“I’m also impressed by the brand
consistency of TNT because their position
“We have to engage the channel brand
into the show so it is the primary path
for the viewer to go to see it.” – Lee Hunt
is: ‘We know drama’, even if the promo is for
non-dramatic programmes.”
Engagement
Hunt noted that the new way in the US
of measuring audiences is ‘Engagement’
as opposed to the traditional method of
measuring eyeballs (ie. ratings). “Engagement
is momentary – it happens in the viewers’
heads and it’s a critical advertising model.
Promos now are a lot more like movie trailers.
But to create highly engaging promos is timeconsuming and your staff won’t be able to
work on other promos.
“Programme image spots are where you
shoot material specifically for a promo
instead of just using footage from the show
(ie. clip spot). It’s every promo maker’s dream
in the US to go out and shoot something for
a network. Sometimes one simple effect is
worth a hundred others.”
Taglines
Everyone’s always looking for great taglines,
said Hunt. “Advertising research shows
that people don’t remember taglines so
why have them in the promo business?
Because, in a crowded market they help to
give a broadcaster an identity – they define,
differentiate and make relevant. Taglines are
a shortcut to what the channel promises.
Consider ‘It’s not TV, it’s HBO’, for example.”
A channel can either choose a long term
tagline that reinforces its programming and
packaging brand and what the viewer wants, or
the short term tagline that challenges viewers.
“You choose either to achieve your particular
business goal. The tagline must explain the
channel, differentiate it, drive viewership,
reflect the channel’s emotion, work with all
the content, and be memorable.”
Hunt referred to ‘bugs’, the little animations
that invade programme, as “obnoxious”.
Bugs are also known as pop-ups,
snipes, deckos, crawls, keys or tickers. “E
Entertainment Network introduced the BRB
(Be Right Back), where a key pops up and
asks questions at the beginning and end of a
commercial break and also puts the logo and
name of show on the lower third of the screen.
It seems that our brains are not wired to the
parallel process unless the two messages fit
together for a single idea. The trick is to get
the idea from working memory into longterm memory.”
Hunt concluded by saying that promo
makers should not make TV viewing
tough for viewers, like tickertapes that run
simultaneously with newscasts. “Don’t
assume the viewer can watch the programme
and read the key at the same time. So, make the
key short, lead the viewer to the information,
use a consistent system, and don’t overdo it
with too much detail.”
PROMAX|BDA AFRICA
Persuasive communication
I
A marketer, broadcaster and promo maker all have different ideas on what makes a good promo.
What qualities then does a good promo maker need?
f you thought promos were
just arbitrary forthcomMcPROMOS
ing attraction spots that
Holland expressed a severe
appeared out of nowhere
dislike of the “declarative
think again. “A good promo
voice” in promos, lines
maker needs to be a commulike “Switch on at 9pm”, for
nications expert, a good editor,
example.
an audio engineer, a director, a
“Fewer and fewer people
talent wrangler, a musician, a
in TV know what a good
designer, a writer, a sales perpromo is but they think
son, a psychologist, sociologist,
they do know. I called their
a drama expert, a co-ordinator,
work ‘McPromos’ – cheap
a manager, an eternal optimist,
and quickly produced
a politician, a scapegoat and a
promos which are all the
miracle worker – all combined
same,” noted Holland.
into one.”
He stressed that the
This is the required skills set HAVING FUN – Charley Holland
most important skill in
as defined by Charley Holland,
promo making is comwho has worked in TV for over
munications and under20 years, having started out making promos
standing the basics thereof. “Only if a receivfor the Seven Network in Australia.
er decodes the same message as the sender
In an innovative presentation at Promax/
sent is the communication successful. People
BDA Africa Holland urged the delegates to
at home have a non-committal relationship
“Stop making promos!” in an effort to think
with their TV – they walk in and out of the
about promo making in a new way. “If a rule
room, go to the bathroom, make tea, etc.”
doesn’t actually exist, how did it get into your
Promo makers work in the field of
head? It’s purely from experience and the way
persuasive communication, said Holland.
you’ve learnt before is not necessarily the
Barriers to persuasive communications are
best or the only way.
existing prejudices about programmes or not
“The history of promos is as old as TV
trusting the sender of the communication. “If
itself. It used to be a single frame graphic with
we senders of TV keep laying on how great
a live voice. So, what is a promo? Basically, it’s
are shows are and they’re not, the viewer will
everything that makes a human being want
begin to distrust the promos or programming
to watch TV.”
or the channel.”
Having fun
Holland was adamant that the promo maker
must have fun. “You need to free up spare
time to think of new ways to get people to
watch your channel. Feed the left or analytical
side of the brain – find out everything about
the show you’re promoting and about the
people watching it. Fill out a brief to ascertain
what the client wants and keep the client in
the loop throughout. A real brief is a roundup on how to solve a problem. Also, consider
what show the audience is supposed to stop
watching to watch your shows.
“Then feed your right or creative side of the
brain; close your eyes and consider what would
make the viewer watch the show. Imagine
you’re the receiver of the communication and
plan from the receiver’s point of view. This
will help you avoid unclarified assumptions.”
The next stage is structuring the promo
and coming up with selling strategies. “Use
the most persuasive thing you’ve thought of
and put it at the end of the promo to close
the sale. Then ask yourself – how am I going
to get viewers’ attention and how will my
target audience know my communication is
for them? Your communication must include
a ‘reward for your interest’.”
Holland advised promo makers not to
write a script and use the spoken word
instead as that is how the viewer will receive
the message. He gave the example of a promo
for the sitcom, Two and a Half Men, in which
Charlie Sheen plays a confirmed bachelor.
“The client brief says attract women but
don’t kill off the male viewers. So, I imagine
I’m a woman. But, the show will also be
watched by ex-bachelors. So to close the
promo we have the line, ‘Half an hour with
Charlie Sheen is enough to restore your
bachelor powers’. And I start the promo with,
‘Men of Australia, remember when you could
leave the toilet seat up’.”
Varying form
Another important lesson according to
Holland is to vary the form of promos.
“Normal viewers have been conditioned to
ignore promos because of starting promos
with the telecast time. Also, promos that start
with standardised graphics or the sponsor
logo or the line, ‘All new!’ or ‘4.2 billion
people in Bulgaria watched this programme!’
Or a promo that begins with a family in a
lounge.
“The form of the promo needs to be
changed regularly just to keep the audience
from switching off. The human brain is
inquisitive so it likes problem solving. A
conflict is the key to grabbing viewers’
attention. Conflict gets you involved as the
brain loves a puzzle. Clients, though, hate
conflict.”
In conclusion Holland again stressed that
persuasive communication can be fun and
suggested that local promo makers do ‘fun
spots’. “Make promos fun to be with. But
make sure they’re part of the show you’re
promoting.”
Emotions and brands
A
Is emotional branding important for the future of TV or is it just the latest buzzword?
market is created by consumers
experiencing the brand – consumers
have an affinity for brands that make
them feel good and the reverse is true.
Recent years have seen the rise of emotional
branding, which connects with consumers
in a way that relates to their aspirations and
not their needs. Emotional branding is about
lifestyle.
So said TV branding and promotion
specialist Martin Poole at Promax/BDA
Africa. With 15 years of experience in
positioning, launching and branding
channels and platforms across Europe, the
Middle East and Africa, Poole noted that
consumers perceive branding as being just
about graphics, colour or marketing.
“It’s difficult to control this perception and
there is the age old debate – product versus
brand. If you’re talking about product then
speak about the functional benefits and
price. Nike does this very well for example. In
terms of emotional benefits, Nike talks about
EMOTIONAL CONNECTION – Martin Poole
the fun their products can bring to people,”
explained Poole.
The anatomy of the modern brand
revolves around the core product, the brand
proposition, its unique benefits, associated
brand values and its personality. To illustrate
the above, Poole quoted the example of
Honda. “Its core product is medium priced
cars so the brand proposition is, ‘Quality
engineering for enhanced life’. The associated
brand values are ‘Vision, imagination and
creativity’.
“You have to give consumers and TV
viewers brand cues so that they can
recognise the brand. These clues are the logo,
packaging, advertising, jingles, slogan and
campaign line.”
Poole talked about how the Honda Accord
Cog ad changed car commercials. “This was
the first time a car manufacturer had the
guts to take a car apart. In the commercial
a single cog sets off a chain reaction that
sets component parts of a Honda Accord
in orchestrated motion. It took over 600
takes to film this commercial. Honda’s last
ad was based around ‘This is what a Honda
feels like’. ”
According to Poole, humour is the best
emotion one can associate with because it
makes the consumer feel good. “So don’t be
afraid to ‘take the piss’. At the time when all
UK numbers changed to 118, mobile phone
operator Orange ran an ad with the message,
‘Turn your phone off!’ which was very brave.”
In terms of branding broadcast channels TV
has traditionally had a logo based approach.
Channel 4 stuck to the same logo for 20 years
but has created a different emotional feel
for each of their channels. ITV is the main
commercial channel in the UK and ITV1’s
brand is ‘Emotional moments we all share’.
As Poole said: “The ultimate aim of branding
is to develop a connection with your viewers
so that they feel they belong. Generating a
connection means you have to be brave and
creative and need a strong understanding
of who the channel is and who the viewers
are.”
35
REVEALING FIGURES
Television news has been under even closer scrutiny by
local media and freedom of expression bodies since it
was first revealed in July 2006 that SABC’s news and current
affairs head, Snuki Zikalala, had allegedly “banned” four political
commentators from the airwaves. But how do viewers assess the credibility of TV news
and do they value the information they receive from newspapers and television? Screen Africa asked the South African
arm of the international company Target Group Index (TGI) to provide the relevant data in order to explore viewers
opinions on the media. While data for the last six months of 2006 on this issue was not available at the time of going
to print, it is evident that since 2004 viewers acceptance of the validity of TV news was set on a downward path. The
deductions that have been made from the data supplied are those of Screen Africa in discussion with Tim Bester of TGI.
TV News as assessed by viewers
CREDIBILITY ASSESSMENT TREND REGARDING TV NEWS
CREDIBILITY ASSESSMENT of NEWSpapers
The table below shows whether people rely on TV or newspapers to keep themselves
informed. The % who rely on TV has fallen by 4% points from 38% to 34% over two years
whereas those who rely on newspapers has remained the same at just on one quarter of the
population.
Degree
andTV
TVas
asmedia
media
Degreeofofsceptism
sceptism of
of Newspapers
Newspapers and
for
Total Sample
Sample
forinformation
information (SABC3
(SABC3 versus
versus e.tv)
eTV) –- Total
Vert%
18.6%
21%
21%
24%
19.1% 21%
21%
24%
38%
37%
TGISA 2004B 7500
(Internal)
I rely on TV to keep me informed: Definitely Agree
I rely on newspapers to keep me informed: Definitely Agree
24%
Amongst TV viewers, reliance on TV as
information carrier has fallen by 4% points,
whereas Newspapers have remained static.
News
I specially
chose
to
News –- e.tv
e-TV[e.tv]:
[e-TV]:
I specially
chose
watch
this
programme
to watch this programme
Total Sample
34%
25%
25%
23%
News
English [SABC3]:
[SABC3]: II specially
News –- English
specially
chose
to
watch
this programme
programme
chose to watch this
34%
TGISA 2005A 7500
(Internal)
I rely on TV to keep me informed: Definitely Agree
TGISA 2005B 7500
(Internal)
TGISA 2006A 7500
(Internal)
I rely on newspapers to keep me informed: Definitely Agree
If I rely on TV for the news I am only getting part of the story: Definitely Agree
CREDIBILITY ASSESSMENT regarding TV News
The number of people who express scepticism regarding the credibility of news on television
has risen in the first six months of 2006 after reflecting a steady decline from over 4m in 2004
to a low of just over 3m. The number of people who do not agree with the statement that they
are getting only part of the news story on television is very small by comparison, but it too has
dropped in the last six months. These trends indicate a loss in the credibility placed by South
African adults in television news.
4,053
3,575
3,488
3,412
3,075
RELY ON TV TO KEEP ME INFORMED BY RACE
5,000
703
4,000
679
594
745
652
3,000
TGISA 2004A 7500
(Internal)
2,000
TGISA 2004B 7500
(Internal)
TGISA 2005A 7500
(Internal)
TGISA 2005B 7500
(Internal)
TGISA 2006A 7500
(Internal)
If I rely on TV for the news I am only getting part of the story: Definitely Agree
1,000
0
If I rely on TV for the news I am only getting part of the story: Definitely Disagree
TGISA 2003B TGISA 2004A TGISA 2004B TGISA 2005A TGISA 2005B TGISA 2006A
7500 (Internal) 7500 (Internal) 7500 (Internal) 7500 (Internal) 7500 (Internal) 7500 (Internal)
Black
4,750
4,439
4,556
4,491
4,212
4,248
White
693
663
787
670
651
568
Coloured
525
569
638
665
493
475
Indian
203
188
167
202
201
205
In 2003, 4,75m Black viewers said that they relied on TV for information but by 2005 there
was a drop to 4,2m. Both Coloureds and Whites show a small drop in the numbers who said
that they rely on TV to keep informed. Amongst Indians there was no remarkable change
over this period.
36
Comparing these statistics to reliance on TV versus Newspapers to keep them informed, shows
that whether they specially chose to watch SABC3 or e.tv, newspapers and TV perform about
equally with 21% agreeing that either TV or Newspapers are relied on. And, interestingly,
scepticism regarding TV as delivering only part of the story is the same amongst SABC3 and
e.tv viewers at 24%. On the one hand e.tv promotes their news as “unbiased” and the “snuki”
factor has become an issue in recent times for the SABC.
Target Group Index (TGI),
a single source database, is marketed
and sold in South Africa by The Brand Survey
Company SA [Pty] Ltd under license from BMRB in
London. TGI is currently available in 57 countries round the
world, and these range from highly sophisticated first world to
less developed countries.
TGI in South Africa is headed by Barbara Cooke and Tim Bester.
Research is done continuously during 10 months of the year –
February to November. It is based on a stratified, random probability
sample of 15 000 adults, 16 years and older. This sample totals
16 666 295 people, which represents 56% of the total adult
population of South Africa.
Tel 011 234 0656 Mobile 082 892 5884
audience Ratings
October 2006
This monthly feature selects prominent local productions, and ranks them in terms of AR ratings.
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
the top five programmes
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 represents about 145 590 viewers.
Date
16/10/2006
21/10/2006
30/10/2006
25/10/2006
Genre
Soap
Movi
Vari
Dram
AR
14.44
13.65
11.53
10.99
Programme
Days of Our Lives
Isidingo:The Need
Special Assignment
Tom And Sheena
Date
19/10/2006
04/10/2006
31/10/2006
03/10/2006
Genre
Soap
Soap
Actu
Yent
AR
12.20
10.11
8.60
7.35
Programme
Egoli-Place of Gold
Survivor SA
The Festive Kitchen
S/Sport:ABSA Currie Cup
Carte Blanche
Date
02/10/2006
08/10/2006
09/10/2006
14/10/2006
01/10/2006
Genre
Soap
Real
Maga
Spor
Maga
AR
5.57
4.66
3.77
3.22
3.00
Programme
International Smackdown
In Hell
WWE Wrestling Raw
Hard Target
Lotto Draw Live
Date
18/10/2006
29/10/2006
08/10/2006
15/10/2006
14/10/2006
Genre
Spor
Movi
Spor
Movi
Quiz
AR
16.64
15.79
13.07
12.77
11.36
SABC3
Rank
1
2
3
5
M-Net
Rank
1
2
3
4
5
e.tv
Rank
1
2
3
4
5
**NEW LOOK – In future we will be featuring the top five shows viewed
for each of the channels. This is a change from the way we previously
displayed the rating information and we hope that you enjoy our ‘new look’
3rd Degree
50/50
7de Laan
Backstage
CarTorque
Carte Blanche
Egoli-Place of Gold
Fokus Gospel Gold
Isidingo:The Need
Jam Alley
K-TV
Laduma on 1
Morning Live
Muvhango
News at Seven
News at Seven on 3
Pasella
Scandal
Selimathunzi
Siyayinqoba
Special Assignment
Take 5
Top Billing
Tsha Tsha 4
Tube
Yo-TV
Zone 14
Sep 2006 AR
Rank
1
3
4
5
Oct 2006 AR
Programme
7de Laan
Mr Bones
Community Builder Of The Year
Dikolong
SABC2
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,
Channel
AR
24.29
19.31
18.88
18.28
18.26
Frequency
Genre
Soap
Dram
Sitc
News
News
Day/s
Date
18/10/2006
16/10/2006
03/10/2006
03/10/2006
18/10/2006
Start Time
Programme
Generations
Zone 14
City Ses’la
Xhosa News
Zulu News
Genre
Rank
1
2
3
4
5
Name
SABC1
Maga
Maga
Soap
Soap
Maga
Maga
Soap
News
Musi
Soap
Vari
Y.Ent
Spor
Maga
Dram
News
News
Maga
Dram
Vari
Educ
Docu
Educ
Maga
Dram
Y.Ent
Y.Ent
Dram
20:00
17:00
18:30
18:30
17:00
19:00
18:00
18:30
09:00
18:30
18:30
Vari
Vari
06:00
21:00
19:00
19:00
16:30
19:30
18:00
13:30
21:30
Vari
19:30
20:30
Vari
Vari
20:30
Tue
Sun
M-F
M-F
Sun
Sun
M-F
Sun
Sun
M-F
Fri
M-F
S/S
M-F
M/T
Daily
Daily
Sun
M-T
Sat
Sun
Tue
M-F
Thu
F
M-F
M-F
M
W
W
S5
S5
W
W
S5
W
W
S5
W
S5
S2
S5
S2
D
D
W
S4
W
S
W
S5
W
W
S5
S5
W
e
2
2
e
3
M
M
2
2
3
1
M
1
2
2
e
3
2
e
1
1
3
1
2
1
2
1
1
3.91
4.30
11.89
3.66
2.16
2.65
4.53
5.74
7.02
8.68
9.67
0.37
7.92
3.78
11.71
5.87
5.11
5.18
6.12
9.48
2.34
6.65
3.77
4.19
14.41
2.06
1.87
18.97
3.29
4.06
12.16
4.07
2.17
3.20
4.54
6.03
7.14
8.71
9.74
0.34
6.47
3.54
11.23
5.63
5.20
4.43
6.14
8.61
2.63
5.22
5.56
5.56
17:10
20:30
18:00
M-F
Wed
M-F
S5
W
S5
1
e
1
2.28
2.01
18.86
Top foreign shows
Days of Our Lives
International Smackdown
The Bold and the Beautiful
Soap
Spor
Soap
9.85
13.40
14.69
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 email Enid Venter at [email protected]. The purpose of the schedule is to show the types of programmes South African
audiences view, and to what extent.
You could be here
Phone Antonio on (011) 719-4380 to advertise on
.COM
WWW.SCREENAFRICA
37
P R O D U C T I O N
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
GOTHIA CAPER
Feature Film
IN THE SHADOW OF
WINGS
Writer: Richard Alfieri
Feature Film
NIGERIA
Two Oceans Production
Prod: Gishler Venzke
THE CARAVAN
Prod: Gishler Venzke
SOUTH AFRICA
IN DEVELOPMENT
A MILLION COLOURS
Ma-Afrika
Dir: Peter Bishai
Feature film
A.F.R.I.C.A
KRO Pictures
Dir: Kit Reynolds
Feature film
ALBERT SCHWEITZER
Prod: Giselher Venzke
AFROX CUSTOMER
SERVICE CENTRE
FC Hamman Films
Dir/DOP: FC Hamman
Corporate
AFTER THE 46664
Atomic Productions
Dir: Fiona Tudor Price
Documentary
38
KALAHARI
RED LINE
SA Prodution Co.
Film Hiring Services
Sphere Pictures
Reality
KINGS OF
MABALINGWE
ROPES
Creative Media Projects
Prod: Tony Els
Drama Action Series
AN AFRICAN PRINCE
EINSTEIN INC.
LAND OF THIRST
International Radio
Productions Inc.
Dir: D. Gillard
Sphere Pictures
Prod: Dylan Ben-Israel
Sitcom
FAMILY BONDS
Sobisa Entertainment
TV Sitcom
Vuleka Productions
Dir: Meg Rickards
FATHER INSIDE
MAGNATE FAMILY
APART FROM THE
HATE
Southern Images
Dir/Wr: Natalie Chapman
IN THE PIPELINE
U P D A T E S
Feature film
A SHOT AT THE BIG
TIME
Just Do It production
Dir: Russell Underhill
BARNARD
Ad Astera Productions
Feature Film
BEYOND THE LIGHT
BARRIER
The Imaginarium
Dir: Chris Roland
Feature film
BIG MIX
little L.A. productions
Music Teen Film
BRETHREN
FELLOWSHIP
VIP Productions
Dir/Producer: Victor Phume
Commercial Religion
CHEAP LIVES
Best of Both Worlds Pictures
Dir/Wr: Sir Antony Sher
Feature Film
COMING OF AGE
Current Affairs Films cc with
Up Front
Dir/s: Jane Thandi Lipman /
Portia Rankoane
Feature documentary
CROCODILE
PRINCIPAL
Blast
Dir: Mark Engels
Feature Film
DIAMOND DIVER
Feature Film
DUNEDIN STAR
Denis Scully Productions
Feature Film
Jill Kruger Research and Film
Production
TV Magazine Programme
FAXED UP
Sphere Pictures
Feature Film – Romantic
Comedy
FELA’s TV
Penguin Films
Drama
GET SANTA
Sphere Pictures
Features Film – Family
GLOBAL GIRLS
Barbara Barde of UpFront
Productions, Toronto
GONE A HUNTING
(working title)
Full Frontal Films
Feature film
GUGU AND ANDILE
Luna Films
Dir: Minky Schlesinger
HEART OF THE
HUNTER
Film Afrika / David Altman
Feature Film
HIDDEN TRUTHS
Black Drop Productions
Dir: Sechaba Morojele
Documentary
HOLA MPINJI! OF
STANZA
TV Drama
INSECTS (Working
Title)
Talking Pictures
Dir: Ann Strimling
Documentary Series
JHOTI (Working Title)
New Wave Productions
Dir: Munier Parker
Feature film
Drama
LOCK JAW
little L. A. productions
Feature film
Motsepe Productions
Dir: Manase Motsepe
Documentary
MANLY PERSUITS
Film Afrika
Feature Film
MATTHEW, MARK,
LUKE & JOAN
9mm Films
Dir: Peter Heaney
TV Sitcom
MOLEFE’S SON
Feature Film
MY HEART IN AFRICA
Prod. Giselher Venzke
MY SECRET SKY
Vuleka Productions / dv/8
Dir: Madoda Ncayiyana
Feature film
OUT OF THE BLUE
MoviWorld
Dir: Neal Sundström
Feature film
PARLIAMENT IN
ACTION
Born Free Media
Dir: Rolisiwe Nikiwe
SABC Drama Series
PERSEPHONE
Enigma Pictures / Silver Lion
Films (US)
Feature film
PRECIOUS
UniTal Films International
Feature film
PRINCESS MAGOGO
KADINUZULU
African Renaissance Opera
Productions.
Dir: Themi Venturas
RAFT OF THE MENDI
TrueAfrica Pictures
Feature film
THE CHILIMILA
SAFARI
ROUGH
International Radio Pictures,
Inc
Dir: Kit Reynolds / Joel
Ngoepe
Documentary
Film Hiring Services
SA Production Co
2 x 90 min series
THE DRAGON’S MIST
Aview to a Production.
Feature Film
SCARPIN 2
THE ESCAPE
Sosiba Entertainment
Comedy fillers
Current Affairs Films cc
Feature film
SCREEN PALS
THE FRINGE
African Century Television
Prod/Dir:
ThansanqaMthiyane
The Imaginarium/Dare to
Dream
Feature Film
SINS OF OUR
FATHERS (Provisional)
THE GREAT WIDE
OPEN
Wild Side Productions
Dir: Bobby Heaney
Feature film
SONG OF SOUND
The Imaginarium / Krishna
Smiles Flowers Bloom
Dir/Wr: Mukunda
Feature film
SOUL BUDDYZ V
Griffin Films
Drama
Wildside Productions
Dir: Bobby Heaney
Series
SOUTH EAST
Feature film
SWEAT AND CHALK
Mud Hut Productions
Dir: Pieter Grobbelaar
TAKE 5
Combustion Pictures (Pty)
Ltd
Dir/s: Faqeek Dyer / Shandu
Nesengani / Navan Chetty /
Deeno Naidoo
TV Magazine programme
TAUNG WELLS
Feature Film
TAXI!
Innervision Films
Dir: Nana Soobben
Feature film
THE CARAVAN
THE 3
INVESTIGATORS (2)
THE HUNTER’S
DAUGHTER
THE INCOME
SPECIALISTS
Tidal Wave Productions
Commercial
THE MOST AMAZING
SHOW SERIES 2
Pandamonium Productions
Exec Prod: Fiona Summers
South African TV Series
THE NIMBY
PRINCIPLE
Jill Kruger Research and
Film Production CC
THE REAL SURVIVAL
GAME
Talking Pictures
Dir: Ann Strimling / Garth
Lucas
THE SOURCE
Sentinel
Entertainment
Exec. Prod: Richard
Lackey
THE THIEF
VIP Productions
Dir/Prod:Victor Phume
Comedy/Thriller
THE TOKOLOSH
DO Productions
THE WORLD
UNSEEN
DO Productions
Feature Film
P R O D U C T I O N
U P D A T E S
PITCHING
FOR TV SHOWS?
GLOBAL OUTREACH
DISGRACE
VIP Production
Dir: Victor Phume
TIME OF THE SNAKE
Giselher Venzke
DO Prroductions
Prod: Brigid Olën/Marlow
de Mardt
TOW TRUCKIN
Documentary
DOMESTIC VIOLENCE
INITIATIVE
little L. A. productions
Action Drama
WHO WILL PROTECT
US NOW?
Pandamonium Productions /
Partners in Motion. Distrib
Co
Documentary
WHOSE HUNGRY
Uhuru Productions in
association with WIMSA
Dirs: Rehad Desai / Richard
Wicksteed
Documentary
YIZO YIZO 3
Bomb. Distrib Co:
TV Drama
ZEN
Zen Films Afica
Exec. Prod: Annette
Middleton
DO GIRLS WANT IT?
Eagle Films
Dir: Charlotte Brandstrom
TV Feature Film
Vuleka Productions
SEVEN OF DARAN
20 SOMETHING
Enigma Pictures
Dir: Lourens Blok
Feature Film
Red Pepper Pictures
Dir: Deepika Bhoolabhai
Southern Images
Dir: Natalie Chapman
2 Short Films, 1 Doci & 1
Music Video
STA TRAVEL AWARDS
21ST CENTURY
LEADERS
FINALE
STOKVEL IV
December 8
Prod: Francois Coetzee
FLAME BIRD LAKE
Imageworks
Wildlife Documentary
FOR SALE
Solid Stone
Dir: Mosese Semenya
SABC 3 Comedy Drama
FROM RUSSIANS
WITH LOVE
Mindpool Productions
Exec Prod: Monique Garden
TV Series
GOING UP AGAIN
IN PRE-PRODUCTION
A PEOPLES HISTORY
OF SOUTH AFRICA
Uhuru Productions
facilitating for The History
Consortium
AARDKOP FESTIVAL
PLAYS
Dir: Bobby Heaney
Televised stage productions
AFRICAN WILDCARE
Talking Pictures
Dir: Ann Strimling / Garth
Lucas
Documentary Series
B AND D
PHARMACEUTICALS
Panache Video Productions
Dir: Liesel Eiselen
BAND-AID
BACKPACKER
Vuleka Productions
BENEATH THE FLOOR
Sphere Pictures
Feature Film
BEAT MY NIECE
Sphere Pictures
Reality
BREAD
Tin Rage Productions
Dir: Wessel van Huyssteen
BREAKING THE
RULES
Chop Productions
Dir: Carolyn Projansky
Documentary
BROKEN
Darklight Pictures
Dir: Gareth H Graham
CHICKEN KING TVC
Razor Sharp Films
Dir: Rene Smith
TV Commerical
COLOUR ME
POVERTY
African Century Television
Dir: Makhosazana Zulu
CRUX (Series 11)
ATTV Communications
Dir: Shelomi Natasha
Augustine
Magazine Show
DARK ROOM
AFDA
Dir: Peter Abraham
SECRET AGENT
(Working Title)
Penguin Films
Dir: Andre Odendaal
Sitcom
HAD I KNOWN
(I COULD HAVE
ACTED DIFFERENTLY)
E-Psalmist Production
Exec Prod: Giant A.J. Akinjole
Feature Film
HANDS OF A
FORGOTTEN HERO
Ad Astera Productions /
Wingaurdium Leviosar
Dir: Dirk de Villiers
Documentary
HEMEL OP DIE
PLATTELAND
AFDA Cape Town
Exec. Prod: Garth Holmes
and Bata Paschier
JULIA 2 ( Telenovella)
MAKING MAHATMA
Visual Voice Moving Images
Feature film
MONKEY MENACE
Blast Films Services
Exec Prod: Hemant Bhandari
& Mark Engels
Commercial
MY HEART IN AFRICA
OFFENDER
REHABILITATION
PATH
Panache Video
Productions
Dir: Liesel Eiselen
OUR OWN STORIES
IN OUR OWN VOICES
Current Affairs
Clive Morris Productions
Dir: Sian Clark
Corporate
Penguin Films
Dir: Vusi Dibakwane
26 part sitcom for SABC 2
TACTICAL
Sphere Pictures SA
Exec Prod: Dylan Ben-Israel
Reality
TALES FROM THE
DARK CONTINENT
Dark Continent
Dir: Robert de Mezieres
Feature film, Television DocuDrama Series, Comic Book
THE 3
INVESTIGATORS (TC)
RETOSA
Talking Pictures (Pty) Ltd.
Documentary
SANCTUARY
A One Man Band Production
Dir: Konstandino Kalarytis
Feature film
SCRATCHING THE
SURFACE
Bandit Film Productions
Dir: Justin Kirschner
Documentary
Brave Films (UK) and Reel
Africa
Dir: Lucy Blakstad
Documentary
3:16
Dynamic Vision Productions
Dir: Ailsa Kaminski /
Magdalena Laas
e.tv
Investigative TV Series
7DE LAAN
Danie Odendaal Produksies
Dirs: Alwyn Swart / Henry
Mylne / Pierre van Pletzen /
Chris Vorster
Daily TV Drama series
ABSA ON TARGET &
ABSA ON LEARNING
THE LONG WALK TO
FREEDOM
Global Access
Telecommunications SA
Dir/s: Phil Wright / Renee
Goedhals / Gregory Culey
Videovision Entertainment
Dir: Shekhar Kapur
Feature Film
THE REBIRTH OF
UMKHUMBANE
Dogg Bite Entertainment
Dir: Siphiwe Dominic
Documentary
THE SEARCH FOR A
SOUTH AFRICAN
HUSBAND
And Nu? in assoc. with Brave
Bunny Productions.
Dir: Elan Gamaker
Feature Film
THE WEAKEST LINK
IV
Rapid Blue
Dir: David Hickson
TV Game Show
THE WEAKEST LINK
SEASON 5
Rapid Blue
Dir: David Hickson
TV Game Show
TO BE FIRST
DO Productions
Dir: Patrick Reams
Television Factual Drama
WOMAN’S LIFESTYLE
Spirit Sister Productions
Dir: Di Rosen
WWP
THUNDERSTRIKE
Urban Brew Studios
Sports Entertainment
ZULU WAVE
DO Productions
Prod: Marlow De Mardt/
Brigid Olën
PRODUCTION
AFRICA
LOTTO NIGERIA
ALR Television Productions
Exec Prod: Abri Le Roux/Bev
Brown
Game show and live draw
TV DRAMA
3RD DEGREE
Prod: Giselher Venjke
PREHISTORIC DEEP
Sphere Pictures SA
Feature Film – Thriller
SOUTH AFRICA
ABSA TODAY
Global Access
Dir: Chris Moolman
TV SITCOM
ADT ANIMATED
HANDOVER VIDEO
blurr productions
Dir: Harry Ravelomanantsoa
Corporate 2D Animation
AFRO SHOWBIZ NEWS
SABC Africa
Prod: Shingai Nyoka
Magazine Programme
AFROX GAS & GEAR
FC Hamman Films
Dir/DOP: FC Hamman
Corporate
ANTON LEMBEDE:
THE ELEPHANT
WHO LED FROM THE
FRONT
Uhuru Productions
Prod: Nirvana Singh
AUTO FOCUS
AVAIL ABLE FROM JANUARY
FC Hamman Films
Dir/DOP: FC Hamman
Corporate
BACKSTAGE
Deon Opperman
Dir: Denny Miller / Shadrack
Keorapetse / Riaan Meij
Daily TV Drama
BINNELANDERS
Stark Films
Dir: Danie Joubert
TV Drama
BLACK BEAULAHS
Underdog Productions in
association with Doti
Producxionz
Dir: Fanney Tsimong
BLUE
Jenny Lenahan Productions
Corporate
BORN TO BE WILD
Talking Pictures
Dir:Ann Strimling / Garth
Lucas
Documentary Series
BRAM FISCHER:
AFRIKANER
REVOLUTIONARY
WITH A HEART OF
GOLD
& RESOLVE OF STEEL
Shoot the Breeze
Productions
Dir: Sharon Farr / Lee Otten
Documentary
YOUR HOME FOR 2007?
AT L A S S T U D I O S
S O U N D S TAG E S ,
TV / FILM & EVENT
FAC I L I T I E S
33 Frost Ave,Milpark,
Joburg, South Africa
tel: 011.4827111
fax: 011.7265960
www.atlasstudios.co.za
P R O D U C T I O N
U P D A T E S
BRASSFIELD ESTATE
WINERY
GALLOW WALKER
IZOSO CONNEXION
Feature Film
Namibia
Exec. Prod: Monique Garden
TV Series
FC Hamman Films
Dir/DOP: FC Hamman
Corporate
BRUISES AND LOVE
Dir: Marion Segal
South African Documentary
CAR TORQUE
Hooper Productions cc
Dir: Ian Hooper
TV Series
CHILDREN’S ANIMAL
SERIES
Talking Pictures
Dirs: Ann Strimling / Garth
Lucas
Documentary Series
CHILDREN OF THE
WILDERNESS
Tekweni TV Productions
Prod: Sandra Herrington
CITY OF JHB – PROJECT
PHAKAMA
FC Hamman Films
Dir/DOP: FC Hamman
Corporate
CITY SES’LA
Black Brain Pictures
Exec Prod: Mandla
Ndimande
COOL CATZ
Red Pepper Pictures
Dir: Susan Espay
CORNERSTONE
INFOMERCIAL
Panache Video Productions.
Dir: Liesel Eiselen
For Broadcast
CRAZ-E
Red Pepper Pictures
Dir/s: Billi-Jean Parker /
Ivyann Moreira / Susan
Espey
e-tv Daily Youth Show
DEEP RECOVERY,
DEEP TRAGEDY
Seacam Films
Documentary
DIE NUTSMAN
Dir: Lindi du Preez
TV Series DIY Programme
SABC2
DEPARTMENT
OF SCIENCE &
TECHNOLOGY
INDUCTION VIDEO
Corporate
DEPARTMENT
OF SOCIAL
DEVELOPMENT,
WORLD AIDS DAY
Corporate
DES & DAWN STILL
TRUCKING
Cabaret & Theatre
Dir/Wr: Dawn Lindberg
Live
DIS HOE DIT IS MET
STEVE SERIES 6
Prod: Clive Morris
Music/Talk show
DRAMATISTS
AGAINST CRIME
Catalyst Media/Sentient
Pictures
Dir: Steven Cholerton
Documentary
EASTERN MOSAIC
Saira Essa Productions
Magazine programme
EDUCATION
EXPRESS
SERIES 10
Kagiso Educational Television
Dir: Alette Schoon
TV Series
EGOLI – PLACE OF
GOLD
Franz Marx Films
Head Dir: Ken Leach
Soap Opera
ELECTRIC EAGLES
Imageworks
Dir: Anthony Irving
EZOMNDENI
Sosiba Entertainment
Prod: Deon Potgieter/Mandla
Thabetha
Sitcom
FELIX
AFDA
Dir: Brennan Lewis
Short Film
FINALE
December 8/Do not print
on Iron Pictures
Dir: Francois Coetzee
Feature Film
FINE PRINT
Vuyani Filims
Dir: Renee van Reenen
Short Film
FOOD SECURITY
(Working Title)
Vilole Images facilitating for
Kepa-Zambia
Dir: Cathrine Musola
Kaseketi
Documentary
FREE SPIRIT
Shoot the Breeze
Productions
Dir/s: Sharon Farr / Lee
Otten
FRIENDS LIKE THESE
Urban Brew / BBC
Dir: Eugene Naidoo
Game Show
FULL CIRCLE- THE
STORY OF SIBELLA
Touchdown Africa
Prod: Bert DuToit
Wildlife
FUNDANI NATHI
SABC Education
Dir: Linda Korsten
GENERATIONS
Morula Pictures
Exec Dir: Danie Joubert
Dir/s: Ronnie Lennox / Mark
Graham / Mxolisi Hulana
Daily TV Drama
GET BUSHWISE
DewClaw Productions
Dir: Sophia Vartan
Children’s Wildlife TV Series
GLAXO SMITH KLINE
International Radio Pictures,
Prod/Dir: Kit Reynolds
Corporate
GNLD
INTERNATIONAL
FC Hamman Films
Dir/DOP: FC Hamman
Corporate
GNLD TRE-EN-EN
FC Hamman Films
Dir/DOP: FC Hamman
Corporate
GROEN
Homebrew Films
Dir: Willie Steenkamp
Environmental Series
HART VAN STAAL
Westel Productions
Dir: Willie Esterhuizen /
Pieter Esterhuizen
Telenovella in 39 one-hour
episodes
HEALTH MATTERS
Izwe Multimedia/UrbanBrew
Africa
Current Affairs
HOLLYWOOD
HEARTS
Groundglass
Dir: Franz Lewis
Charity Event
HOUSE CALL
Izwe Multimedia/Urbanbrew
Africa
Live Medical Talk Show
IMIZWILILI
(Magnificent Sounds)
Ukhamba Production House
Dir: Helena vd Merwe
TV Series _ Choral Music
INFORMERICAL FOR
CORNERSTONE
COLLEGE
Panache Video Productions.
Script/Dir: Liesel Eiselen
INNOCENCE LOST
Controversi Films
Dir: Derek Serra / Lara
Taylor
Documentary
ISIDINGO
Endemol South Africa
Dirs: Raymond Sargent/
Johnny Barbazano/Krijay
Govender/Sthembiso
Mathenjwa.
Daily TV Drama
JAM ALLEY
Red Pepper Pictures
Dir: Lindi Lucow
Youth Variety
JOHNNYVAN
DONGEN
Neil Sonnekus Productions
Prod: Neil Sonnekus
Short Film
JOHZI H
Morula Pictures
Assist Dir: Sheila Van Zyl
TV Series
Documentary
K-WORLD ON-AIR
PROMOTION
Clearwater Entertainment
SA
Dir: Theart Korsten
KE NAKO
Penguin Films.
Commissioning
Dir: Vusi Dibakwane
TV Drama series
KNOWN GODS
M-Net Local Productions /
Fremantle Media
Dirs: David Lister / Reghardt
van den Bergh
TV Drama
KTV’s K-POW LIVE
SA
Directors: Sean Pearce /
Warren Bleksley
KTV ON-AIR
PROMOTION
SA
Creative Dir: Theart
Korsten
KTV’s PLAYBACK
LIVE
SA
Dir: Sean Pearce
TV Children’s Programme
KTV’s PRE-K SHOW
SA
Dirs: Sean Pearce / Warren
Bleksley
TV Children Programme
KWAKHALA
NYONINI
Scholtz Films
Comedy drama series
KWELA
Pieter Cilliers Productions
Dir: Marie Minnaar
Magazine Programme
LA BOHEME
Three Pictures SA.
Dir: Mark Dornford-May
Feature Film
LAST OF THE TRYSTS
Crazyhorse Pictures
Dir/DOP: Ryan Davy
LAUGH OUT LOUD
Bobby Heaney Productions
Dir: Bobby Heaney
TV Series
LET’S FIX IT SERIES
11
Director: Tarryn Crossman,
Brenda Spaan, Terry West
by Nunn
TV Series
LOOKING IN
LOOKING OUT
Di Rosen Productions
TV Series
MAN FROM
YESTERDAY
Two Ocens Production
MARY-ANNE
PILLOW TALK
Homebrew Films
Dir: Ben Heyns
TV Talk Show
PLACES IN MY MIND
Barrier Productions
Exec Prod: Kevin Barnard
Musical
PROJECT HOME
Documentary
MEMBAZ ONLY
Touchdown Africa
Prod: Bert Du Toit
Talk Show
MIT COKE SIDE OF
LIFE
Creative Directions
Exec. Prod: Claudia Eicker/
Laura-Beth Harris
Corporate
MOTSWAKO
SCANDAL
Carol Bouwer Productions
MPONENG 2
Word of Mouth Productions
Sitcom based on BBC series
Keeping Up Appearances
MR JACK
CGR-Cinema
Dir/DOP: Bernd
Cruschmann
Short Comedy
NEDERBURG “THE
HARVEST AND
MIDNIGHT”
Picture Tree Productions
Dir: Oscar Strauss
TV Commercial
NOTED
Free Range Films
Dir: Tina-Louise Smith
TV Series
NRG
Global Access
Dir: Paul Clingman
OFF THE WALL
(Working title)
Blatofilm
Dir: Owen C. Hetherington
OF SHARKS AND MAN
Flying Fox Productions
Prod: James Hiersov
Series
OIL ON WATER
Tidal Wave Productions
Prod: Elle Matthews
Short Film
OLD MUTUAL JAZZ
ENCOUNTERS
BLAST
Dir: Mark Engels
Full Picture Productions
Dir: Marius Bakkes / Dirk
Mostert
TV Reality Series. Home
Building Reality Challenge
PASELLA
Tswelopele Productions
Insert Dirs: Liani Maasdorp /
Werner Hefer
PEP FEELGOOD
CHALLENGE
Reality TV Series
PETERS PAPERS
FC Hamman Films
Dir/DOP: FC Hamman
Corporate
AFDA
Dir: Adze Ugah
Short Film
Shadow Films
Dir: David Forbes
ON SITE
40
PG GLASS – WHAT
A WONDERFUL
WORLD
Suburban
Exec Prod: Linda
Notelovitz.
Commercial
PHOSPHORESCENCE
Ochre Moving Pictures
Dir/s: Maynard Kraak /
Denny Y Miller / Kevin
Smith / Ian van Wyk
Daily TV Drama
SCHOOL TV @ HOME
Rapid Phase Pty (Ltd)
Dir: Steve Berry
SELIMATHUNZI
Shonyama Productions
TV Variety
SHADOWS OF
DIVINITY
Magazine Programme
SHOPRITE/
CHECKERS WOMAN
OF THE YEAR
AWARDS
Underdog Productions
Exec Prod: Marc Schwinges/
Luiz DeBarros
SIMCHA A
CELEBRATION OF
LIFE
Spiritsiter Productions
Dir: Dianne Rosen
SIYAYINQOBA BEAT
IT!
Community Health Media
Trust / SABC1
Dir: Jack Lewis
TV Magazine Programme.
HIV / Aids Interest
Programme
SNITCH 11
Endemol
Exec Prod: Gray Hofmeyer
SOPHIATOWN – THE
REMOVALS (working
title)
Catalyst Media/Sentient
Pictures
Dir: Steven Cholerton
Documentary
SPIRIT SUNDAE
STAMP OF FORTUNE
Red Pepper Pictures
TV Game Show
STANDARD BANK
BLUE WAVE
Corporate
STAR MATHS
Delapse / Flying Pictures
(UK)
Educational focus on Maths
SUN SISTERS
Current Affairs Films
Dir: Jane Thandi Lipman
Film
STUDIO 53
M-Net Inhouse Productions
Insert Dirs: Navan Chetty
/ Enver Samuels / Vicky
Letsoalo / David Mostert /
Danie Albertze
P R O D U C T I O N
TAKE 5 WEB
VILLA ROSA
BLOOD DIAMOND
FAIR IS FOULED
Spectro Productions
Dir/s: Gerrit Schoonhoven
/ Cobus Rossouw / Roche
Knoesen / Vickus Strijdom
Writer: Charles Leavitt
Starring: Leonardo DiCaprio
Feature film
Masimini Productions
Prod/Dir: Peter M Masimini
BLUEBERRY KISSING
WHAT’S BREWING?
In assoc. with City Varsity
Productions
Dir: Estelle Dreyer
Short Flim
Penguin Films/ Broadcaster:
SABC
Dirs: Vusi Dibakwane /
Mark Graham
TECHNO
CHALLENGE
Atomic Productions
TV Series. Children Science
Challenge for SABC
Education
THE BIG QUESTION V
Dir: Kate Stegeman/Emily
Richards
Michael Schneider
TV Series
THE CRADOCK FOUR
Shadow Films
Dir/DOP: David Forbes
SASC
Feature Documentary on
High Definition
THE ENTERPRISE
ZONE
Kagiso Educational Television
Dirs: Makhubalo Ikaneng /
Surekha Singh
THE GAME FACT
SHOW
Exec Prod/Dir: Clive Morris
THE HISTORY OF
CATO MANOR
Vuleka Productions
THE HOT SEAT
Endemol
Dir: Andrew Wilson
THE LAMP
VIP Productions
Dir: Victor Phume
Feature Film
THE SCREAMING OF
THE INNOCENT
Adapted by & written by:
Mark Jaffee / Adam Pickett
THE SWITCH
VIP Productions
Dir/Producer: Victor Phume
Reality TV Show
Pilot Programme
THE THIEF
VIP Productions
Dir: Victor Phume
Feature Film
Corporate
WHAT’S THE STORY?
Curious Pictures
Dir: Nadine Zylstra
Game Show
WHAT’ YOUR FLAVA?SERIES 11
Okuhle Media
Prod: Minke Alves
Series
BOILED EGGS
WHITE LION
BUSH AFRICA
SAFARIS
Chop Productions
Co-Dir: Ben Horowitz /
Michael Swan
Feature Film
WHICH WAY?
Okuhle Media
Prod: Anita Gray
Series
WOZA LIVE
Urban Brew Studios
WWP
THUNDERSTRIKE 111
Urban Brew Studios
Exec Prod: Danie Ferreira
Sports Entertainment
YO BIZ
Touchdown Africa
Dir/Prod: Linda Gumede
Children’s Business Reality
TV Show
YO.TV
Urban Brew Studios
Insert Dir/s: Herbert Hadebe
/ Sebulelo Phakisi / Terri
Cooperman / Guy Hubbard
YO-TV IMAGING
The Brewery @ Urban Brew
Dir/Ed: Freddy Louw
YO.TV LAND
Urban Brew Studios
Dir: Herbert Hadebe
ZERO TOLERANCE
THE WEDDING
SHOW
Dir: Clare Stopford / Barry
Berk / Hilary Blecher / Sara
Blecher
Drama Series
ZOLA 7 SERIES III
TOP BILLING
Tswelopele Productions
Dirs: Gerry Jennings / Tombie
Auret / Caitlin Ferraz /
Jeanine Cameron / Lizzie
Staughton / Mark Jackson
TRAVELLING
UNPLUGGED
Touchdown Africa
Prod: Bert Du Toit
Series
TYCO TRUCKS
FC Hamman Films
Dir/DOP: FC Hamman
Corporate
UNICORNS WHALES
& DRAGON’s TALES
Cabaret & Theatre
Dir: Dawn Lindberg
Live Theatre Music Show for
Children
UPSTREAM IN
AFRICA
ProAfrica Productions
Dir: Didi Schoeman
TV Series. African Adventure
/ Travel Series
VIBE’Z
Touchdown Africa
Tech Dir: Quentin Haffern
Reality TV Show
Factual Entertainment
pOST PRODUCTION
1815
Freelance Producer
Dir:Howard Nithite
A CAREER IN AIR
TRAFFIC CONTROL
Astral Studios. Dir. Mike Byron.
ADVENTURES AT THE
WATERHOLE (3rd
series)
Vuleka Productions
AFROX SHEQ
INDUCTION
FC Hamman Films
Prod: IB Marais
Corporate
ATMOSPHERE FOR
MIRACLES
VIP Production
Commercial religion
BARREN
AFDA Cape Town
Exec. Prod: Bata Pasier/Garth
Holmes
Short Film
Buso Pictures
Prod: Sonwabile Mfecane
Short Film
FISHY FESHUNS 2
Sitcom
FOUR DAYS
BORN TOO SOON
AFDA & Light Box
Entertainment
Dir: Darryl Evan Fuchs
Short Film
Atomic Productions
Prod/Dir: Fiona Tudor Price
Documentary Social/Medical
FROM STREET TO
STOEP INDIAN
ENOUGH
AFDA
Dir/Wr: A. Savvides
Chill Out Pictures
Dir: Dirk Hurter
Marketing Video
CONFESSIONS OF A
GAMBLER
Roza Films
Prod: Ross Garland/Zaheer
Bhyat
Feature Film
CHILDREN OF THE
WILDERNESS
Tekweni TV Productions
Prod: Sandra/Neville
Herrington
Series
CHUBWA
Regional Co-Production of a
series of 10 fiction Films
Prods: Imruh Bakari /
Shane Mohabier / Beatrix
Mugishagwe
DARK ROOM
AFDA
Prod: Brian Baloyi
DESTINATION!
Vuyani Films/AFDA
Dir: Padraic O’Meara
Short Film
DIE NUTSMAN 1V
Clive Morris Productions cc
Line Prod/Dir: Lindi du Preez
TV Series
DIE VLEISVRETERS
Spectro Productions cc
Dir: Gerrit Schoonhoven
TV Drama
DIS HOE DIT IS MET
STEVE
Clive Morris Productions cc
Dir: Clive Morris
Music Talk Show
DNA STRINGS FIRST
CONCERT DVD
Di Rosen Productions
Dir: Di Rosen
DR ROBB THOMPSON
(U.S. OF A.)
VIP Production
Commercial Religion
ELEPHANT ARMY
Atomic Productions
Documentary
GARY PLAYER
MASTER CLASS
FC Hamman Films. Distrib
Dir/DOP: FC Hamman
TV Series
GOODBYE BAFANA
Film Afrika
Feature Film
GREY
AFDA
Dir: Jan Joubert
Experimental
GROEN
Homebrew Films
Dir: Jaco Loubser
Environmental Programme
HOLIDAY
U P D A T E S
LUCK FROM THE
OTHER SIDE OF THE
WORLD
MADAM AND EVE
Dir: Bobby Heaney
SABC2
JERUSALEM ENTJHA
Feature Film
JULIA 2
Two Oceans Productions
Prod: Gislher Venzke
Telenovella
KAZI BURI
LIFE WENT ON : THE
TRC FROM BELOW
SHOUTING SPIRITS
MOMENTS 1V
Talking Pictures (Pty) Ltd
Director/s: Ann Strimling /
Garth Lucas
SLIQ ANGEL
– KOROBELA – SONY
MUSIC
Global Access
Technical Dir: Phil Wright
TV Series
MUVHANGO 6
Soul Picture
Dir: Shaft Moropane
Word of Mouth Productions
Dir/s: Magic Hlatshwayo /
Archie Mzazi / Tony Kgoroge
Drama series for SABC2
NATURE’S GREATEST
NIMECHOKA
NIZOSO CONNEXION
TV Drama
SOPHIATOWN
THROUGH THE
YOUTH
Vuleka Productions
Documentary
SPAR – LIFES GREAT
Suburban
Exec. Prod: Linda
Notelovitz-Goodll
Commercial
SPOON
OIL ON WATER
PEPSI, AQUA
MINERALE “VILLA”
JO’URG POPS
Shadow Films facilitating for
MultiVu (USA)
Pr/Dir: Reni Mitchell
Corporate for global
distribution
Uhuru Productions
Dir: Maanda Ntsandeni and
Mohau Memeza
SINKING THE
LUSITANIA
DO Productions
Brigid Olën
TV Drama
HOT STUFF
(Working Title)
Dir: Kit Reynolds
Corporate Video
SECURE THE FUTURE
Sitcom
MAN FROM
YESTERDAY
Prod Gisehler Venzke
MTN PULSE
Tidalwave Productions
Prod: Peter Matthews
Short Feature
IGODA COAL – AN
AFRICAN GIANT
AWAKENS
Rapid Phase Pty (Ltd)
Dir: Steve Berry
Penguin Films. Producer
Dir/s: Andre Odendaal /
Shirley Johnston / Gerhard
Mostert / Adrian Alper
AFDA
Dir: Benjamin Magowan
Moonlighting Films
Dir: Phillip Noyce
Feature Film
SCHOOL TV / THE
PEZOOLIES
Inspread Minority Pictures
Feature Film
STREET LAW
Retro Productions
Dir: Robert Kriel
Feature Film
Collective Energy
Dir: Greg Francois
Comercial to be flighted in
Russia
TAKALANI SESAME
Triggerfish Animation
Dir: Jacquie Trowell
TV Series
PRINCESS FOR SALE
M-Net/AFDA
Dir/Wr: Wolfgang Muller
Short Film
THE 3
INVESTIGATORS
REDEEMED
CHRISTIAN CHURCH
THE LIBRARIAN 11
RETURN TO KING
SOLOMON’S MINES
VIP Production
Commercial religion
SAB MILLER
VWV Productions
Exec. Prod: Mark Steinhobel
Corporate
Electric Entertainment /
Libraria Productions Inc. /
Kalahari Pictures
Dir: Jonathan Frakes
Feature Film
SAB MILLER (WE LIVE
BEER)
VWV Production
Dir: Warren Stewart /
Jon Samuelsson
Corporate Video
Vuleka Productions
LOVE CRAZY
Creative Media Projects
Dir: Neil Hetherington
Feature Film
Documentary
New & Used equipment
Installation & Service
Turn Key Solutions
www.pro-sales.co.za
[email protected]
+27 11 462 0000
HERITAGE
Adjusting Your Sails to Weather all Storms
Brokers to Leading International Production Houses
Call us for a copy of the 3rd Edition of
“FILM AND TV INSURANCE CHECKLIST”
Contact Sheryl Reynolds
Providing SD & HD solutions to the
Broadcast Industry
SONY l PANASONIC l JVC l SWIT l COSMOLIGHT l CANON l PANTHER l SECCED l FCP l SACHTLER
MANFROTTO l SENNHEISER l AJA l TEKTRONICS l MIRANDA l STORM l AKG l KRAMER l PANAMIC
Telephone: (011) 320-4000
Fax: (011) 320-4123
41
P R O D U C T I O N
U P D A T E S
THE OPPENHEIMER
FAMILY AND THE
DIAMOND INDUSTRY
IT’S YOUR LIFE
- SOUTH EAST
EUROPE
Same info as above
IT’S YOUR LIFE PHILLIPINES
Same info as above
WDR Germany
Associate Prod /Dir: Jane
Lipman
THE PATH FROM
DAMASCUS
Sentinel Entertainment
Exec Prod: Richard Lackey
Documentary
THE SUPREME
ADVENTURES OF
SPIRAL BURPING
BOY
AFDA
Dir: Ben Rausch
Short Animation
THE SWITCH
VIP Production
Dir: Victor Phume
Reality TV Show Pilot
THE TRIANGLE
SCI FI Channel / Electric
Entertainment / Kalahari
Pictures
Dir: Craig Baxley
Telefilm
THETHA
MSAWAWA II
Fuzebox Productions
Dir/s: Ramadan Suleman /
Norman Moloi
TV Drama
TILL DEATH DO US
PART – IT’S ONLY A
NUMBER
Underdog Productions
Dir: Bransby Diplock
TIMBUKTU TABLE
MOUNTAIN
VUTFHAMO PROJECT
Panda TV
Film about AIDS Orphan
project at Orange Farm
WALK THE PLANK
SABC3/Rapid Blue
Game Show
WHATS YOUR FLAVA?
Okuhle Media
Director: Charlie Alves
Children’s Cooking series
WHERE OTHERS
WAVERED
Namibian Government
Writer/Dir: Charles Burnett
Feature Film
WILD SQUADRON
Imageworks/Off the Fence
Dir: Anthony Irving
WORD ART
Griffin Films
Dir/s: Jemima Spring /
Vincent Moloi / Izzette
Mostert / Teddy Mattera /
Nokuthula Mazibuko / TinaLouise Smith
TV Series
WWP
THUNDERSTRIKE
Urban Brew Studios
Art Dir: Dewett Meyer
Sports Series
XHILOVO
VIP Productions
Dir: Victor Phume
Commercial religion
ZOLA 7 SERIES II
Dir/s: Donald Clarke /
Khadija Magardie / Terence
Neale
TV Series
Rapid Blue
Dir: Saami Sabiti
TSHA TSHA III
Curious Pictures
Dir: Rolie Nikiwe
Educational Drama
VODACOM “MAN
UTD”
Picture Tree
Dir: Brett Wild
TV Commercial
CELL C
Picture Tree
Dir: Brett Wilde
TV Commercial
CHRISTMAS IN
HEAVEN
Freelance Producer
Dir/Prod: Howard Nthite
CYBER JUNKYARD
FC Hamman Films
Prod: Siemens
Documentary
DAS TRAUMHOTEL
DO Productions
Brigid Olën
TV Drama
GHETTO STORIES
BIP Films
Prod: BI Pakath
Feature Film
GNLD
INTERNATIONAL
WORLD TEAM
CONFERENCE
FC Hamman Films
Prod: GNLD
Corporate
HYGIENIX “SOCKS
AND KNICKERS”
Picture Tree
Dir: Brett Wild
TV Commercial
TO BE FIRST
DO Productions
Dir: Patrick Reams
A NEW BEGINNING
(HEALING POWER OF
NATURE)
FC Hamman Films
Prod: Mafisa Media
Documentary
BALLISTIC BODY
ARMOUR MARKETING
FC Hamman Films
Prod: Philip Cadman
Documentary
BARREN
AFDA
Short Film
COMPLETE
ALL YOU NEED IS
LOVE
Endemol
Dir: Pauline Boesak / Beverly
Ditsie
IT’S YOUR LIFE
- SOUTHERN
EUROPEAN
LANGUAGES
FC Hamman Films
Prod: GNLD
Corporate
MASINDI’S STORY
Shoot the Breeze
Productions
Dir/s: Sharon Farr / Lee
Otten
Vx Pix/Gatirisano
Dir: Portia Rankoane
WHEN WE WERE
BLACK
Documentary
MOREVITE
IT’S YOUR LIFE
Same info as above
KAIYUSHIKE - A
JAPANESE GARDEN
IN AFRICA
Flying Fox Productions
Prod: James Hersov
Documentary
KEEP A CHILD ALIVEALICIA KEYS TOUR
VIDEO
Do Produtions
KING OTTO
DO Productions
Facilitating for Cologne
– Gemini Film
KNORR “CEO”
Picture Tree
Dir: Oscar Strauss
TV Commercia
LEICA
Picture Tree
Dir: Alan Irvin
TV Commercial
LETS TALK AFROX
FC Hamman Films
Prod Man: Odette Van
Jaarsveld
Corporate
LG “MICROPHONE”
Picture Tree
Dir: Alan Irvin
TV Commercial
LIFE HEALTH CARE
FOURWAYS HOSPITAL
FC Hamman Films
Prod. Man: Odette Van
Jaarsveld
Corporate
LONGING FOR LOVE
Prod: Bertha Spieker
MADEIRA
WHAT HAVE WE
DONE
Born Free Media
Dir: Khalo Matabane
SABC 4 Part Drama Series
Picture Tree
Dir: Geish Kgamedi
TV Commercial
WIMPY “FOREIGN”
MY WAY
PLAY MORE GOLF SA
WITH VODACOM
FC Hamman Films
Jaarsveldt
Corporate
PRO PLAN-GNLD
INTERNATIONAL
FC Hamman Films
Jaarsveld
Corporate
TELKOM – CABLE
THEFT
Suburban
Exec Prod: Linda
Notelovitz-Goodall
Commercial
THE PRO SHOP
XMAS SALE
FC Hamman Films
Jaarsveld
Corporate
THIBELA TB
AWARENESS VIDEO
FC Hamman Films
Pod Man: Odette Van
Jaarsveld
Corporate
VIRGIN “ANGELS”
Picture Tree
Dir: Brett Wilde
TV commercial
Picture Tree
Dir: Ian Difford & Alan Irvin
TV Commercial
MUSIC PRODUCTION
IN POST PRODUCTION
DNA STRINGS
Di Rosen Production
DVS Productions
Prod: Di Rosen/heather
Blumentha
Music Video
COMPLETE
ALONE AGAIN
Blatofilm
Dir: Owen C Hetherington
Music VideoIn Development.
SOUL BROTHERS
LIVE IN
PIETERMARITZBURG
FC Hamman Films
Jaarsveld
Music Video
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]
VODACOM
“FEATURES”
Picture Tree
Dir: Alan Irvin
TV Commercial
Vital Sta’ tis’ tiks
Statistics for OCTOBER 2006
L
ast month we introduced the Vitl Sta’tis’tiks column, and here we once more present
our research on the number of Features, TV programmes, Commercials and Corporate
Productions made in a particular month.
We make no attempt to identify the title of the production, or the production house or
any other information as this is often confidential information – we supply simply the number. We rely on the co-operation of broadcasters, suppliers of commercial material to broadcasters
and local film laboratories for information however at the moment local broadcasters are not
forthcoming in providing these vital statistics.
Efforts will continue to be made to build on this statistical data base in order to improve
the accuracy, and should readers have comments or other ideas in terms of statistic gathering,
please send an e-mail to [email protected]. Your comments would be appreciated.
42
Through the labs:
Johannesburg.
Features
0
Shorts
4
Commercials
83
Doccies
10
16mm
53
35mm
44
Cape Town.
Features
2
Shorts
0
Commercials
40
Doccies
4
35mm
21
16mm
25
CONTINUED FROM PAGE 1
R1bn for new commissions
understanding and for delivering their product on time. Our
onerous licensing conditions presented challenges for the industry this year in that facilities ran out and there was not sufficient delivery in the marginalised languages. But we believe
we have the solutions.
“Our Group CEO, Advocate Dali Mpofu has committed to
signing a Memorandum of Understanding (MoU) with the
independent production sector by March this year, by which
time we should have structured partnerships in place. We’ve
already agreed with the South African Screen Federation
(SASFED) and the Independent Producers Organisation (IPO)
on a working group to discuss Intellectual Property Rights.”
Mbebe stressed that the SABC had engaged in constructive
interaction with independent producers throughout 2006.
The broadcaster conducted road shows in all SA’s nine
provinces, issuing 134 Requests For Proposals (RFPs) in total
and receiving 43 unsolicited RFPs.
On the issue of Black Economic Empowerment (BEE),
Mbebe said that the broadcaster was complying with
legislation. He reported that of the 74 production companies
commissioned in 2006, 54 were 100% black-owned and 18
were female-owned.
SA digital cinema era launched
Ster-Kinekor says its digital installation represents the
country’s, and the continent’s, first Hollywood studio endorsed
digital cinema projector. “We’re excited about ushering in
digital cinema for South African audiences who will now be
able to see [digitally released] movies of a quality that has not
been possible up till now,” says Fiaz Mahomed, CEO SterKinekor Theatres. “It will really be a case of always better on
our big screen.”
Nu Metro has installed 1.6K digital projectors in 32 screens
at complexes nationwide. “Nu Metro is not only exceeding the
latest SAWA (Screen Advertising World Association) digital
projection requirements, but is also meeting the needs of
cinema advertisers and enhancing the show quality of locally
produced feature films,” says an official Nu Metro statement.
It would appear that Ster-Kinekor has adopted a more cautious
approach to its digital cinema roll out as it will trial the digital
projector for three months to assess the way forward.
After assessing the available digital hardware, Nu Metro also
elected to go the Christie projector route. It has purchased a
Christie CP2000 2K DLP Cinema Projector that will be linked
to a Doremi DC-2000 Cinema Server. “We are confident that
we have the best combination available,” says Mark Harris,
National Product Manager, Nu Metro Theatres.
“Hollywood compliant digital means the very finest quality
with no scratches or distortion,” says Harris. “And we are very
pleased to be in a position to bring this amazing and highly
sought after new technology to South African audiences.”
Capable of projecting a range of up to 35 trillion colours,
digital cinema has been gaining momentum across the globe
with Hollywood agreeing on a common technical standard
and the benefits of the format becoming all too clear, explains
Ster-Kinekor.
“With digital cinema the film is delivered on a hard drive,
with the content then copied onto the server. Each film is
encrypted to avoid piracy and the cinema is given a unique
key that enables them to unlock the encryption and show the
movie.”
At the end of last year there were less than 1 000 digital
screens worldwide and it is estimated that more than
17 000 will be installed in the next few years, most of which
are expected to be in the USA.
“In the long run this will be good news for South African
filmmakers as well, as it potentially allows for broader and
easier distribution of films,” adds Mahomed.
Nu Metro gave cinema audiences a further digital experience
on Friday 15 December, when Eragon, a fantasy adventure
based on Christopher Paolini’s best-selling novel, made its
digital debut at Nu Metro’s Il Grande. This was followed by
another digital screening of the family comedy Night at the
Museum, staring Ben Stiller and Robin Williams, at Il Grande
from Friday 5 January.
According to Mbebe, the SABC plans to spend approximately
R10m on research and development in 2007/8 to ensure the
broadening of African content. “The SABC is partnering with
44 African broadcasters in 25 countries on an Aids awareness
programme. We are also involved in a co-production with 13
countries for the I am an African Child series, to be launched
at the 5th World Summit on Media and Children [24 –28
March 2007, Johannesburg].”
Mbebe confirmed that the SABC has a strong focus on skills
development and training programmes and plans to spend
R10m in this regard over the next year.
Responding to a question from a Sithengi delegate, Mbebe
admitted that regional representivity was still a problem in
terms of commissioning programmes, with the majority
produced in the Gauteng Province. “Commissioning should
take place beyond the major cities of SA so we need to include
the marginalised regions. The SABC is looking at how to
decentralise its structure.”
Other delegates complained that they had submitted
proposals to the Content Hub and had received no response.
“This is unacceptable,” stated Mbebe, “and I have personally
spoken to the commissioning editors. Within two weeks of
submitting a proposal to the SABC a producer should receive
acknowledgement of receipt and actual feedback after two
months. If you have no joy with the commissioning editors
your first port of call is our Head of Commissioning & Special
Projects, Kamscilla Naidoo and failing that our Head of
Industry, Eddie Manzingana.”
SABC formulates Film Policy
comprising Thami Nxasana, Glynn O’Leary and co-ordinator
Monique Cleton, is currently busy with research into
international best practices, a process which will be followed
by consultation with industry stakeholders at the end of
January or early February.
“We hope to have completed our research and formulated
a Draft Policy by the middle of March, for submission to the
SABC Board,” said Moodley.
While the policy is being drawn up, the SABC is proceeding
with film projects with its existing Film Fund. Mvuso Mbebe,
CE of SABC Content Enterprises (under which the Film Fund
falls), told Sithengi delegates that the broadcaster had already
identified icons such as Nelson Mandela, Miriam Makeba,
Johnny Clegg and Sipho Mchunu and was in negotiations with
their families. Other icons mentioned were Oliver Tambo,
Desmond Tutu, Steve Biko and Winnie Mandela.
“Whatever money is left after these films are made, will be
used for non-prescribed films. Our call for proposals in that
regard closes in mid-February. The SABC budget process
happens every January so hopefully the fund will be topped
up each year. We will be collaborating with the Industrial
Development Corporation (IDC) and other financial bodies.
“The SABC wants to invest in the South African film industry
and to promote local product locally and globally. We want
to enable filmmakers to access funding and need to generate
long term sustainable revenue and profit. The SABC hopes to
see the first films completed in the 2008/9 cycle,” explained
Mbebe.
Policy
Commenting on the Film Policy process, Moodley said:
“Because the SABC currently has no terms and conditions
relating to the Film Fund, they wanted to make sure that
thorough research was in place before a Policy is decided
upon. We are looking at broadcaster film funds in countries
such as Ireland, UK, France, Italy, Sweden, Brazil and India.
In the case of India and Brazil, it’s worth noting that SA has a
trilateral agreement with those countries, which augurs well
for potential co-productions between broadcasters.”
Prior to the industry indaba, the consulting panel will
circulate a questionnaire to various stakeholders. “We will
pose questions so as to gauge their ideas on what the Film
Fund should be. There will be a wide range of responses as a
small new company and a large established company would
have different ideas on this. Our goal is to formulate a Policy
that balances out to suit everyone in the industry. The Policy
must encourage new players, give opportunities to medium
players and provide big budgets for the major companies.
Inala wins CNBC Africa contract
CNBC Africa is owned and operated by Africa Business
News (ABN) and is an affiliate of CNBC, the international
business channel which is broadcast via MultiChoice’s multiplatform pay television channel DStv. Shareholders are the
Industrial Development Corporation (IDC) with 30% and 70%
from the Middle East. The start-up investment is $20m and
the IDC says 200 jobs will be created. ABN has announced
that they will begin broadcasting in May 2007.
The facilities will include, a production studio, newsroom
computer system, edit suites and final control play out. Inala
Broadcast will also provide the equipment for bureaus in Cape
Town, Gaborone, Nairobi and Lagos.
The equipment which will be installed is manufactured
mainly but not exclusively by Inala Broadcast’s principles,
which include Grass Valley Cameras, Production Switcher,
Distribution Amplifiers, Converters & Routing Matrix,
Omneon Video Server, Miranda Final Control Switcher, VizRT
Graphics, Barco Videowall, ENPS Newsroom Computer
System, Final Cut Pro Edit suits, Yamaha Audio Mixer, Desisti
Lights and Sony VTR’s & ENG Cameras.
Inala Broadcast has made a concerted effort to support
local distributors and suppliers in all cases where third party
equipment is required and is not manufactured by an Inala
Broadcast principle.
The project is being managed by Antony Bijsters with the
assistance of Hitesh Govind and Julian Ankiah who has recently
joined Inala Broadcast from the South African Broadcasting
Corporation Limited (SABC) technology department. BSI has
been contracted by Inala Broadcast to supply the installation
and furniture infrastructure.
CNBC Africa will focus on financial, business and economic
news in the Africa region. Inala Broadcast is very proud to
have been appointed as the system integrator. We believe
that this project will highlight the contribution that a South
African company can make in the African and World broadcast
markets.
“A key question will be whether the SABC should be
producing for its own inventory only or whether it should
make films for theatrical distribution. If anyone has any
opinions about what the Film Fund should achieve, they are
invited to contact Monique Cleton on 084 505 1023 or email
myself on [email protected].”
Prescribed themes
Some Sithengi delegates expressed reservations about the
fact that the SABC had prescribed a theme for its first Film
Fund projects. Said Chairperson of the South African Screen
Federation (SASFED) Rehad Desai: “Prescriptive themes are
a general problem the industry is facing with a number of
stakeholders, not only the SABC. Filmmakers and scriptwriters
have to develop story ideas about which they feel passionate
and about universes they want to explore.
“While it’s true that the SABC does have a public broadcast
mandate, a theme of South African Icons may be seen as
politically correct. And, biopics are very hard to pull off. What
we need is a plethora of narratives and genres. Films that work
are those that work emotionally. The SABC needs to look at the
talent in this country and see what they want to say. I believe
the Film Fund should be run on an autonomous basis.”
According to Moodley, having a theme could be useful in
that it could channel creative energy and focused thinking
around a subject. “Each channel around the world has its
own philosophy and a mandate and priorities for its country.
In a free for all situation some important stories that need
to be told may not get told. A broadcaster, through various
internal and external mechanisms, is able to identify the
kind of programmes it needs to screen to give it the correct
programme mix.”
Moodley stresses the SABC Film Fund is good for the
industry. “Now there is a new source of money for feature
films in addition to the National Film and Video Foundation
(NFVF) and the IDC. SA needs to reach a critical mass of
local feature films as we will only get better if we are given the
opportunity practise our craft more.”
43
CLOSE UP
Making history – Air Time TV Outside Broadcasts launch of the HD OB VAN
AirTime’s Nic Bonthuys with SABC Technology’s
Sharoda Rapeti and Ivan Marsh
Cecil Sourour, Cosmos Tshabalala and Ivan
Marsh
Mxolisi Kima (front) and Leepile Tlale
SITHENGI 2006
Anant Singh (Videovision Entertainmet), Darrell
James Roodt (Director), Daniel Iron (Canadian
Producer) at the Videovision dinner
Michael Auret (Sithengi), Shan Moodley
(Producer)
Advertisers List
Air Time TV Outside
ITN Source..............................
Broadcasts................... 22 & 23
............... Outside Back Cover
Apple IMC............................ 17
Magus Visual........................ 27
Atlas Studios........................ 39
MediaTech Africa.................. 33
Blade.........Inside Front Cover
Panasonic............................. 11
Blade...................................... 1
Pro-Sales.............................. 41
Camera Facilities.................. 24
Puma Video.......................... 15
Camera Platform.................. 24
Q-Studios............................. 31
Case Connection, The.......... 27
Singer Photographic Services
Custom Cases...................... 25
............................................. 27
digitalfilm.............................. 25
Sony .................... Front Cover
Flag Factory ....................... 38
Sony............................. 18 & 19
Gauteng Film Commission
Spescom/Maxell................... 29
– GFC..................................... 5
Strika Entertainment ........... 14
General Post......................... 40
StudioPlus ........................... 38
Heritage Insurance .............. 41
The Broadcast Workshop..... 27
IDC............ Inside Back Cover
The Creature Shop................. 7
Inala Broadcast.................... 21
The Sound Corporation........ 38
Events Calendar
BBC Films’ David Thompson, Helena Spring
(Videovision Entertainment), Junaid Ahmed
(Director)
For more information on forthcoming
Film & TV markets and festivals
visit www.screenafrica.com
JANUARY 2007
Curious Pictures’ Harriet Gavshon and David
Jammy with Bengt Toll (iVast, Sweden)
Screen Africa’s Angela van Schalkwyk with
Taiwo Taiwo from Nigeria
Aubrey Silinyana, producer from East London
18 – 28 Sundance Film Festival
Park City, Utah, US
www.sundance.org
16 – 18 Natpe 2007 Conference and Exhbition
Mandalay Bay Resort, Las Vegas, US
Email: [email protected]
www.natpe.org
24 – 4 Feb 33rd International Film Festival Rotterdam
Rotterdam, The Netherlands
www.filmfestivalrotterdam.com.
Promax|BDA Africa
24 – 28 Cinemart Co-production Market
Rotterdam, The Netherlands
www.filmfestivalrotterdam.com.
29 – 31 Realscreen Summit
Renaissance Washington DC Hotel
www.realscreensummit.com
FEBRUARY
Koo Govender (M-Net) and Jim Chabin
(Promax/BDA)
Duncan Irvine (Rapid Blue), Buli Siwani
(SABC2), S’bu Mangele (Eject Media)
Dave Keet (Video Lab), Adi Leach (Studio
Zoo), Roger Smythe (Masters & Savant)
23 – 3 March
FESPACO 2007 –
Pan African Film and Television Festival
Ougadougou, Burkino Faso
www.fespaco.bf
MARCH
SABC’s Jenny Griesel and Suzette Pretorius
SABC’s Fundii Ntshangase and Thepelo
Tshinaba
Amar Deb (Channel v) and Alice Da Silva
(SABC)
44
SPORTEL America
Miami, USA
www.sportelmonaco.com
14 – 18 Amnesty International Film Festival Amsterdam
Amsterdam, The Netherlands
www.amnesty.nl/filmfestival
19
1st Dubai Lynx – The Middle East and
North Africa Advertising Awards
for Creative Excellence Dubai, UAE
www.dubailynx.com
APRIL
SACOD Forum
Spescom’s Sean du Toit and Rupert Dalton
12 – 14 Riaan Hendricks (Young Lion Films), Pule
Diphare (DFA), Tenazio Mwanza (M Films)
Shane Mohabier (Afrikan Connexion), Farida
Nyamachumbe (Tanzania), Martin Mhando
(ZIFF), Carlos Francisco (Producer)
14 – 15 MIPDOC
Carlton Hotel
Cannes, France
www.mipdoc.com
16 – 20 MIPTV
Palais des Festivals, Cannes, France
www.miptv.com
14 – 19 NAB 2007 – National Association of Broadcasters
Las Vegas
www.nab.org
19 – 29 Hot Docs
Toronto, Canada
www.hotdocs.ca
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Digital, digital and more digital

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