“Business has been pretty consistent for us,’ says Glasshouse editor Angela Whitehouse. “I think our ability to work anywhere has stood us in good stead, as we do as much work in Cape Town as we do at our home base in Johannesburg. We are able to easily and cost effectively work between the two cities.
“Glasshouse also works closely with production companies and agencies which ensures a pretty steady workflow.’
The company is very active in the commercial and corporate sectors but does not believe that South Africa is attracting sufficient international work.
Says Glasshouse producer Cheryl Lessing: “We need to look at our costing and ask ourselves whether we are pricing ourselves out of the market. Everyone knows that South Africa has the skills to deliver quality work but maybe we need to be more cost competitive to lure overseas filmmakers here.’
As budgets decrease boutique facilities obviously become more attractive because the rates are lower. However, are these boutique facilities able to handle the more high-end jobs where the schedules are tight, without the support system and larger teams available at facilities?
“Boutique facilities have already been doing this for a long time,’ comments Lessing, “and they really know their craft. We always feel we are in safe hands working with them and they are also always willing to negotiate. I think there is room in the market for both boutique and larger facilities.’
Glasshouse is a committed user of Apple’s Final Cut Pro (FCP). “However there is a definite move back to Avid,’ says editor Neil Gow. “With the disappointing launch of FCP X, Avid has upped its game in the ever changing high definition (HD) world.’
By Andy Stead
Screen Africa magazine
