GENERAL INDUSTRYThis month has seen two interna-tional publications (Variety in the Us and The Guardian in the UK) be-moaning the dearth of black audi-ences in south Africa. in the same week a group of passionate film-makers launched a mobile cinema solution in one of sA’s largest town-ships - soweto.

The article in The Guardian was concerned with the fact that local cinema content follows

the West, and therefore does not appeal to black audiences. The article in Variety is concerned with getting more screens into the pre-viously disadvantaged communi-ties. The team behind Kasi Movie Nights (KMN) has stopped talking and started taking cinema trucks into townships.

Co-founder Jamie Ramsay says: “Ultimately, the aim of Kasi Movie Nights is to re-ignite the cul-ture of cinema to the masses by, quite literally, bringing our cinema trucks to their doorsteps. Our mo-bile theatres will move from town-ship to township, from rural area to rural area, until the thirst for media is quenched.”

Jamie added: ”Our audiences, averaging 1000 per screening, get to see a double bill of two quality South African feature films, as well as commentary and Question and Answer sessions with the stars of the screened movies.”

The first Kasi Movie Night will take place on 22 June 2012 at the Jabulani Amphitheatre in Sowe-to. The features are Skyf and Jozi

Kings, afterwards viewers will be offered the opportunity to meet the cast and crew of the featured films. The project appears to of-fer a viable solution to concerns, from at home and abroad, about the local industry and the devel-opment of larger South African film audiences.

The National Film and Video Foundation (NFVF) has been vo-cal about their ambitions for ‘au-dience development’. In their 10 Year Review Document, released in March this year, the NFVF noted: “Film exhibition and audience de-velopment have not received ad-equate attention over the years. Audiences’ attendance has been falling consistently over the past 10 years and this could partly be due to the closing down of township and some suburban cinema sites.”

The document also mentions a

Department of Communications grant from 2009, it says: “The NFVF was granted R10 million by the DAC in 2009. The aim of the grant is for the development of digital screens in townships and rural areas. This ini-tiative is meant to address the lack of screening/exhibition facilities in underserviced areas.”

The Guardian article asserts that South Africa needs to have more cinemas for black audienc-es, and points an accusatory fin-ger at NuMetro and SterKinekor for failing to develop this. The piece stated: “Further off the hollywood-drawn roadmap, there are con-spicuous blank tracts in South Af-rican mainstream cinema: like the fact there’s little provision for the black population, which counts for about 80%.”

The Variety piece indicates that this is a missed business op-

portunity, stating: “As the rap-idly growing black middle-class continues to flex its commercial muscle, it’s become an especially attractive demographic for local businesses. But while both Ster-Kinekor and Nu Metro have looked at ways to increase their presence in black townships, concrete plans have failed to get off the ground.”

The Kasi Movie Nights project was founded by three young film-makers - Jamie, Thapelo Mokoena and Matshepo Maja. The three are all former AFDA students who are working in the industry. They knew of each other and came to-gether over their shared vision to build a local industry.

Jamie has worked on several high-profile local movies includ-ing Triomf, Shirley Adams, Dis-trict 9 and the award-winning Skoonheid. he was the producer

behind Jozi Kings. Thapelo is a well known actor,

having starred in Skyf and DRUM, as well as several local television series. he is currently shooting the Nelson Mandela biopic Long Walk to Freedom. Matshepo has worked as production manager on travel documentary Rough or Smooth/Rof of Spog and currently works as a director at Cape Town-based commercial company Sil-ver Lining Pictures.

Jamie says Kasi Distribution was started after observing the Nige-rian film industry and concluding that South Africa needed a similar model of informal distribution. Kasi Distribution will see to it that in ad-dition to movies being screened in townships, spaza shops and infor-mal entrepreneurs will also be sup-plying DVDs to the audiences.

Jamie revealed that the Kasi Movie Night Project is an indepen-dent initiative, but hopes for sup-port in rolling it out to the rest of the country.

he said: “We are interested in taking it nationwide. We have invited all the interested parties - i.e.: the NFVF, the financiers, the DTI and we want to show them our abilities and the fact that this is go-ing to work. hopefully from there they’re going to be interested in financing and letting us roll it out properly. If they don’t we do have private financiers who are inter-ested in helping us roll it out, as well advertisers. So yes, nothing is going to stop us from rolling this out countrywide.”

Kate Hodges

AUDIENCE DEVELOPMENT STILL A CHALLENGE

R22.80June 2012www.thecallsheet.co.za

pg6pg5 pg10

soweto Theatre © Tony de Oliveira

02 | The Cal lsheet

ACTING

Dorette Potgieter started working at the age of four and the actress, currently starring in the Kyknet se-ries Vloeksteen, shows no signs of slowing down.

DoreTTe plays undercover agent Sandra Cilliers in the procedural drama about the organised crime unit

who go undercover in the hunt for diamond smugglers. Directed by regardt van den Berg, the series was shot in Cape Town and up the West Coast.

She did her first full length play as a five-year-old, appear-ing as Marietjie in the Afrikaans

production 300-Plus. The play cel-ebrated the tercentenary of Jan van riebeeck’s landing. This was followed by roles in Gigi with late director David Matheson, Die Join-er directed by Pieter Fourie and then the role of Briggitta in David Matheson’s The Sound of Music.

She made her film debut in 1985, in the film adaptation of the Dalene Mathee’s Circles in the Forest. Dorette played the char-

acter of Jane in the regardt van den Bergh directed feature. In 1989 she was the iconic Timotei girl in the ubiquitous commercials. Dorette went on to attend Drama at the University of Stellenbosch, Musical Theatre at Pretoria Tech-nikon, the UCT Ballet School, and a Film Acting Masters Course at AFDA in Cape Town.

Dorette feels this early start reflects her destiny to be an ac-tress, saying: “Looking back at my career I realise you are probably born to be something. Based on what life offers you - you get to choose to do things that make you who you are. Life offered me opportunities to become the ac-tor I am today, but I’m nowhere close to the actor I want to be. Hopefully I will receive offers that will satisfy my hunger for being a great actor.”

When asked whether starting so young shaped her acting, she re-sponded: “Starting at such a young age with very little reading skill, forces one to experience given sce-narios as yourself and taught me to explore my imagination. Fear is of-ten what holds us back and as we know, kids have no fear. I enjoyed being an Alice in Wonderland based character exploring all given avenues within various context, but as I grew up I realised that there’s so much more to acting and my ethe-real world had to often take a back seat to reality.”

She has starred in numerous commercials for local and inter-national brands including: Activia Danone, Persil, Pick n’ Pay, Debo-nairs, Latta Margarine, Molsens Beer, ola Magnum and many oth-ers. She has also done production work on several international com-mercials acting as a chaperone

and cast co-ordinator.Dorette has starred in several

high profile local soap operas, in-cluding playing lead roles in Egoli and Villa Rosa. In addition to her many roles in commercials and on television, Dorette has also acted in many films including Sinbad, The Piano Player, Lotto Madness and Citizen Verdict op-posite Armand Assante. Dorette also has extensive theatre experi-ence, having appeared in over 15 stage productions including two one-woman shows.

When asked about which genre is her favourite to work in, Dorette says: “As long as I’m working and able to live the dream as an actor on stage, television or film I am con-tent, but if I had the luxury of choice I’d be part of the film industry till the day the film industry has no more parts for me to portray.”

With regards to her future, Do-rette has several irons in the fire including co-writing a book. She hopes to secure commercials and theatre work this winter.

Dorette can be seen in Vloek-steen on Kyknet every Tuesday night at 20:30pm.

PAGE 2 PIN-UP: DorEttE PotGIEtEr (LtD EDItIoN)

The Cal lsheet | 03

04 | The Cal lsheet

EQUIPMENT RENTALS

Gear houses are being forced to find creative ways to compete in a mar-ket that sees new technology being released with ever-more frequency.

Camera manufacturers, as with any other tech-based industry, have been at war

since the beginning of their time. But since the digital wave first hit, and the need to slim down produc-tions costs arose, the pace at which these companies compete has es-calated monumentally. every year trade shows, such as NaB showcase the next generation of video and cinema equipment. Sadly these days manufacturers can’t afford to wait even one year to announce or re-lease new products.

Over the past year this has be-come more apparent as new cam-era announcements are made almost bi-monthly. The announce-ments and releases are not small measures as we’ve seen manufac-turers now offering higher resolutions at lower cost. Panasonic (Varicam 4K aVC Ultra), JVC (GY-HmQ10) and Canon (C500/1DC) have already re-leased, or plan to release, a prosum-er cameras/ HD DSLr with 4K resolu-

tion capabilities. That’s just 4K, never mind the plethora of new high-speed cameras (Phantom miro, mega Speed X7, Olympus High Speed III), accessories and upgrades that all follow suit.

On a prosumer level it’s a night-mare to keep up with the rapid evolution, but how is this affecting the companies who buy this gear to rent? Pieter Badenhorst (owner – Photo Hire) says, “I’ve been stocking the HD DSLr cameras and the at-tachments for 2.5 years. In that time the market, and product offering, has changed dramatically. everyone has their own camera these days, so I’m almost competing against them. But, I still have the buying power to get the gear first and in numbers.”

On the lower end DSLr cameras have proven a formidable force in modern content creation. “Due to the fusion of photo and video in the DLSr range, and them now compet-

ing somewhat with the professional video cameras, it puts us in a similar playing field as Visual Impact, unin-tentionally of course. and with the way things are going in terms of bud-gets, soon we will be unintentionally competing with media Film Services cinema offering as well.”

Visual Impact has always main-tained a firm grasp over the broad-cast rental market, as well as ex-panding their sales and postproduc-tion facilities. Visual Impact, headed by marius van Straaten, makes every attempt at broadening their service offering in order to remain competi-tive and up to date. “We will con-tinue to invest in the newer models of the brands we’ve always supported such as Sony, Panasonic and even arri. We are even looking at the Black magic Cinema Camera as a solu-tion for low budget projects as well as the Canon DSLr range that is also expanding with the recent release of the 5D Mark III and 1DX.” The com-pany shows no signs of remaining a traditional broadcast rental house as they continue to invest in higher qual-ity broad based products that can service web, TV and of course the growing 3D market.

media Film Services, who have always supported arri and reD, how-ever, pride themselves on being

methodical in their approach to pur-chasing new high-end equipment to ensure their dominance in that market. Neil Du Toit (managing di-rector – media Film Services CT) says that, “much effort, time and money is spent investigating new camera high end releases, we attend most of the major trade shows in an attempt to stay abreast with not only the new technical innovations but also to establish worldwide trends.” Trends that are changing so dramatically that the new comers to the cam-era manufacturing industry may well compete with the previous cinema market leaders.

But can mFS afford to be so tradi-tional in their decision making when new camera manufacturers such as Black magic, and new cinema com-petitors such as Canon, continue to stimulate the industry with cheaper equipment capable of producing “cinema” picture quality? “We have already seen a major move from film to digital, although with this new and evolving medium, comes many technical challenges. Lower cost of equipment and improved workflows is providing an ease of use mak-ing it more accessible to everyone. Truly great results, however, depend largely on skills, knowledge and ex-perience, which all come at a price.”

Neil shows no sign of concern with the current state of the camera market reaffirming that, “you have to spend wisely as the redundancy period is now exceptionally small. To ensure your return on investment it is imperative that when purchasing new digital equipment that the cor-rect choice is made and that it en-compasses the correct criteria and service standards of your business offering.” This may point to reliability and support issues that smaller gear houses could face when dealing with

higher resolutions, data wrangling and back end support.

Pieter’s attitude, though similar to Neil’s, suggests his desire to meet the changing market head on. “Some-times it’s better to sit and wait, be-cause ultimately we need to rent the stuff. We have six months of good, and six months of bad so there’s no way we can afford to stock all the latest stuff as it comes out. But, these days’ cameras are literally boxes with sensors, and I’ve had the lenses for years. So I’d invest in something like the Black magic 2.5K cinema cam-era. The price and output is some-thing worth offering to my market. The Canon C500 4K is worth looking at as well.”

The race shows no sign of ending as consumer demand, and manu-facturer supremacy continues to grow and evolve. For the local gear houses it seems inevitable that, al-though initially hesitant, they will have to adapt and embrace the constant changes to remain competitive and up to date. Smart choices and a keen sense of their individual mar-kets seems the only way forward. In the end, it’s not just what they have on offer but, more so, what they can back it up with.

Jasyn Howes

THE CHALLENGE OF BUYING TO RENT

Pieter Badehorst Neil Du Toit

The Cal lsheet | 05

THE CHALLENGE OF BUYING TO RENT POST PRODUCTION REBATE

POST PRODUCTION

The Department of Trade and In-dustry (DTI) has restructured their Rebates and Incentives to include post production.

This means that local post-production companies will be able to attract work that has been filmed elsewhere.

Trade and Industry Minister Rob Davies announced the changes, aimed at helping sustain and grow the local film industry, in May 2012.

In a statement, the minister said: “The South African government takes cognisance of the contribu-tion the film industry potentially has in stimulating the country’s eco-nomic growth, strengthening the

country’s profile in the global cre-ative environment, and in the facili-tation of employment creation.”

“This is one of the best plat-forms … to promote and show-case the country’s creative skills.”

The new incentive specifies:• Minimum post-production ex-penditure of R1.5 million• Rebate level of 22.5% for Post-production expenditure of R1,5 million – R3 million.• Rebate level of 25% for Post-production expenditure above R3 million.

Tracey Williams, the director of post production at Refinery, be-lieves the rebate will help them motivate for more post production work to stay in South Africa. She believes Refinery will be able to grow their VFX departments and service more feature films.

With regards to the effects of the rebate announcement on business, Tracey said: “We have already completed two appli-cations on possible projects that are incorporating a large scope of post-production into their bud-gets. We are only now able to take it out to market place, so I anticipate the real increase to be in 3-6 months. The amendment of the rebate from 15% to 20/22.5 or 25% is really significant to increase the volume of work coming to SA.”

With a minimum spend of R1.5 million; there is a feeling that the incentive will not have an effect on the smaller and medium post-production companies, where it is unlikely they will be dealing with projects with budgets of that scale. Optimistic predictions in-clude the supposition that the big-ger post production companies

will focus on features and many of their smaller jobs will trickle down to the smaller edit houses. If the rebate lures lots of work to South Africa, there is a chance that in years to come the post produc-tion industry will become more competitive, featuring many more large companies.

Tracey addressed concerns that the R1.5 million minimum is too high, emphatically stating: “It is a fair amount on post. The thing to keep in mind that it isn’t just post-production facility spend, it is all aspects of post-production, which includes musicians, vfx/post supervisors, costs while foreign de-cision makers are in SA etc. The re-bate only really makes sense from an admin point of view on slightly larger projects. There needs to be a SPV, DTI applications, audit and claim process. It is a lot of admin if

the projects are too small.”Managing director at Post Of-

fice Post, Nic Turton doesn’t be-lieve the rebate will improve busi-ness for smaller facilities.

Nic said: “We geared ourselves to be a boutique facility that of-fered the best quality in the face of ever-decreasing budgets in the industry. A rebate like this means nothing to us due to our philoso-phy of trying to offer good ser-vice at a good price. This rebate might end up broadening the gap between the big companies and the smaller edit houses. It’s going to put more power in the bigger companies’ hands and justify them charging in excess of R 25 000 a day for online.”

Kate Hodges

06 | The Cal lsheet

DIFF

The successes of the burgeoning film industry on the African conti-nent stand centre stage within the eleven intense days of the 33rd edition of the Durban International Film Festival (DIFF).

Taking place from the 19- 29 July 2012, with support by the national Lottery Distribution Trust Fund (principal funder),

national Film and Video Founda-tion (nFVF), kwaZulu-natal Depart-ment of Economic Development and Tourism and other funders and partners, DiFF will present over 290 screenings of high quality cinema from across the globe at venues across the city of Durban and in surrounding communities.

DiFF 2012 presents an expan-sive insight into the modern african condition in all its diversity, through both the imaginative lens of fiction features and short films, and the beautiful and stark realities that are presented in the documentary section. The range of subjects and approaches present in this year’s african programme is compelling evidence that film on the conti-nent is coming into its own.

South African film in particular will be in the spotlight with 16 South African feature films (more than any previous year), as well as 19 documentaries, 27 short films, and four films in the Wavescape section –a total of 66 South African films – most of which will see their world premieres on Durban screens.

in the spirit of this emerging af-rican distinctiveness, opening the festival this year is the arresting Ele-lwani by Ntshavheni wa Luruli. With Florence Masebe in the lead role, this densely spiritual piece address-es the convergence of modernity and traditional culture, and is the first film in the Venda language. Celebrating local achievement in animation, the festival closing film by Wayne Thornley and the Trig-gerfish team is the delightful story of animal kingdom ubuntu in the

pioneering 3D animation adven-tures in Zambezia - it includes a-list voice talent such as Samuel L. Jackson and Richard E. grant and is set to make waves on the inter-national circuit.

The South african offerings are rich this year for those with a sense of humour, with the side-splitting Blitz Patrollie, written by come-dian kagiso Lediga, directed by Andrew Wessels and starring the cream of South african comedy (including David kau, Joey Ras-dien), and Oliver Rodger’s hilari-ous identity-switch shenanigans of Copposites, starring Rob van Vuuren and Siv ngesi. The star-studded Gog’ Helen (directed by adze Ugah, with a cast including Lillian Dube, kagiso Rakosa, Patrick Shai, Winnie Modise and more), is an unlikely buddy film about a tough-as-nails gogo and grand-daughter on the trail of a mattress, and is sure to make you smile.

On the darker side of the spec-trum, many of this year’s films peer into the shadowy corners of the soul. The harrowing and directori-ally sure-footed Accession by Mi-chael Rix tells the story of a man driven to unfathomable lengths to save himself, and Harry Pa-tramanis’ psychological thriller Fynbos explores the ways in which we only begin to understand the value of those for whom we care once they’ve gone. Vickus Strijdom’s riveting Zama Zama (with Lindani nkosi and Presley Chweneyagae) goes deep under-ground to show us the underbelly of mining in the City of gold. Uh-langa– The Mark by promising kZn filmmaker Ngwane Ndaba looks at a boy living with the stigma of witchcraft, while Barry Berk’s sexual thriller Sleeper’s Wake, shot on the lush kZn south coast, is terrifyingly gripping from the very first mo-ments. also for the fear-junkies is slasher film One Last Look by Philip Roberts, one of the most shudder-worthy african horrors to date.

Many of the local films in the programme are finding fresh, so-phisticated and mature ways of

looking at South african issues. Inside Story by Rolie nikiwe is a landmark in making relevant, ac-cessible and resonant the story of a soccer star with HiV, while Richard Pakleppa’s Taste of Rain relates a tale of a marriage as dry as the drought-ridden namibian desert in which the film is set. Documen-taries Healers (directed by Thomas Barry) and Me, You, Mankosi (by Linda Hughes) get to the heart of surviving against the odds in rural South africa. Roadmap to Apart-heid (by the israeli-South african duo of Eron Davidson and ana nogueira) picks apart the analogy of South africa to israel and looks at the lessons we can teach the world. Durban-born Riason naidoo and Damon Heatlie’s Legends of the Casbah: Indian Rebels of the 1950s transports us back in time to reanimate the colourful indian community of Durban in the mid twentieth century. On the other side of the country, Gangster Proj-ect by Teboho Edkins treads the line between fact and fiction to throw light on the underworld of Cape Flats gangsters. akin Omo-toso’s Man on Ground, starring Hakeem kae-kazim and Fana Mo-koena interrogates South african xenophobia, while Cry of Love (directed by Faith isiakpere and starring Leleti khumalo, Victor Ma-sondo and Yvonne Chaka Chaka) is a serenade to the unifying ca-pacities of art in a divided country.

The power of music and the performing arts is a recurring theme in 2012 with films like Cassette: Who Do You Trust? (directed by John Barker) and Rockstardom (by Mi-chael Cross) detailing the pursuit of success by two local acts. Bryan Lit-tle’s new film, The African Cypher, shows us the redemptive potential of using one’s body to express one-self and Delphine de Blic’s Bigger than Life presents a puppeteering project that is large not just in literal scale, but in heart and soul. anoth-er equally soulful story about fam-ily ties rather than art, is Sarah Ping nie Jones’ Umbilical Cords, which looks at the bonds between moth-

ers and their daughters.Three films look at some of

the more majestic and impres-sive members of Southern african fauna: Diony kempen’s Snare lays bare the dirty and disturbing re-alities of rhino poaching, while All the President’s Elephants (directed by Richard Slater Jones) shows us the story of a woman desperately working to protect a 400-strong herd of the giant mammals in Zimbabwe. Dragon’s Feast 3D, by brothers Damon and Craig Fos-ter, goes underwater to show you the mysterious life of crocodiles in three thrilling dimensions.

South africa also has a robust representation in the short film sec-tion, with some truly innovative work, particularly by young film-makers – an encouraging indica-tion of the vital energy and talent that characterizes the next gener-ation of South African filmmakers. The Wavescape Surf Film Festival at DiFF also contains a number of South African films including The Africa Project, Rebel Sessions and Surfing & Sharks.

The programme is rich with inspiring work from further afield on the continent, including many films that have picked up major awards. kivu Ruhorahoza, direc-tor of the stunning account of lin-gering trauma, Grey Matter, won two big awards at Tribeca, while

the compelling tale of survival from Senegal, Moussa Touré’s The Pirogue, comes to us straight from the Un Certain Regard competition at Cannes. The Zimbabwean Play-ing Warriors by Rumbi katedza sees african cinema experiment with the levity of the chick flick while still constructing notions of the empow-ered woman, while the ghostly and profound Tey, starring poet Saul Williams and directed by Alain Go-mis, was nominated for the golden Bear in Berlin. Leila kilani’s On the Edge, the Moroccan story of a tough girl gang making their way in the world has scooped a handful of awards in Europe. Nairobi Half Life (directed by Tosh gitonga), a kenyan tale of dreams gone awry will see its world premiere at DiFF, while the beautiful Eyptian Asmaa (by amr Salama) is a personal, suf-ficiently complex account of the stigma of aiDS.

Apart from the film that is being created by africans, it is clear that global film community is turning its attention to the unmined depth of stories on the continent. Films like The Ambassador, Beware of Mr Baker, Call Me Kuchu, The Educa-tion of Auma Obama, The River Usedto Be a Man, United States of Africa: Beyond Hip Hop, and War Witch, see filmmakers from afar venturing to african soil to tell afri-can stories to the wider world.

To further stimulate the ever accelerating growth of african film, the festival hosts two major in-dustry development initiatives: the 5th Talent Campus Durban brings together 50 selected filmmak-ers from across the continent for an intensive five day programme of workshops, connection and inspiration. Durban FilmMart, a partnership with the Durban Film Office, facilitates opportunities for 23 selected african projects to meet with international finan-ciers and potential co-producers, and for DFM delegates to partici-pate in a series of master classes and seminars.

For film synopses, screen-ing schedules and programme details on the 33rd Durban international Film Festival visit www.durbanfilmfest.co.za

Strong AfricAn PreSence At DurbAn internAtionAl film feStivAl

Elelwani

Adventures in Zambezia Accession

The Cal lsheet | 07

Accession

08 | The Cal lsheet

How leisure can benefit from film

FILM TOURISMOn 7 June 2012, Film & Event Me-dia were invited to engage West-ern Cape Chapter members of The Southern Africa Tourism Asso-ciation (SATSA) about how leisure companies can benefit from the film industry.

The panel consisted of Film & event Media’s Taryn Fowl-er, The Callsheet’s Mak-kie Slamong and The Event

Newspaper’s Sally Fink, who each represented one of the

company’s brands. Film productions can benefit

the leisure tourism industry in many ways, from venue and car hire, to hotel room and restaurant book-ings. Commercials crew need to be housed and fed for weeks, while TV series or Film crew might spend many months in South Africa (or commute in and out over the course of many months) while shooting.

The spend from the feature film Safe House, starring Ryan Reynolds and Denzel Washington, was esti-mated to be around 350 million.

Taryn opened up proceed-

ings by explaining the value of the South African film industry. “According to the Department of Trade and Industry, South Africa’s entertainment industry is valued at around R7.4-billion, with film and television generating more than R5.8-billion in economic activity each year,” she explained.

She also mentioned an eco-nomic impact assessment study conducted by the Cape Film Commission which revealed that the industry has a direct annual turnover of more than R2.65-billion and contributes an indirect annual turnover of more than R3.5-billion

to the country’s gross domestic product (GDP).

“The commercials sector grew to R1.26m turnover in 2010/2011. There were 54% more local com-mercials than service jobs, but service commercials generated more shoot days and turnover.”

One of the burning questions was how the tourism industry can benefit from productions being filmed in South Africa.

Makkie explained that leisure companies can become more involved with film by developing relationships with the industry bod-ies as well as individual production

companies. “Do your research, build relationships with the associ-ations (CPA; CFC; GFC; NFVF; DFA etc) and let them feed you infor-mation about upcoming produc-tions and projects.”

Sally echoed these sentiments by driving home the message that networking is key. She said: “Don’t underestimate the value of the phrase, ‘It’s who you know that counts’.

Taryn also introduced Film & event Media’s range of products, such as The Filmmaker’s Guide to South Africa and The Callsheet Newspaper, which is distributed to more than 5000 film and produc-tion companies in South Africa, and has an international reach via distribution at Cannes. The group also holds monthly networking wrap parties where producers and suppliers have the opportunity to mingle with interested parties.

Charmaine Beukes of White Shark Projects, who heads the SATSA Western Cape Committee, used the opportunity to introduce the new committee members for 2012, comprising Alvin Kushner, Alida erasmus, howard John-son, Gerhard Louw, J.P. Quick-leberg, Deon Cox, helen Baker, Ince Maree, Theresa Towers and Mark Finglenurg.

The event was held at Man-dela Rhodes Place in Cape Town. GM Desmond O’ Connor spoke about how despite recent nega-tive press surrounding the liquida-tion of West Cities, one of the own-ers of the venue, its business as usual. “We’ve seen 41% revenue growth so we’re doing very well,” says Desmond.

Staff Writer

soaPies to be affecteD bY sabc fireLOCAL TELEVISION

SABC Studio 6 in Auckland Park, the home of popular soap opera Isidingo has been razed in a fire. Equipment worth millions of Rand has been destroyed in the fire.

The cause of the blaze, which broke out at about 8pm on Wednesday 13 June 2012, is still unknown . The fire broke

out at about eight o’ clock in the evening, but no-one was in-jured as staff had already left for the day.

Among the destroyed equip-ment was a sound control room, vision control booth, vision mixing bed and video wall and a record-ing light control desk. The de-stroyed sets will have to be rebuilt, however Studio 7 remains intact and the show will not be affected as episodes are shot many months in advance.

Acting chief operations officer hlaudi Motsoeneng said: “We still don’t know the cause of the fire. We will only know once an investi-gation is complete.”

Show creator Gray hofmeyer told Eyewitness News: “It’s a mas-sive, massive shock. I got a call in the middle of the night and was told that the production is burning. It has huge implications.”

According to the SABC, fire fighters remained on the scene the following morning although the blaze took only three hours to extinguish.

The SABC board met on 14 June 2012, just one day after the blaze broke out. According to a statement from SABC manage-ment Sully Motsweni, the meeting was called by chairman of the SABC board Ben Ngubane to as-sess the damage. Sully will head the internal inquiry into the cause of the blaze, and is in charge of contingency plans. As yet no cause has been determined.

henley Studios manager Tseliso

Ralitabo said: “It will be a ques-tion of re-building sets quicker. he adds that there are still some sets in studio seven and other sets that were not in the building.”

The day after the blaze SABC spokesperson Kaizer Kganyago told media: “A thorough investiga-tion will start in the morning as to the cause of the fire and the dam-age to the SABC, the studio and Isidingo.”

he added: “We don’t suspect foul play but serious investigations will start first thing in the morning.”

In a statement from the broad-caster hlaudi assured fans that production would go on at the facilities: “We have five studios that are used to produce drama and only one of them has burned down. This means production will continue and the public need not panic thinking the production of their favourite soapies might be af-fected. We are doing our outmost as management to ensure that things return to normal and the re-cording sets are rebuilt speedily.”

Clive Shelver, managing direc-tor of film and entertainment un-derwriters, said: “When a set burns down or there is a loss of major facilities during a production, the production company can be restricted with regard to future shooting on that production and, this can result in a financial loss.

This could also include amongst other things, the need to pay crew and cast for an interim period.

There is film production insur-ance available in the local market to cover this type of loss.”

he added: “It is therefore absolutely critical for produc-tion companies to ensure they have proper insurance cover that will protect them in such an eventuality.

The SABC might have con-tingency plans in place to cover such a loss but, an independent production company would most likely be left in a financially dire position if they did not have the appropriate cover in place.”

Staff Writer

Makkie Slamong, Sally Fink and Taryn Fowler

The Cal lsheet | 09

DOCUMENTARIES

Broadcaster al Jazeera played a large role in this year’s encounters Film Festival as a sponsor and a par-ticipant. their involvement included a full-day public pitching workshop for local filmmakers.

This pitching forum was a revela-tion to all involved; the filmmak-ers, the audience and the Al Jazeera’s commissioning editors

on the panel. Encounters issued a call for en-

tries for this forum, which resulted in over 70 proposals. These were whit-tled down to 20 by a selection panel consisting the Encounters team and independent industry veterans. They were very impressed by the standard of submissions, which came from both experienced award-winners and emerging talent.

The following 20 projects were selected to pitch: Africans in Africa by Gugu sibandze; All The King’s Horses & All The King’s Men by War-ren Wilensky, Leli Maki; Asihambi - We Will Not Move by Mariza Matshaya; Tki Tik Tik by Johan Abrahams; The Village Under the Forest by Mark Ka-plan , heidi Grunebaum; Business

For Good by Lloyd Ross; Children Of Mathekwana by Debbie Matthee, Coetzee Zietsman; Chocolate City by sarah Ping-Nie Jones; Deep Field by Carey McKenzie; Incarcerated Knowledge by Dylan Valley; Ndiyin-doda (I Am A Man) by Mayenzeke Baza; Of Trousers And Little Skirts by in-geborg Lichtenberg; Piece Of Ground by Karabo Lediga; Staging Protest by Vinayak Bhardwaj & Imran Jeeva; Stars And Stones by Catherine Muller; The Reservist by Matthew Brown; The Revolution Ate Her Children by sipho singiswa, Gillian schutte; Beyond The Barricades: Corrective Rape in SA by Zanele Muholi, Peter Goldsmid; The Voice by Tamsyn Reynolds. Brian Tilley; Trail Of Crumbs by Tristram Atkins.

These filmmakers were then in-vited to a full-day pitching workshop on sunday, 10 June 2012, facilitated by award-winning, Egyptian-born, French filmmaker, author and news correspondent Jihan el-Tahri.

They then had the opportunity to pitch at the all-day pitching fo-rum on Monday, 11 June 2012, held at The Forum at The V&A Water-front. Each filmmaker had seven minutes to pitch, followed by eight minutes of feedback and discussion with the Al Jazeera English panel of Dominique Young (senior pro-

ducer commissioning African and Middle Eastern subject matter for broadcast in the channel’s flagship observational documentary strand “Witness”); Diarmuid Jeffreys (edi-tor and executive producer respon-sible for People & Power investiga-tive current affairs programmes); and Jon Blair (acting commissioning editor for Major Series, Specials and Discussion Programmes).

Diarmuid Jeffreys said: “it was a daunting but very rewarding day for all the filmmakers. The level of pitching was very strong – “on a level with the pitching forums i’ve attended in Europe”.

Jon Blair agreed, adding, “What’s interesting is the number of projects that we’ve said, ‘Let’s talk further.’ it would have been unreal-istic to expect any of us to actually get the cheque out – that’s not how our industry works. But there are some that are pretty close to getting to that next stage. None of the projects were a non-starter.”

having three different Al Jazeera representatives on the panel effec-tively showcased the diversity of Al Jazeera, with most of the stories from Africa fitting well with Al Jazeera Eng-lish’s programming ethos.

This was the first time South African documentary filmmak-ers were able to pitch to an inter-national broadcaster in this way, receiving direct feedback and constructive criticism.

The comments from all the filmmakers involved were overwhelmingly positive.

Carey Mckenzie, the director of Deep Field, said: “Filmmakers tend to work in isolation so it is interesting to hear about ideas which other people are developing. The three commis-sioning editors asked tough ques-tions and made incisive comments. i

learned almost as much from their re-sponse to other pitches as from what they said about my own. i came away with a clearer sense of how a channel chooses films to fit into their existing strands and a better under-standing of the Al Jazeera English ap-proach to programming.”

Vinayak Bhardwaj, the director of Staging Protest, added: “We found the discussion with the panel of com-missioning editors very meaningful. They gave us very important feed-back on issues we had only summar-ily considered.”

Gugu sibandze, director of Afri-cans in Africa, said: “I found the work-shop extremely useful. As someone who had never pitched before, the workshop was very much needed. i found Jihan direct and clear and i understood her notes and concerns in terms of my story but also as she was commenting on other stories, it helped me formulate a plan around my own story.

it was also great to have it just before the pitch as it helped not only to calm my already shot nerves but added to the preparation. The pitch itself was comfortable. The commis-sioning editors were not intimidating (people always warn you that they are!). It felt like a relaxed conversa-tion. Because i was more prepared, having done the workshop the day before, i didn’t feel so overwhelmed. Also, listening to their comments on the other films, I got a broader sense of how to tell my stories and what kinds of things I should look out for. Thank you again for the opportunity. i feel more focused and inspired to do more.”

Peter Goldsmid, who directed Beyond the Barricades, had posi-tive feedback: “The pitching ses-sion with Al Jazeera was a good experience. The panel was recep-

tive and sympathetic and asked insightful questions.”

sarah Ping Nie Jones, director of Chocolate City, said: “The ac-tual pitch boosted my confidence in terms of presenting my ideas, but also made me realise how thoroughly thought-through a project has to be before one will get any support. The ideas stage isn’t enough - commis-sions actually require a large amount of development, access and indeed footage before anything can move forward, which i had not been aware of before. The response to all the pitches made me realise how much work has to be taken on before a commission, and so i feel better pre-pared for any further opportunities.”

Matthew Brown, who directed The Reservist, concluded: “You knew that they were good filmmakers in their own right. They were very ex-perienced but focused on their own niche as broadcasters.”

The pitching session was open to the public, so members of industry, film students and media all streamed in to listen and take notes, with around 40 people in the audience at any time.

Following the pitching forum, Al Jazeera hosted an industry presen-tation on Monday 11 June 2012 at The Forum at The V&A Waterfront from 5-7pm. The function was filled to capacity, packed with members of the South African film industry and media. The commissioning editors explained the workings of the broad-caster and screened examples of the range and content of programs. They took questions from the audi-ence and were able to have one-to-one discussions afterwards with those who needed extra information. All in all the event was a huge success for all concerned.

DTT ON THE AGENDA AT ICT INDABA

ICT INDABAthe Ict Indaba conference and ex-hibition was held in cape town from 4-7 June 2012 at the cape town convention centre.

ThE event saw several high-profile speakers and attend-ees, including President Ja-cob Zuma, Deputy President

Kgalema Motlanthe and Minister

of Communications Dina Pule, ad-dressing the delegates about the future of information and Commu-nication Technologies. The event is expected to take place annually for the next five years. This year’s edition was sponsored by MTN, Vo-dacom, Telkom, SABC, Multichoice and others.

The government decided to hold the conference in a move to position south Africa as an iCT hub on the continent, and to help local iCT businesses to identify opportuni-ties and solutions to challenges fac-ing the sector.

According to DA shadow com-munications minister of communi-cations Marian Shinn registration on the first day was abandoned and conference programmes and delegate bags were unavail-able until the second day of the programme being the chief com-plaints. Most interesting for read-ers of The Callsheet was the an-nouncement by Minister Pule that the standards for the launch of the set-Top Box (sTB) for the crossover to Digital Terrestrial Television (DTT) had been set.

The sTB decoder standard (sANs862:2012) was set by the south African Bureau of standards (sABs) in conjunction with the De-partment of Trade and industry. The department hopes that by pro-ducing the boxes locally we can drive the local technology sector and grow the small, medium and micro enterprises (SMME) sector. sANs862:2012 outlines the mini-mum performance requirements for the sTBs ahead of the switcho-ver which is projected to take place in september 2012.

According to a statement re-leased by the department, “The sTB decoder operates in conjunc-tion with an analogue television receiver minimising additional ex-pense for the public whilst provid-ing good quality video and sound. Furthermore, the standard ensures that the final STB decoder low maintenance and includes an ac-cess control mechanism to prevent decoders from being used outside south Africa.”

Bahle sibisi, chairman of the sABs, said: “The sABs is in the pro-cess of establishing a laboratory to allow manufacturers to test the ef-ficacy of STBs produced in the local market and it’s expected to open in October 2012.”

in her opening address at iCT in-daba minister Pule said: “The local manufacturing of the set Top Box-es, as part of the rollout of Digital Terrestrial Television, will enhance this leadership position through the greater investment in innovation. We expect that this strategy will result in the creation of many jobs across the continent as factories go up to manufacture the boxes.”

David hemingway, a senior spectrum manager at the BBC, also addressed delegates about their own experiences of Digital Migration in the UK. His presenta-tion, Efficient Migration to Digital Broadcasting and Maximising the Benefit to Citizens of the Associ-ated Value Chain, was of great in-terest to locals. His talk addressed

making sure the audience knew what to expect each step of the way by marketing to them clearly so they understood their choices and knew what technical help was available.

he also mentioned help for those who could not afford the sTBs - an issue we are well aware of in south Africa where many sTBs will be subsidised by the govern-ment. David addressed some of the recommendations that came out of the Kampala Summit, which took place in April this year. Rec-ommendations included: “Bilateral discussions regarding frequency coordination in the band 470-694 MHz; adoption of a single standard (DVB-T2, MPEG4); agreement on a transition timetable and infrastruc-ture sharing.”

in mid-April, minister Pule an-nounced that plans to switch on the digital signal in september 2012 are on track. She revealed that sentech, the organisation re-sponsible for rolling out the digital broadcasting network around the country, had rolled out the digital network to 61% of the population.

The Department of Trade and industry sees the need for sTBs as an opportunity for the manufac-turing industry, saying in their in-dustrial Policy Action Plan 2012/13 - 2014/15: “The approval by Cabi-net of the DVBT-2 standard as the applicable standard for south Af-rica, in line with most sADC coun-tries, creates and opportunity for industry to gear itself for participa-tion in this sector. A new road map with updated deadlines is being developed and consulted with the stakeholders by the DOC, and a new ‘switch-off date of December 2013 creates a level of certainty for the Digital Migration process.”

Kate Hodges

ICT INDABAaccordIng to reports two weeks after the event, the auditor general will be investigating the Ict Indaba, after allegations of a misappropria-tion of funds.

MEDiA reports allege that millions of Rands found their way into the ac-count of a man said to

be romantically involved with the minister. The man, Phosane Mngqibi-sa, reportedly withdrew millions from the sponsorship fees put forward by MTN, Vodacom and Telkom among others from the account of the event organiser. Carol Bouwer Productions was appointed by the DOC to put the event together. Bouwer con-firmed to media that Mngqibisa was a second signatory to her company bank account.

This comes after the minister lob-bied telecommunications compa-nies to sponsor the event to the tune of R25.7 million.

DA shadow communications minister of communications Marian shinn believes the minister needs to answer questions about how the event was funded in parliament. she believes the event was poorly organised and a waste of the public and the investors’ money.

A short statement released by the minister following these reports stated: “The Minister of Communica-tions, Ms Dina Pule, has taken note of the rumours contained in The sun-day Times about the application of Departmental funds by the organis-ers of the inaugural iCT indaba.

“She has already spoken to the Auditor General to request that he looks into the matter. After this en-gagement, she is convinced that the matter will receive the neces-sary attention.

“Minister Pule expects to receive a report in a month’s time.”

Kate Hodges

INDABA TO BE INVESTIGATED

AL JAZEERA PITCHING FORUM AT ENCOUNTERSthe Forum

Ict Indaba

Ict Indaba

10 | The Cal lsheet

PHOTOGRAPHY

Cape Town photographer Robert Miller is well known for his stunning panoramic photos, but now he’s gaining attention of a different kind after launching the Cape Town professional photographers asso-ciation (CTppa) in February 2012.

The association, which is now more than 230 members strong, was formed as a re-sponse to the difficulties faced

by individual photographers when they try to get permits for loca-tions from the City of Cape Town. The body’s main aim according to their literature is, “to engage, on behalf of Cape Town’s independ-ent photographers, with The City of Cape Town regarding the cur-rent film permit system. The rea-son for this was that City Officials made it clear that they would not engage with individuals on any issue.”

Robert’s frustration with the City is clear after many months of fight-

ing them on this issue, he says: “The city’s permit implementation is go-ing to have huge impact on free-lance photography in the City and will result in a lot of lost work where the deadlines are too tight to fa-cilitate a 48 hour turn around. We proposed a very workable blanket permit process for freelance shoots but I am not sure the City under-stands the issue they have created or is in fact interested in gaining an understanding of it.”

The main point of contention for the photographers is the city’s recent decision to implement By-Law No30441 when issuing permits. The By-Law, which addresses per-mits for large productions, is not entirely relevant to shoots by free-lance photographers. The CTPPA cites several issues with the By-Law, including the turnaround time for the issuing of a permit and the re-quirement for Public Liability insur-ance for each shoot.

The City has reportedly con-sulted with the Commercial Pro-ducers Association (CPA), South African Association of Stills Pro-ducers (SAASP) and the Cape Film Commission (CFC), but not with freelance photographers when drawing up the regula-tions. According to Robert and the CTPPA, the city’s micro-shoot proposal is what rankles the most, as they feel several criteria and conditions will cripple their busi-ness. The points the CTPPA takes issue with include:• Micro-shoot permits are issued for the dates specified and will not exceed a seven day period.• Only valid for locations and/or dates specified.

• No city-wide, open-ended per-mits.• Not be issued for film-sensitive ar-eas, blue flag beaches, etc.• Impacted and affected busi-nesses/residents to be notified prior to shoot – once permit has been issued.• Notifications to impacted or affected parties must advise of date or entire “window period” for which a micro–shoot permit has been applied for.• All micro- shoots must apply for a permit per job, detailing the shoot

days, and the proposed locations.• The application must include details of Company, Job and pro-duction manager.• The micro-shoot permit will be is-sued for the full period of a job.• Micro-shoot permits will applica-ble only to outdoor spaces or lo-cations free to public access.• Micro-shoot permits will not be considered for film sensitive areas, e.g. Bo-Kaap, Constantia, or Blue Flag beaches at this stage.• Micro-shoot permits will not ap-ply to city buildings – these will re-quire permits for access.

The CTPPA has launched a protest that has seen over 60 pho-tographers taking photos of them-selves holding a sign that reads:

“I felt like shooting around the city today but I couldn’t because the City of Cape Town says I need a permit.

Mayor de Lille, City OfficialsPlease stop ignoring this issue

and do something about your un-workable film permit system and questionable application of By-Law Relating to Filming, No. 30441”

According to The CapeTown-er, Anton Groenewald from the City has responded to the CTPPA’s claims by saying: “All entities en-gaging in activities for commer-cial purposes are bound by a duty of care for their clients, suppliers, neighbours and the environment to have some form of public liabil-ity insurance”.

CeO of the Cape Film Com-mission Denis Lillie believes they City is making it challenging for freelance photographers and the smaller independent film makers to gain access to locations and permits.

He believes there is a workable solution though, saying: “We at the CFC believe blanket permits for freelance photographers, doc-umentary film makers and small crews would be a step in the right direction. We already offer low cost insurances for these types of productions, this addresses a clear requirement from the City. This is and should be a pre-requisite for

any filming of this kind.”He added: “Many photo and

film shoots do not impact on the free movement of citizens. The larger film and photographic shoots can impact, however, these are normally subject to stringent road closure and traffic management plans that need to be approved by the city. The ma-jority do not have this type of im-pact. The Cape Film Commission has made various approaches to the City and Province whereby we could take the administrative load off the city by independently managing these blanket permits. It is merely an issue of ensuring correct registration of individuals wishing to apply for a shoot, ad-hering to rules agreed with City and Province and ensuring they have the appropriate insurance cover. The management of the access to locations then becomes a more administrative function.

The block booking of locations and access to locations should then be addressed to allow, as it does in New York, the industry to book on a first come first served basis unless there are grounds for long term planning such as fea-ture films or TV series. This appears by experience to be the position of the film commissions we have spoken to internationally. It also enables others to access the in-dustry without any expensive re-strictions or high cost memberships which prohibit some. Membership of the Cape Film Commission is a service offered for free as we are funded by the public purse to al-low growth and development.”

Robert says the CTPPA will not give up on this issue, stress-ing: “As for what’s next, we will continue fighting this until we get the City to agree to a workable solution to this problem. Once we have achieved this, the plan is for the CTPPA to move into a role as a representative body for Cape Town photographers to make sure that nothing like this happens again.”

Kate Hodges

CTPPA TAKES ON PERMITS ISSUES© Robert Miller

Robert Miller

Denis Lillie

10 | The Cal lsheet

PHOTOGRAPHY

Cape Town photographer Robert Miller is well known for his stunning panoramic photos, but now he’s gaining attention of a different kind after launching the Cape Town professional photographers asso-ciation (CTppa) in February 2012.

The association, which is now more than 230 members strong, was formed as a re-sponse to the difficulties faced

by individual photographers when they try to get permits for loca-tions from the City of Cape Town. The body’s main aim according to their literature is, “to engage, on behalf of Cape Town’s independ-ent photographers, with The City of Cape Town regarding the cur-rent film permit system. The rea-son for this was that City Officials made it clear that they would not engage with individuals on any issue.”

Robert’s frustration with the City is clear after many months of fight-

ing them on this issue, he says: “The city’s permit implementation is go-ing to have huge impact on free-lance photography in the City and will result in a lot of lost work where the deadlines are too tight to fa-cilitate a 48 hour turn around. We proposed a very workable blanket permit process for freelance shoots but I am not sure the City under-stands the issue they have created or is in fact interested in gaining an understanding of it.”

The main point of contention for the photographers is the city’s recent decision to implement By-Law No30441 when issuing permits. The By-Law, which addresses per-mits for large productions, is not entirely relevant to shoots by free-lance photographers. The CTPPA cites several issues with the By-Law, including the turnaround time for the issuing of a permit and the re-quirement for Public Liability insur-ance for each shoot.

The City has reportedly con-sulted with the Commercial Pro-ducers Association (CPA), South African Association of Stills Pro-ducers (SAASP) and the Cape Film Commission (CFC), but not with freelance photographers when drawing up the regula-tions. According to Robert and the CTPPA, the city’s micro-shoot proposal is what rankles the most, as they feel several criteria and conditions will cripple their busi-ness. The points the CTPPA takes issue with include:• Micro-shoot permits are issued for the dates specified and will not exceed a seven day period.• Only valid for locations and/or dates specified.

• No city-wide, open-ended per-mits.• Not be issued for film-sensitive ar-eas, blue flag beaches, etc.• Impacted and affected busi-nesses/residents to be notified prior to shoot – once permit has been issued.• Notifications to impacted or affected parties must advise of date or entire “window period” for which a micro–shoot permit has been applied for.• All micro- shoots must apply for a permit per job, detailing the shoot

days, and the proposed locations.• The application must include details of Company, Job and pro-duction manager.• The micro-shoot permit will be is-sued for the full period of a job.• Micro-shoot permits will applica-ble only to outdoor spaces or lo-cations free to public access.• Micro-shoot permits will not be considered for film sensitive areas, e.g. Bo-Kaap, Constantia, or Blue Flag beaches at this stage.• Micro-shoot permits will not ap-ply to city buildings – these will re-quire permits for access.

The CTPPA has launched a protest that has seen over 60 pho-tographers taking photos of them-selves holding a sign that reads:

“I felt like shooting around the city today but I couldn’t because the City of Cape Town says I need a permit.

Mayor de Lille, City OfficialsPlease stop ignoring this issue

and do something about your un-workable film permit system and questionable application of By-Law Relating to Filming, No. 30441”

According to The CapeTown-er, Anton Groenewald from the City has responded to the CTPPA’s claims by saying: “All entities en-gaging in activities for commer-cial purposes are bound by a duty of care for their clients, suppliers, neighbours and the environment to have some form of public liabil-ity insurance”.

CeO of the Cape Film Com-mission Denis Lillie believes they City is making it challenging for freelance photographers and the smaller independent film makers to gain access to locations and permits.

He believes there is a workable solution though, saying: “We at the CFC believe blanket permits for freelance photographers, doc-umentary film makers and small crews would be a step in the right direction. We already offer low cost insurances for these types of productions, this addresses a clear requirement from the City. This is and should be a pre-requisite for

any filming of this kind.”He added: “Many photo and

film shoots do not impact on the free movement of citizens. The larger film and photographic shoots can impact, however, these are normally subject to stringent road closure and traffic management plans that need to be approved by the city. The ma-jority do not have this type of im-pact. The Cape Film Commission has made various approaches to the City and Province whereby we could take the administrative load off the city by independently managing these blanket permits. It is merely an issue of ensuring correct registration of individuals wishing to apply for a shoot, ad-hering to rules agreed with City and Province and ensuring they have the appropriate insurance cover. The management of the access to locations then becomes a more administrative function.

The block booking of locations and access to locations should then be addressed to allow, as it does in New York, the industry to book on a first come first served basis unless there are grounds for long term planning such as fea-ture films or TV series. This appears by experience to be the position of the film commissions we have spoken to internationally. It also enables others to access the in-dustry without any expensive re-strictions or high cost memberships which prohibit some. Membership of the Cape Film Commission is a service offered for free as we are funded by the public purse to al-low growth and development.”

Robert says the CTPPA will not give up on this issue, stress-ing: “As for what’s next, we will continue fighting this until we get the City to agree to a workable solution to this problem. Once we have achieved this, the plan is for the CTPPA to move into a role as a representative body for Cape Town photographers to make sure that nothing like this happens again.”

Kate Hodges

CTPPA TAKES ON PERMITS ISSUES© Robert Miller

Robert Miller

Denis Lillie

The Cal lsheet | 1 1

AFCI

Film commissions from around the world met with producers, stu-dios and financiers in Los Angeles for the annual Association of Film Commissioners’ (AFCI) Locations Expo from 15-16 June 2012.

South Africa was well repre-sented at the event, with the National Film and Vid-eo Foundation (NFVF), The

Cape Film Commission (CFC), The Durban Film Office (DFO)and the Eastern Cape Develop-ment Corporation co-hosting a South African pavilion at the Los Angeles Convention Centre. In addition the executive director of the AFCI is a South African - Martin Cuff.

NFVF CEO Zama Mkosi was en-thusiastic about the opportunity for South Africa to showcase our film industry, saying: “The AFCI lo-cations expo presents us with an-

other great opportunity to show-case what South Africa has to of-fer to the international film indus-try. The important aspect about AFCI is that it focuses primarily on film locations which gives com-missions a unique opportunity to market and grow the international profile of their regions.”

She added: “Looking at South Africa’s incentive structure for for-eign film production, combined with our diverse film locations across various regions of the coun-try, we believe that we do have a competitive package to offer to the international film industry and platforms like the AFCI locations expo allow us to showcase that.”

South Africa also had presen-tation slots on topics comprising Partnering for the Future – Co-pro-ductions and Co-Financing with BRICS Nations at the co-located Variety BRIC Summit. The BRICS summit is an international relations event where representatives from the BRICS Nations explore how the

fast-growing film and TV econo-mies of Brazil, Russia, India, China and South Africa are critical to the constant development of the en-tertainment industry.

There was ire that the S (South Africa) was left off the summit’s name, but Dominic Wilhelm, pro-ducer and film sector development specialist, explained that SA’s inclu-sion was controversial as the size of our economy is much smaller than the other BRICS nations, (trailing by $1,1 trillion behind Russia, the second smallest BRIC economy). Dominic says: “The confidence of SA’s film industry in the Summit is no doubt in part grounded in the fact that comparing the size of en-tire BRICS economies is different to comparing the film sectors within those economies. Indeed, the lat-ter comparison is where SA excels amongst all territories, BRICS or not.

“SA continues to attract global attention and spend on the world stage; its cost base, expertise, non-unionised crew, locations,

breadth of world-class expertise and substantial financial incen-tives make SA a near irresistible offering which is on the brink of showing further innovation thanks to the BRICS attention.”

As one of the summit’s spon-sors, the NFVF CEO gave a 15 minute presentation about South Africa to the industry practition-ers interested in working with the BRICS Nations.

After the event, Martin said: “When presented with the plat-form of the new AFCI Locations Show and Variety’s BRICs Summit, South Africa’s delegation - lead by the NFVF and the SA Consulate General in Los Angeles, and ably supported by both the country’s Film Commissions and by numerous high-level participants from the pri-vate sector - moved exceptionally effectively to grasp opportunities and insert South Africa into a range of dynamic discussions on multiple levels. Collectively the team con-siderably raised the bar on aware-

ness of South Africa’s offerings, and anecdotally I heard several men-tions from other film commissioners about how well South Africa was performing both at the show as as a production destination.”

The Cape Film Commission joined local South African part-ners, including the DTI, in a lunch-time presentation to the USA in-dustry highlighting the benefits of filming in our particular geograph-ic Regions within South Africa. This event was organised in partner-ship with the South African Consu-late in Los Angeles.

The consulate also arranged tours to major studios (including Sony and Fox) for the local del-egation. On the evening of the 14th, the day was rounded off at a well-attended party, hosted by local companies Cape Town Film Studios, The Refinery and Film Af-rika, at the Arclight movie theatre in Hollywood.

South Africa gave a good ac-counting of itself, with an article in Variety stating: “A narrow focus on the BRIC countries, however, doesn’t do justice to the growing impact of other booming econo-mies around the world. South Af-rica, for example, has not only emerged as a popular location for shooting features (Chronicle, Safe House), but also has built a lot of economic muscle of its own.”

The article went on to quote Martin Cuff, who said: “We used to struggle, but South Africa is now a viable place to do business, espe-cially when seen as a gateway to all of Africa.”

The list of speakers at the show was a veritable who’s who of the international film industry. They in-cluded: David Wicht of Film Afrika; Dileep Singh Rathore; president of Lionsgate international Helen Lee-Kim; Marion Edwards; John Schwartzman; Luis Reyes; Christo-pher McGurk; Andy Rosenblatt the chief executive officer of Metrop-olis Films; Deadline reporter Domi-nic Patten (whose talk on The Fu-ture of Crew was one of the most anticipated of the conference); Warner Bros VP Karen Fouts on production incentives; Steve So-lot, the president of Rio de Janeiro Film Commission and many more.

Film and Event Media publisher Lance Gibbons was at the loca-tions show and the NFVF breakfast. Lance said: “The SA Consulate is extremely proactive and is look-ing for industry input to assist with business linkages and relationship building between SA and LA pro-ducers and studios bosses.”

He added: “international produc-ers showed a great deal of interest in SA. Zama’s presentation at the BRIC’s summit was really well received and generated a lot of interest.”

SA SHOWCASED AT AFCI LOCATIONS SHOW

AFCI president Mary Nelson and executive director martin Cuff

NFVF breakfast

David Wicht

LA Convention Centre

12 | The Cal lsheet

The Cal lsheet | 13

14 | The Cal lsheet

GENERAL INDUSTRY

When an eventing company is planning a special promotion, having film star Kevin Spacey as the special guest is a major coup.

That was a key factor in ensuring that an event staged to cele-brate a South African winning the chance to make his movie

in Hollywood was a party night to re-member. But you don’t need a star of Kevin’s calibre to make a success of an event where a movie is at the heart of the entertainment.

The Kevin Spacey evening was staged by Capacity Relations on behalf of Jameson Irish Whiskey. Jameson had teamed up with the Hollywood actor to run The Jame-son First Shot Competition, open to filmmakers in America, Russia and South Africa. A winner from each country was flown to Los Angeles to make a movie with Kevin taking the lead role, and South Africa’s winner was Alan Shelley, a 26-year-old from Cape Town.

To celebrate his victory, Capaci-ty Relations staged a party at the un-usual venue of Turbine Hall in Johan-nesburg’s Newtown district, where a celebrity-studded audience saw the premiere of Alan’s film, Spirit of a Denture.

Turbine Hall is in the heart of Jo-burg’s art and cultural precinct, and the 300 guests included Kevin and film producer Dana Brunetti, his part-ner in their production house Trigger Street Productions, along with Alan and his scriptwriter Thandi Brewer. Local celebrities included actor John Kani, singer Yvonne Chaka Chaka, and TV presenter Tumisho Masha, the MC for the evening.

Sarit Tomlinson of Capacity Re-lations said there are several key things to focus on when planning an event where a film is the central feature. “It’s important to still keep the fundamentals of eventing in mind,” she said. “It is all about creating a memorable, positive “wow” experience. Location is crit-ical, as it will ultimately affect the décor and the overall feel and ex-perience of the event. Turbine Hall was most certainly aligned to the Jameson brand: premium, über-trendy and a little unexpected. Hosting the event there allowed us to create an experience and

a talk-ability factor that we would not have necessarily been able to achieve at a normal cinema.”

The upstairs section of the hall could also be transformed into an after-party location for the guests, she said.

It’s also crucial to have a good technical support team to help en-sure the event runs smoothly, espe-cially when a film is the central part, Sarit said.

Choosing an offbeat venue may generate the buzz, but the organis-ers must ensure it has the correct fa-cilities to allow the event to run suc-cessfully. The location, its facilities, the parking arrangements and the people managing the establishment play a crucial role in that, Sarit said. “It is important to remember that this is a people’s business, so trust in your venue and hosts is critical. You need to be careful on the location you choose, and the partners you de-cide to work with. It is critical that the initial concept and the packaging is done correctly.”

A strong guest list is, of course, essential. “You need to ensure you have the correct people on your guest list, from local celebrities, in-dustry people and media. Having the correct people is vital as it be-comes more of an ‘industry’ and networking event than a premier.”

Other key factors are messag-ing, branding and security, she added, especially since hosting an international star brings additional security headaches.

Sarit believes events based around a film screening can be massive hits in terms of the hype and publicity they generate. But if the event isn’t well organised, it will be no more memorable than an everyday trip to the cinema. “You need to be engaging with all your guests from using the right wording and messaging on the in-vitation, to the RSVP process and throughout the event until people leave,” said Sarit.

Judging its success is relatively simple, she said. “We gauge off our guest and client reactions, if regis-tration ran smoothly, how the food was, our media attendance, the “buzz” and ultimately the media exposure post the event.” Media coverage for the Jameson First Shot event went far beyond their expec-tations, she said. “The South African media were incredibly supportive of this event and campaign. But I do believe that the overall cam-paign, our client, Kevin Spacey, Dana Brunetti, Trigger Street Pro-ductions and our local filmmaker Alan Shelley had a lot to do with this. The initiative was an authen-tic one from Jameson and Trigger Street’s perspective, and the winner was a humble, very talented South African. It was the perfect mix.”

Lesley Stones

Film screenings sTrOng sA Presence AT AFci

Thandeka Zwana, Zama Mkosi, Gugu Zungu, Denis Lillie, noxolo Mtana and nico Dekker

noxolo Mtana

Denis, Hakeem Kae-Kazim, Gugu Zungu, Etienne Van Straaten, David Wicht, Zama Mkosi, Nico Dekker, Jannie van Wyk and Charl Van Der Merwe

Denis Lillie andTrusty Mdhluli

Lance and Zama

NFVF panel

The Cal lsheet | 15

CANNES FILM

Filmmaker Samantha Gray on the Cannes Film Festival and the South african presence there.

The South African Pavilion was the base for our SA filmmakers and witness to the constant

ebb of daily news washing in and out with the rain.

We were a motley bunch of invariably drenched, eternally op-timistic Saffa’s, clutching cups of coffee or tumblers of wine depen-dent on the time of day.

We were well received. The local daily rags had nothing but praise for South African Film and its makers. There seemed to be gen-erous and sincere attention given to us and our offerings. It goes without saying that our skill set and infrastructure are renowned and recognised internationally but for a country whose film industry is still in the development bracket we seemed to crack respect and re-ceive the credibility we deserve for our work. Steven Markovitz of Big World Cinema brokered a resound-ing production and distribution deal with 234 Media and Suka! Pro-ductions. Feature films produced by Big World and Suka! will be dis-tributed by 234 Media in Africa. This is a big deal.

Veteran Dan Jawitz’s dual Cannes purpose of finding dis-tribution for his local horror, One Last Look and acquiring a record

number of films for local distribution deemed his visit a huge success.

The most noteworthy outcome of all was the signing of the long awaited and much anticipated Irish/SA co-production treaty. This treaty will facilitate fund-raising for film projects in the two countries. (and allow many a sexy Irish ac-cent to land on our shores.)

It is apparent that our unani-mously high production value is now supported by a strong, expe-rienced and determined creative talent. There is an honest convic-tion and support from international festival curators and an investment in young talent. Rising director Jen-na Bass and producer David Horler (fellow Cannes virgins but not of the scrambling kind) presented their sci-fi Tok Tokkie and had nothing but an overwhelming response to their offering.

More fellow virgins, director Oliver Rodger and producer Carla van Wyk who took their well-cast comedy Copposites to Cannes ac-knowledged the irony of travelling all the way to Cannes to be recog-nized by fellow industry peers. Their film is due for release in August in South Africa and here’s to hoping its local release is a fair, necessary and worthy contender to the Box Office greats.

I came back to South Africa both enlightened and thoroughly disillusioned. Questions that beg to be answered are: “Why do great films with huge integrity like Otelo Burning not do as well as they de-

serve to in our local cinemas? Why can’t our local films stand up and fight a decent fight against the lat-est international releases in our own country? Why don’t more South Af-rican’s support South African Film? Will the government consider subsi-dising local cinematic releases? It seems that a mandatory and nec-essary incentive needs to be imple-mented in order for cinema owners to punt our own films above others. Whilst all the arduous work of sales finds focus across the miles, our lo-cal film industry runs dry from lack of local support.

If anything, our South African filmmakers are brave. We stick to our gut. We work hard, tirelessly and well. We are resilient. We are damn smart and full of ideas. Peo-ple enjoy our company. We don’t speak with a nasal twang and pre-tend we know everything. We are humble enough to acknowledge our shortfalls. And so we trudge, the gang of festival/market goers, festival to festival, country to coun-try. Seeing, being seen, and hope-fully somewhere along the line, being paid. We are no longer the poor kids without shoes in the dust. We are just the kids on an uneven playing field.

The playing field in this instance is the beautiful Cannes. She is French, and therefore retains the right to be arrogant, sometimes rude, sensual and charming all at once. She seduces you and spits you out. She dangles a world so unfathomable in front of you. She

shows you her glory and her glam-our and then exposes her scars.

The relationship with Cannes needs to be heeded like a mar-riage; years of wooing your some-times frumpy best friend, it’s a love/hate relationship that takes time to develop, and strength beyond measure to nurture.

The intimate knowledge of how to woo for business - not an abra-sive affront or apparently noncha-lant but desperate tug at a rich mans’ sleeve is a hard lesson learnt and well received.

The Virgins and the VetsThe South African contingency

attending Cannes comprising of a record number of 130 delegates varied rather splendidly from virgins to veterans. The vets stepped onto the red carpet like it owed them something; years of slog and toil fi-nally granted them the right to put that swagger in their step. The eva-sive light at the end of the tunnel peeked through, whether for the fi-nance to make a movie or the sav-vy to have it distributed, or both, Cannes welcomed them back with fervour. Tried and tested they re-turned to arguably the largest film market in the world, ideas brewing on iPads, international connections set and ready to be brushed off like a favoured trusty coat.

The virgins (myself included) scrambled. With most likely three quarters of the delegation spon-sored by some government organ-isation, specific outcomes needed to be measured and quantified in order to justify the spend. “Where’s the ladder?” we cried. And how the hell do you climb it without fall-ing off and splitting your pants? Praying for magic beans to sprout and ascend heavenward to where the film producers, financiers, dis-tributors and sales agents and other big-boys make their golden nests, it was a slow but frenetic scramble to figure out the elusive Festival de Cannes.

On the one spray tanned hand, you have the Festival; a mostly el-egant layout of delectable mov-ie treats on which to sate your cinephilic palate if you rank high enough to acquire a ticket. On the other hand, you have the Market. The Market is the place where the ordinary Joe Blog ventures to either flog his film, buy a film, represent a film. An apt description I clung to was “Cannes, the Las Vegas for film-makers”.

The Palais, where the major-ity of countries, distributors, sales agents et al line up row upon row upon row, reminded me of a mas-sive flea market where every ven-dor tries to sell you the same prod-uct but in a different hue. Posters lined the walls on every block. In every conceivable way, it is ab-surdly tough to make your movie stand out amongst the masses.

Unless backed by massive pro-duction funding and heavy weight distributors, your little movie, dying for it’s own success (if you’ll par-don the pun) could find itself being called something along the lines of Lesbian Vampire Warriors. Or how about trying on You can’t kill Ste-ven King for size. (The description underneath the title reading “it was a mistake to visit his lake”.)

Gruesome bludgeoning weap-ons like hammers and axes rise from the water. Blood streams from essential-hot-chick-in-bikini and a red eyed, bloodied killer dog bares its’ fangs. No doubt these little gems of films will be giant commer-cial successes.

By row seven I was thankfully desensitised to the countless hor-ror, action, thriller, vampire, slasher-flick posters all promising the same illusion: guts, blood, a thrill and maybe if you’re lucky a boob-flash.

This alarming array got me thinking about what it means to have success at Cannes. Bottom line: if your film (if not in the official selection or up for a Palme d’Or be-cause of it’s artistry) needs to either be an action, a thriller or a horror. Only then might you have success-fully navigated the Cannes Market-sea and found what is deemed a commercial success. In the glaring light of day, dreams of making an exquisite piece loaded with artistic integrity are cast aside in favour of making a film in a genre that is uni-versally acceptable. Comedy, un-less a broad USA Blockbuster, does not travel well and just ruminating about transcoding a Russian Com-edy for a Korean audience… well, you get my point.

And so, the market demands. The clever, business savvy filmmak-ers supply.

This does not, however, ex-tinguish the dreams of the hope-ful. They are around every cor-ner, young filmmakers plying their dreams. On the whole, the South African line-up was one that ex-pressed hope in abundance. Sol-id, quality films were on the plat-form; but bearing in mind my dia-tribe about commercial genres, I hope that our unique and expres-sive talent found it’s way through the muddle. In our own line-up, and perhaps somewhat thankfully I can say there was a disconnect between “business” (recall Vam-pire Lesbian Warriors) and artistry. The documentaries presented were all strong and admirable. The com-edies were of true South African fla-vour. The drama’s were enviable. That said, again, Cannes is a Market for commercially viable films. Some-times you are lucky. Sometimes, not so lucky. And to some, the commer-cial aspect is irrelevant. An award cannot be spent.

Samantha Gray

Cannes - not just a film festival

Sa and ireland signing co-production treaty

16 | The Cal lsheet

The Cal lsheet | 17

GENERAL NEWS

GENERAL news from the South Af-rican film and commercials in-dustry. You can load your own stories to our website at www.the-callsheet.co.za

GFC and FPB Sign MOUA MeMorAnduM of understand-ing (Mou) was signed on 14 of June 2012 in Johannesburg, be-tween Gauteng Film Commission (GFC)’s Acting Chief executive, Mzwandile Masina, and the Chief Executive Officer, Yoliswa Makhasi of Film Publication Board (FPB) for the benefit of the film Industry.

This Mou supports the mutual objectives of both GFC and FPB to create distribution channels and to regulate distribution of films and publication with the aim of devel-oping and growing the film Industry.

GFC is an agency of the pro-vincial government tasked with the development and promo-tion of the audiovisual industries in Gauteng. Having such MOU in place will reduce the distribution and the consumption of unregu-lated content.

In 2011, at least 253 commer-cials were produced and shot in Gauteng. This figure Constituted 40% of commercials produced nationally. In the past financial year the Commission funded 23 short films, feature films, docu-mentaries and television produc-tions collectively worth R2.8 mil-lion. Through the GFC filming per-mit facilitation service, 192 films were shot in Gauteng in the last financial year. Overall, the GFC has contributed to 7091 perma-nent and temporary jobs through film project funding and filming permit facilitation.

Pursuant to the transformation agenda, the commission has pro-vided skills development opportu-nities in the film and television sec-tors to 843 film makers.

The Commission will continue to implement its programmes as per its current mandate, including sup-porting emerging filmmakers, pro-moting the province both locally and internationally as a preferred film destination, conducting ongo-ing research and development ini-tiatives, as well as delivering profes-sional film commission services.

Platypus Digital & Groupon Grass-roots partner to support educationPlaTYPUs digital, Groupon Grass-roots and the Heart Charitable Trust are partnering to support education through a fundraising drive for OGlE Education Kiosks, a groundbreaking digital content delivery system.

“almost every day our newspa-pers report on a failing education system in south africa. We were horrified by last month’s headlines about schools in Limpopo not hav-ing textbooks yet, half-way through the school year,” says Platypus Digital founder stanley Edwards. “Education is the primary challenge facing south africa and we believe that the OGlE Kiosks can play a key role in solving these sorts of learning material delivery problems.”

Platypus Digital has developed OGlE Kiosks as a national network of touch-screen content kiosks which allow both learners and educators to access and down-load quality, curriculum-based education and edutainment-rich content for free without the need for a computer, internet access or data costs. Platypus Digital is run-ning an OGlE Kiosk fundraising drive in partnership with Groupon south africa, as part of their Grou-pon Grassroots initiative.

Groupon’s massive customer base will be asked to contribute R20, R50 or R200 via their Groupon account towards the OGlE Kiosks roll-out. Non-Groupon subscribers can register to contribute at www.groupon.co.za/register

“Collective action powers ev-ery campaign we feature and with enough supporters we can accomplish amazing things that couldn’t be done alone,” says Jessica stewart of Groupon south africa. “With a little effort, we can make a big difference. Educa-tion is high on our agenda and as we celebrate Youth Day on June 16 we encourage you to make a small contribution towards the youth of south africa.”

TOP teams announced for Ultimate Braai MastersOUTH African gourmet bush cook and veteran presenter, Justin Bonello, has announced the 30 contestants to qualify to participate in south africa’s in-augural outdoor reality TV cook-ing competition entitled Ultimate Braai Master.

Proudly sponsored by Pick n Pay and supported by Coca-Cola and Renault sa, the TV series is set to launch on saBC3 on 13 sep-tember 2012 with the winner walk-ing away with the prize of R500 000 cash; a new renault Koleos 4x4 valued at R325 000, a Cadac BraaiMaxx valued at R15 000, and the title of south africa’s Ultimate Braai Master in December.

From a total of 6400 aspirant braai master entrants, Justin and his production team at Cooked in africa Films short-listed 300 teams (of two contestants each) from around the country to take part in three regional auditions in Cape Town, durban and Johannesburg during May and the first week-end of June. auditions kicked off in Cape Town at Grand West Casino & Entertainment World on saturday, 19 May 2012, where 79 of the Western Cape’s hottest braai talents competed head to head, resulting in 15 finalists; the competition’s second audition took place at the Wild Coast sun Resort and Casino on saturday, 26 May in Kwa-Zulu Natal with 13 finalists making it through from the 35 competing teams; and the fi-nal audition at sun City Resort saw 15 out of 54 of Gauteng’s best braai teams make it through the regional audition on saturday 2 June 2012.

On 19 June 2012 Pick n Pay’s General Manager for Market-ing, Malcolm Mycroft and Justin announced the final 14 teams and one Wild Card team live on saBC3’s Expresso Morning show.

selected from a pool of 43 short listed national finalists, the country’s top 15 teams (of two contestants each) to make it into the “Ultimate Braai Master” reality TV cooking competition include:

• Team Fat Cow: friends from Dur-ban, Warwick Thomas and Dayle dohne

• Team Green Feet: friends from Cape, Town Tinus Els and leki Mokiti

• Team Green Okes: friends from Johannesburg, Tshepo Nkosi and Modise Khoabane

• Team Who Dares Wins: married from Cape Town, Tubby Melidonis and Elaine Ensor smith

• Team Coal shoulder: partners from Johannesburg, Roger Harris and lee Jennery

• Team Cooking soul: brothers from Gauteng, nqobani Mlagisi and Mbuso Mlagis

• Team Umlilo: partners from Pre-toria, annerie Burger and Martyn John schickerling

• Team Rust & Dust: brothers-in-law from Cape Town, Greg Gilow-ey and Karl Tessendorf

• Team 2M: friends from Pretoria,

sebastian Matroos and Dumisani Malaza

• Team Hout Cuisine: brothers from Cape Town, Oscar Faulkes and Chris Faulkes

• Team Chi Town Braaister: dat-ing from Durban, Frank Dunn and Claire Walker

• Team The stoned Olives: part-ners from Hermanus, Cape Town, Ronel Theron and Billy stanley

• Team Which Way Braai Chicks: friends from Cape Town, Janie B smit and Maudie Bleach

• Team Popeye & Olive: father and daughter from durban, rox-anne van Breda and Barry Davis

The 14 teams are joined by Pick n Pay’s Wild Card team, represent-ed by Johannesburg based sisters from Team Gal Power, Gladness sindi and lethukuthula Ncengwa.

Malcolm stated, “A large part of being south african is about be-ing outdoors with friends and fam-ily enjoying a braai. as a brand that supports and celebrates the things that make us uniquely south african, we’ve been especially thrilled with the way south africans have responded to this competi-tion and the incredible talent and originality that’s been on display at each audition. Pick n Pay has elected to play its Wild Card by se-lecting an all-girl semi-finalist team from soweto for their amazing spirit and determination. While the final teams to make it into the compe-tition represent a rich and diverse group of aspirant braai masters, with Gal Power’s inclusion, we’re confident they’ll add their flair and talent to the mix and become real contenders in this hotly contested cooking competition.”

The final 15 Teams to take part in the “Ultimate Braai Master” re-ality TV competition will join host, Justin, on 13 July 2012 for the of-ficial start of the 52-day competi-tion, which will see contestants travel 8000kms to compete in 13 location based challenges across south africa.

“The gees (spirit) on display at the auditions have taken us all by surprise. It’s been like watching south african culture on steroids,” commented Justin. “While our se-lection criteria included character and personality, we were always aiming to select teams that were above average cooks. Contes-tants need to be able to work together under pressure and cre-ate interesting dishes while being entertaining at the same time. This competition is all about turning the braai stereotype on its head, and if the audition rounds rep-resent a taste of things to come, then the TV series is guaranteed to keep south africans glued to their TV sets.”

The winning team will be an-nounced in the final episode, which will be screened on saBC3 on 6 December 2012. some of the most memorable recipes from the series will be packaged into a new braai cookbook from Justin, which will be published by Penguin and available in stores before Christ-mas 2012.

Adding cocktails to the reality TV mix

For south africans who dream of one day being on television, Ciao, a Ready-To-serve (RTs) cocktail mix from KWV sa, is running a com-petition that will put a weekly win-ner in front of the camera for their very own three minutes of fame.

Each week during July, a win-ner will receive R5 000 cash and Ciao stock to put towards a party. Ciao will then film the winners, and their party. These three-minute long films will be aired every Thurs-day on e.tv just before 18h30.

The television campaign will

launch on e.tv during Modern Family at 19h30 on sunday, 17 June 2012. The competition will run for six weeks on e.tv, saBC 2 and saBC 3. To enter, viewers will need to sMs their name and the word “Ciao”.

The campaign is aimed at fe-males between the ages of 25 and 35, and will also be promoted on saBC 2 during Pasella and La Familiar, and on saBC 3 during a number of shows such as Ugly Bet-ty and Gossip Girl.

Ciao cocktails are for people that want to entertain effortlessly without the hassle and without compromising on the quality of the brand while bringing out a touch of glamour. The viewers that watch these shows are perfectly aligned with Ciao cocktail drinkers who are confident and stylish.

Made with real fruit, Ciao is available in six mouth-watering flavours. “Ciao was only launched at the end of last year, and in the six months since it has grown more than 300%, having now reached its own celebrity status,” says an-na-Marie Marks, Category Man-ager for KWV sa .

“With our new campaign we are giving consumers a chance to shine with their very own three minutes of fame on television,” says Marks.

The final winner broadcast for the new Ciao television campaign will be aired on 26 July 2012. If you miss the TV spots, you can keep an eye on the Ciao Facebook page for competition details, an-nouncement of winners and the reality videos

Michael Dearham joins ‘Cote Ouest Audiovisuel’CoTe ouest Audiovisuel is proud and honoured to welcome aboard Mr. Michael Dearham as senior vice president of the group and general manager of the Mau-ritian Office.

Mike’s principal mandate is to oversee with full authority the Eng-lish Programming part of the busi-ness and to shape the strategic growth and development of the Cote ouest Audiovisuel Group as a whole.

According to Bernard Azria, CEO of Cote Ouest, “Mike is a highly qualified professional who will undoubtedly take Cote Ouest one step further and who will con-tribute greatly to the expansion of our activity across English-speak-ing africa. We are proud to wel-come such an outstanding profes-sional of the african market”.

Michael dearham is the former

Head of M-Net’s sales and library acquisitions department and sole curator of the world’s largest Afri-can Film library owned by M-Net (Electronic Media Network), af-rica’s leading Pay TV broadcaster.

Mike is a film industry veteran, credited with a string of leader-ship positions within various media initiatives including south africa’s National Film and Video Founda-tion (NFVF), sithengi and Film Re-source Unit.

“I am extremely excited about joining Cote ouest – a great com-pany with a solid track-record and world-class potential. Cote Ouest offers a unique opportunity for me to apply my experience toward fur-ther growth and development of the african film and television sec-tor. I look forward to working with and learning from the exception-ally talented management team and staff,’’ said Mike Dearham.

Cote ouest has sealed exclu-sive agreements with M-net in south africa, Globo TV in Brazil, Majors and independent produc-ers in the Usa and many other producers worldwide, thus secur-ing the distribution of thousands of hours of the best drama to its nu-merous clients. Cote Ouest distrib-utes an annual average of over 20,000 hours of programmes to nearly 75 television stations spread across 42 markets.

ONLINE NEWS HIGHLIGHTSYoliswa Makhasi

Justin Bonello

18 | The Cal lsheet

ONLINE NEWS HIGHLIGHTS

GENERAL NEWS

GENERAL news from the South Af-rican film and commercials in-dustry. You can load your own stories to our website at www.the-callsheet.co.za

SA FILM DIRECTOR SHOOTS IN BANGKOKAwArd-winning South African film director Amour Setter has recently gone into pre-production in Bang-kok on her international short film, They Came. A mere five months after arriving in the city, this dy-namic go-getter has managed to round up a team of highly tal-ented and passionate filmmakers and actors to join her production. Producer Selma Tamu is a Moroc-can-born American who has been living in Bangkok for the past year. She recently worked alongside the director of A Stranger in Paradise, starring Stuart Townsend and Co-lin Egglesfield which was filmed in Bangkok in late 2011. She joined Amour’s production in mid-May and has passionately taken the project to the next level.

Casting for this international short film was tough as there are a very limited number of expe-rienced Western actors living permanently in Bangkok. After seeing dozens of local actors, Amour finally cast American ac-tor Damian Mavis (The Hangover part 2, Vikingdom, The Protector, The Scorpion King 3), British actor Leigh Ellen Barwell (The Lost Me-dallion, The Prince & Me, Golmaal Returns) and British actor Chris Wegoda (The Krystal Palace). The lead character role has gone to a relatively unknown actor from the USA, Kirsten Kosmas.

The team has registered the project on Kickstarter – an inter-national crowd-funding platform designed to assist filmmakers raise necessary funds for their projects. Even a short film of 20 minutes can cost a considerable amount of money to produce, and the filmmakers are earnestly promot-ing their project through this plat-form in the hopes of raising the necessary funds. Producer, Selma Tamu has even arranged a lavish Moroccan Dinner Party, to which

Bangkok high society members have been invited to pledge their support for the project. The Pro-ducer-director duo are working around the clock to bring the proj-ect to fruition and are pulling out all the stops. This is the first project of its kind in Bangkok and hopeful-ly other filmmakers will be inspired to follow in their footsteps and cre-ate similar projects. Several Asian television channels have already been approached with a view to buying the short film.

Director Amour is no stranger to limelight. Her published book, The Bitch’s Guide to Dating has garnered a large global following as have her personal blogs (www.a m o u r s e t t e r . b l o g s p o t . c o m ) , which filter through to several in-ternational websites across the globe. With an average monthly hit rate of 200,000 to her website, she is making her mark as a writer. She has also starred in two award-winning short films and her on-line international film school (Auteur Film School) has won 9 film awards to date. To add the cherry on the top of her winning cake, she recently walked away with a pres-tigious international film award at the USA Superbowl for her Chevro-let television commercial in Febru-ary this year. With a track record like that, it will be no surprise if Amour brings home an interna-tional award for this short film.

They Came is a psychological thriller and examines the subject of stalking and obsession. The short film is ear-marked for entry into all the major international film festi-vals and the filmmakers hope to draw the attention of financiers for Amour’s debut feature film sched-uled for production in late 2013.

Check out the video on Kick-starter and pledge your support for a South African female film-maker who hopes to make South Africa proud.

AFDA Cape Town Experimental Film FestivalEvEry year AFDA, the South Af-rican School of Motion Picture Medium and Live Performance, hosts their Mid-Year Experimental Film Festival and this year it is tak-ing place at the AFdA Cape Town campus from 22-23 June, 2012.

The Festival is not only a screening of the 3rd year students’ Experimen-tal Live Action and Animation films and Documentaries filmed by the Honours Students, but also includes a live performance by the Honours act-ing students on Friday evening.

There is also live entertainment on both the Friday and Saturday evening as well as Musical Perfor-mance showcases by the first year students on Saturday. All tickets will be sold at R10 a ticket. This year there will be product stalls selling food, drinks and sweet treats. Along with this, there will be a Marketing Expo, educating the audiences about what the various films are about and who was involved, while the films are being showcased.

The Mid-Year Experimental Film Festival takes you away from the commercial cinema scene and into the world of some of South Af-rica’s most talented film buffs, who have not been discovered yet.

For more information about the AFDA Cape Town Experimental Film Festival 2012, please contact Jennifer Wither on 074 161 9949 or Gené Lombaard on 072 730 4882.

Airtel Africa and DSTV partner to launch Africa Football showAirTEl Africa has sealed a part-nership agreement with DSTV that sees the two organizations work-ing together to air a weekly TV football show. Grassroots football is part of Airtel Africa’s vision to de-velop and nurture young football talent and compliments Africa’s largest pan African youth football initiative, supported by Airtel and Manchester United, called the Air-tel rising Stars.

DSTV will cover live football matches in various countries, leading towards a pan African in-ter-country final of the Airtel Rising Stars youth tournament being held in Nairobi later this year. The show will also trace the career paths of African footballers, demonstrating sporting journeys that have led to fame and success.

“We have always believed that football has the ability to de-velop and connect youth across the continent,” explained Andre Beyers, chief marketing officer, Air-tel Africa. “This was the rationale behind our pan African football tournament and talent develop-ment program, Airtel Rising Stars, which is now into its second year. The enthusiasm Africa has for the sport is undeniable. Our decision to be involved in this new show compliments our ongoing com-mitment to support the passions of our young adult consumers.”

‘Airtel Football’ focuses on dif-ferent aspects of the sport across the continent and airs on Super Sport 9 (SS9) every Monday at 9:00 p.m. (CAT). Aside from profiling Af-rican footballers, the fast-paced half hour show explores a wide range of topics including insights on the sports fraternity, culture across various African countries and major tournaments/games being played on the continent.

“One of our goals during this second season of the Airtel ris-ing Stars initiative was to take an already successful property to the next level of awareness and excitement across the continent. We will showcase the various ex-periences of youth football across Africa in an interesting format. We are glad to partner with dSTv Af-rica and will use their expertise, contacts and knowledge of the sports world to bring youth expe-riences to life on television. Africa is rich in diversity, yet similar in so many ways.” added Mr. Beyers.

The show will run for 44 weeks and is also available to viewers in high definition (HD). Viewers who can’t catch the episodes when they air on Monday will be able to watch a re-run on Saturdays at 11:00 a.m. (CAT).

MOP5, The Cape Town Month of Photography Festival 2012CAllS are open for the submis-sion of still and moving images for Cape Town’s 5th edition Festival from 27th September – 31 October 2012, celebrating the photograph-ic image as a unique space where the real and the metaphor engage and stimulate exploration, imagi-nation and the expression of new ideas, within a diverse range of ar-eas, from political and personal to aesthetic and conceptual.

A growing platform for com-munication between local com-munities, the festival also invites inter-regional and international exchange, circulation and dia-logue, supporting the current po-sitioning of South Africa as a world cultural site and hub of photo-graphic vision and practice. 100 activities from exhibitions to mas-ter classes and a mini film festival will showcase within the inner and outer city.

September/October 2012 is the period to diarise. The festival, graduating to a Biennial event from 2012, has grown in its 13 years of triennial rhythm, aiming to pres-ent a peak of product this year and leading up to 2014, with Cape Town as design Centre of the World. The past 4 festivals have proved successful and inspiring to all, aiming for and achieving 100 exhibitions and projects played out in each festival, with very posi-tive and encouraging results.

Presented by The South African Centre for Photography, as a pro-gram of exhibitions, social events, seminars, workshops and master classes in photography and relat-ed themes, the month–long event creates a comprehensive network between diverse photographic communities, including docu-mentary, commercial and fine art practitioners, amateur associa-tions and learners, all of whom are given a forum for expression.

The showcase encourages and welcomes bodies of work pro-posed by photographers, histori-ans and writers, galleries, museums and photographic entities nation-ally and globally. This year so far proposals have been accepted for work proposed by curators and image creators from China, Italy, Croatia, Australia, New Zealand and The U.K. The Grand open-ing, a principal MOP5 event, will take place at 6pm on Thursday 27 September, and preview the showcase at the Festival’s loyal ground venue, the Castle of Good Hope, which will hosts a number of solo and group exhibitions. Other events and exhibitions will open at a leading galleries, event centres and museums around the Cape on different occasions throughout the extended month, already building a memento from mid-September.

The 200 page festival catalogue, which is sent to museums, galleries, li-braries and higher centres of learning around the globe after the festival, is also sold in top bookstores after the fact, and accessed for its compre-hensive document of an evolving collective vision of our contemporary life. This collector’s item showcases not only the core exhibitions, but also the fringe and satellite items, becom-ing available with a launch and at the SA Centre before the festival, to

guide the visitor and the participator through the intriguing routes, physical and conceptual, on the schedule. The added coverage of the range of activity and production, associated venues and businesses engaged with creators using the photographic context, presents a comprehensive snapshot of the medium in the cur-rent times.

MoP5 promotes opportunities for South African image makers to gain both local and global ex-posure. It will play a pivotal role in giving prominence to photogra-phy as a valuable language of ex-pression and cultural resource pro-moting the sharing of individual and group stories of our world and the networking between these diverse experiences, understand-ings and expressions. The intention to create the interflow of cultural interest is a view to enter the al-ready huge shift towards dynamic cultural tourism flowing between the online and physical entry of attracted and interested parties to our local worlds.

Contact sacentrphoto@iafri-ca.com or visit www.photocentre.org.za to download the applica-tion forms, theme and participa-tion guidelines.

Slim Creates An Undercover Bar For Guinness GhanaEGG Film’s Slim directed the first ever advert for Armstrong, a new spirit beer from Guinness Ghana. The seminar is a fantastic oppor-tunity for agencies and market-ers to hear about the latest trends in brand communication from international leaders.

Conceptualised by Saatchi & Saatchi Cape Town creative director Gavin Whitfield and art director Yvonne Hall, the spot re-volves around an undercover bar that converts into a business when the men’s wives come to check in on them.

“Since the ad started flighting, people keep calling to ask who handled the post,” laughs Egg Films’ executive producer Nicci Cox. “But we did the whole thing in camera. Everything you see move is operated by hand.”

Nicci and Slim flew into Accra to cast the leads and research Ghanaian bars, office spaces, co-lours and textures, before shooting the commercial in an empty shop in Jeppestown, Johannesburg.

“The idea was all there,” says Slim. “So it was just a matter of ex-ecuting it African-style, keeping it simple and not too high-tech. “

Art director Keenan McAdam and set builders Marcia and Rapha-el from Marcia’s Studio spent four weeks building the revolving sets.

“We spent a full day rehears-ing, with all the sets working, so we could choreograph each shot,” says Slim. “During the actual shoot, we could have got it in one take – everything worked immaculately.”

The ad’s shot by Willie Nel, edited by Saki Bergh at Left, and scored by Markus Wormstorm.

“The shoot was a jol,” says Slim. “Everything ran really smoothly, apart from the craft guy who disappeared into the strip club across the road never to be seen again.” True story.

Amour Setter Undercover Bar

The Cal lsheet | 19

20 | The Cal lsheet

JOBS & OPPORTUNITIESIDFA Call for EntriesTHE 25th International Documen-tary Film Festival Amsterdam calls for entries of fi lms completed after 1 April 2012. Programme sections include: Feature length docu-mentary, Mid-length documen-tary, student documentary, Dutch documentary, Green Screen Doc-umentary, Music Documentary, Panorama, Paradocs, Kids & Docs and others. IDFA must receive two DVDs and a completed IDFA entry form before 1 August 2012. To fi nd out more view the rules and regu-lations on the IDFA 2012 Website at www.idfa.nl

Due to an increase inadminis-trative costs IDFA has introduced a non refundable entry fee which the organisers say will cover the processing and viewing of the fi lm that is submitted.

Call for entries for the 2012 PRO-DUIRE AU SUD NANTESTHE call for entries for the next NANTES PRODUIRE AU SUD Work-shop is now open. The workshop will take place from the 19-25 No-vember 2012 in Nantes, France within the framework of the Festi-val of the 3 Continents.

PRODUIRE AU SUD is a work-shop focusing on the outline and structure of fi lm co-production within the industry.

The workshop aims to familiar-ise young producers based in the south: Asia, Africa, Latin Amer-ica with a variety of important tools. Call for entries is open until the 3rd of August 2012. For more information email: guillaume.mainguet@3continents.com

Entries for Jozi Film Festival openTHE Jozi Film Festival (JFF) is a new

annual fi lm festival that will show-case the latest fi lms made by Jozi and Gauteng fi lmmakers and/or fi lms made in Jozi or Gauteng. The festival’s mission is to create a plat-form for Jozi’s growing fi lm com-munity to screen their fi lms, while simultaneously making the fi lms accessible to all members of the community by keeping admission tickets reasonably priced. Films accepted include features - fi c-tion and documentary; short - fi c-tion and documentary; animation; mobile phone fi lms and student fi lms. Closing date for entries is 16 November 2012. To fi nd out more visit the Jozi Film Festival website : http://www.jozifi lmfestival.co.za/

Focus Features Africa First Call for entriesFOCUS Features’ Africa First Pro-gram will accept entries until 20

August 2012. The uniquely con-ceived initiative, with funds ear-marked exclusively for emerging fi lmmakers of African national-ity and residence, is for the fi fth consecutive year offering eligible and participating fi lmmakers the chance to be awarded $10,000 in fi nancing for pre-production, pro-duction, and/or post-production on their narrative short fi lm made in continental Africa and tapping into the resources of the fi lm in-dustry there. To apply visit: www.focusfeatures.com/africafi rst

Aluta Film Festival Call for EntriesTHE Aluta Film Festival is South Afri-ca’s premier African and diaspora cinema event. Submissions must be from fi lmmakers who have pro-duced fi lms that embrace black experiences worldwide and/or experiences of marginalised com-

UPCOMING RELEASESTroye Sivan with the cast of Spud at the Cape Town premiereJULY

Lucky20 July

cinemas

East End Film Festival3-8 July, 2012London, UK

Jerusalem Film Festival5-14 July, 2012

Jerusalem, Israel

Zanzibar International Film Festival

7 - 15 July 2012Zanzibar, Tanzania

National Arts Festival28 June - 08 July, 2012

Grahamstown, Eastern Cape, South Africa

The Galway Film Fleadh10-15 July, 2012Galway, Ireland

Anima Mundia Animation Festival13-22 July, 2012

Rio de Janeiro, Brazil

Durban International Film Festival19-29 July, 2012

Durban, Kwa-Zulu Natal, South Africa

Durban Film Mart20 - 23 July, 2012

Durban, Kwa-Zulu Natal, South Africa

For more, visit www.thecallsheet.co.za/diarise

DIARISE

Copposites

• PUBLISHER: Film & Event Media

• PHYSICAL ADDRESS: 57 2nd Ave, Har� eld Village, Claremont, Cape Town

• PHONE: +27 21 674 0646

• PRINTER: CTP

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• EDITOR: Kate Hodges (kate@thecallsheet.co.za)

• COPY EDITOR: Sally Fink (sally@� lmeventmedia.co.za)

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• HEAD OF PRODUCTION: Nadia Samsodien (nadia@� lmeventmedia.co.za)

• ONLINE CO-ORDINATOR: Fin Manjoo (manjoo@� lmeventmedia.co.za)

WWW.THECALLSHEET.CO.ZA

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

JULY ISSUE 2012Booking deadline: 29 June 2012Material deadline: 02 July 2012

Print deadline: 06 July 2012

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The Cal lsheet | 21

munities from across the globe. The emphasis of submissions must be on world cinema - fi lms that explore history, social issues and highlight marginalised communi-ties within the developing world. The festival accepts features, documentaries and short fi lms in the genres/sub-genres of drama, action, thriller, comedy, animation and factual. Filmmakers must also guarantee that, should their fi lm/video be selected, that permission from the rights holder is secured for a minimum of four screenings at the festival.

The deadline for entries is Friday 31 August 2012. The ninth edition of the festival takes place from 24 - 27 October 2012 in Kimberley, South Africa. For additional information contact the festival director at motheoseleke@yahoo.com or at motheoseleke@gmail.com.

16th LA Shorts Fest call for submissionsLA Shorts Fest is Academy of Mo-tion Picture Arts & Sciences ac-credited. We are the only fi lm festival with SIX award categories recognized by the Academy. In the past, 41 fi lms have received Oscar nominations with 12 win-ning the coveted Oscar statue. The Festival annually attracts more than 7,000 moviegoers, fi lmmakers and entertainment professionals looking for the hot-test new talent. You can submit online at www.LAshortsFest.com

Hasselblad//Masters 2014 Call For EntriesPHOTOGRAPHERS are invited to submit their images to be con-sidered for the prestigious Mas-ters Awards. The title of Master is awarded to one photographer in

each of 12 categories in recogni-tion of his or her contribution to the art of photography.

Judging is based on photo-graphic ability in the areas of creativity, composition, concep-tual strength and technical skill. “We’ve made some adjustments to the 2014 Masters Awards com-petition, which will allow more photographers to participate,” said Paul Waterworth, Hasselblad Global Photographer Relations Manager. “Since many photog-raphers are using both medium format and 35mm-type DSLRs, im-age entries may be captured with either format – as well as fi lm.” Ex-plained Waterworth, adding that DSLRs must have a minimum reso-lution of 16 megapixels.

Other modifi cations include the addition of an underwater cat-egory for images captured using a

professional housing and the transi-tion of the Up & Coming category to Project//21. The latter is open to amateurs, students, assistants and young professionals who are 21 years old or younger. Finalists will be announced in 2013, with winners revealed in January 2014. Masters Awards winners will be pro-vided with Hasselblad equipment to work on their projects for the Masters Book Volume 4. The Mas-ters Book will be launched at pho-tokina 2014 in Cologne, Germany.

Submissions are being accept-ed from now until 31 August 2012. To submit your images, visit www.www.hasselblad.com/member/masters/masters-registration

AUGUSTCopposites

3 Augustcinemas

Zama Zama24 Augustcinemas

Out in Africa 2012 part 227 July - 5 August 2012

Cape Town and Johannesburg, South Africa

Festival del Film Locarno1 - 11 August 2012

Locarno, Switzerland

Melbourne International Film Festival

2 - 19 August 2012Melbourne, Australia

Hiroshima International Animation Festival

23 -27 August 2012Hiroshima, Japan

Montreal World Film Festival23 August - 3 September 2012Montreal, Quebec, Canada

Edinburgh International Television Festival

24 - 26 August 2012 Edinburgh, Scotland

Venice Film Festival29 August - 8 September 2012

Venice, Italy

For more, visit www.thecallsheet.co.za/diarise

Compiled by Kate Hodges

DIARISE

SAFTAs red carpet

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22 | The Cal lsheet

WRAP PARTY AT VICTORIA JUNCTION HOTELINDUSTRY EVENTSThe May Film & Event Media net-working function at the Protea Ho-tel Victoria Junction Hotel was a well-attended affair.

Guests were treated to a delicious German themed spread and a variety of beers for tast-

ing. Food included sausages, a bo-erewors station, a bread station, a bratwurst station, a French Cassou-let station and delicious desserts.

Networkers were entertained by the dulcet voiced Helene Henn, who provided live back-ground music singing new and old pop favourites all evening.

We would like to thank our sponsors Visual Impact for help-ing make this such a memora-ble event. Congratulations to Visual Impact who announced on the night that they are now THX certifi ed - an international monitoring standard.

Thanks also to Pieter Buitend-ag and the Protea Hotel Victo-ria Junction Hotel for hosting us. The hotel, which is centrally lo-cated in Green Point, has a long-standing relationship with the fi lm industry.

Guests won prizes throughout the evening, including: two week-end accommodation vouchers in a loft apartment as well as a men’s DKNY fragrance. Bruce from Afri-can Story Wine Tours also provid-ed a lovely prize of a wine tour for two people, including lunch and wine tastings.

The crowd was addressed by Film and Event media editor Kate Hodges, Stefan Nel from Visual Im-pact and fi nally by Protea Hotel Victoria Junction general manager Pieter.

Film and Event Media’s next monthly wrap party will take place at The Bay Hotel in Camps Bay, Cape Town on Thursday June 28.

To see the full gallery of photos from this event visit our Facebook fan page. To view a video of the event visit: www.thecallsheet.co.za

Razia Rawoot and Mehboob Bawa

Jon Jon San Juan Janine Jackson-Smith and Charlie Alves

Andrew Germishuys, Martez Saporta-Rothuysen and Gary Hirson

Liezel Vermeulen and Derika van Zyl

Helene Henn Vicki Bawcombe and Tess Fairweather

Liza Nieuwoudt and Tarryn PypersSabine Palfi and Claire Verstaete

The team from Visual Impact

Ayla Belford and Ann Meyer

Derek Antonio Serra and Juanita De Bruyn

Clint Tessendorf and Fiona Hemphill

Roger King and Jacquiline Uys

Hilton Smith and Steven Dominic and Jeanne Neilson

Louise van Hoff, Nana Lomingo Nasson and Nicky Diamond

Craig Parker, Wilna van Schalkwyk and Jacques BockRichard Vossgatter and Nic Paton

Marius van Straaten, Stefan Nel and Graham Austin

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