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Carly Barnes

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Wildscreen Film Festival call for entries

From 19 to 24 October, the Wildscreen Festival, an international and prestigious wildlife and environmental film festival, takes place in Bristol in the UK. The festival is seeking film submissions to compete at the Panda Awards, an event culminating the festival which rewards excellence in wildlife and environmental filmmaking. The deadline for entries is 18 April.

The festival includes lectures, debates, film screenings, workshops and master classes and serves as an international marketplace for films and new talent within the wildlife genre.

The Wildscreen Panda Awards, also known as the Green Oscars, is a feature of the festival which celebrates the best in natural history filmmaking. There are 22 award categories which range from animal behaviour and campaigning to editing, musical composition and scriptwriting. The 2014 edition of the festival will feature two new categories, namely the Youth Award and Against All Odds.

In order to enter, filmmakers will need to:
– Read the Panda Award rules and review the list of award categories to make sure their film is eligible.
– Register for a PicturePipe account before completing the online submission form.
– Pay for their submission via PayPal (A PayPal account is not required to do so).
– Upload their film to the PicturePipe video upload facility using specs outlined in the conversion manual.
– Alternatively, ship either a video file on a memory stick or two DVD (PAL) copies to the Wildscreen office.
– Entrants for the Against All Odds Award, Newcomer Award and Series Award are required to submit extra information in addition to completing the submission form. This should be sent directly to the Wildscreen Festival office at events@wildscreen.org.uk.
– Entrants will be charged per category entered, per submission.

For more information visit the Wildscreen Festival website.

For further enquiries email Izzy Edwards at events@wildscreen.org.uk

Digital transformation webinar for broadcast, film, and TV professionals

On 24 April at 13h00 TV Technology, a film and production industry publication, and Ciena, an Ethernet solutions provider, will host a free webinar called “Accelerating Digital Transformation with Packet-Based Networks’. The online conference is geared at professionals in the broadcast, film, and TV production industry and will focus on transitioning previous workflows into today’s digital world.

One of the benefits which has emerged in the digital era is the ability to transfer files over IT networks, however to avoid overwhelming legacy networks with bandwidth-intensive streams and file-based workflows there are a number of next-generation Ethernet and IP/MPLS solutions to assist the media and entertainment industry.

Jim Gerrity, the Director of Global Industry Marketing at Ciena, as well as John Hawkins, Senior Advisor of Technical Marketing for Carrier Ethernet at Ciena will speak at the conference while Tom Butts, Editor-in-Chief of TV Technology will moderate the discussion.

With 25 years of experience in international and US sales, business development and marketing of storage and data communications networks Gerrity has a wealth of knowledge on the enterprise storage networking industry to offer.

In his current role, Hawkins works on Ciena’s Packet Networking portfolio, developing and executing go-to-market strategies. As his daily responsibilities include consulting with customers, industry analysts, standards organisations and partners, he is able to offer an informed perspective on the value proposition of Ciena solutions.

Visit the registration page to sign up for the session.

Bojanala Film Week supported by the NFVF

The annual Bojanala Film Week, which takes place from 17 to 21 March in Rustenburg in the North West Province, is an initiative focused on promoting and creating film activity among youth who are out of school and living in the Bojanala District.

In support of this project, the National Film and Video Foundation (NFVF) will be hosting a number of industry relevant workshops conducted by filmmaking professionals including producer and director Bonginhlanhla Ncube(The Trip Out); Producer Isaac Mogajane (Blitz Patrollie); Clive Fisher, General Manager of acquisitions and scheduling at Ster-Kinekor; and Mojalefa Khosa from the Companies and Intellectual Property Commission.

In addition to this, the NFVF will host a research forum not only to measure the impact which the event has had on the youth of Bojanala but to help identify areas which may be improved for future film weeks.

For the first time, the Bojanala Film Week will open with a short film produced by previous participants and will host outreach programmes exposing the youth in the region to free movie screenings.

Aifheli Makhwanya, Head of Policy and Research as well as Acting Head of Marketing and Communications at the NFVF said: “Part of our mandate is to ensure that film activity is spread across in all corners of the country and initiatives like the Bojanala Film Week help us to fulfil that mandate.

“The fact that this year we will open the film week with a project that is produced by the previous participants is a signal that this whole exercise is starting to pay off. We once again invite the young people of Bojanala to come and take part in the workshops and empower themselves with necessary knowledge that will help them to advance in the industry.”

Workshops take place at 09h00 each day until 20 March at the Rustenburg Recreation Centre in Protea Park.

For more information about the film week or NFVF’s participation and workshops, contact Naomi Mokhele via email at naomim@nfvf.co.za.

South Africa excluded from Google Play Movies & TV app

Google Play Movies & TV is an app which allows users to purchase or rent movies and TV shows on Google Play after which they are able to watch them on an Android phone or tablet. Originally only available to limited regions, with the selection of content varying from country to county depending on national copyright laws, Google has recently implemented an update which expands the viewership canvass.

The additional 40 regions include a number of African countries; however it seems that the service is not currently available in South Africa.

Countries which have been given video support through the Play Store are Antigua and Barbuda, Aruba, Australia, Belize, Benin, Bolivia, Botswana, Brazil, Burkina Faso, Cambodia, Canada, Cape Verde, Chile, Colombia, Costa Rica, Denmark, Dominican Republic, Ecuador, El Salvador, Finland, Fiji, France, Gabon, Germany, Guatemala, Haiti, Honduras, Hong Kong, India, Italy, Ivory Coast, Jamaica, Japan, Korea, Luxembourg, Mali, Mauritius, Mexico, Namibia, Netherlands, Nepal, New Zealand, Nicaragua, Niger, Norway, Panama, Papua New Guinea, Paraguay, Peru, Portugal, Rwanda, Russia, Senegal, Spain, Sri Lanka, Sweden, Tanzania, Togo, Trinidad and Tobago, United Kingdom, United States, Uruguay, Venezuela, Zambia and Zimbabwe.

Visit Google Play Movies & TV for more information.

John Cooney unravels the evolution of advertising

Media, technology, the economy and human behaviour are just some of the mitigating factors that have shaped the course of the advertising and communications industries since their inception.

John Cooney, advertising industry heavyweight and Chairman of the Red & Yellow school, shares his perspective on how the advertising landscape has progressed over the past six decades.

From mad men to measured creativity

The advertising industry has evolved at a rapid clip over the past 60 years, sprinting to keep up with an acceleration in social and technology change in the second half of the 20th century. The industry has gone through no less than four fundamental shifts during that time – with many additional subtle changes and evolutions in between.

Let’s use the post-World War II boom as the first marker for our discussion.
It was then that the consumer market was truly born, thanks to the combination of new technologies, a baby boom, the influence of the mass media, and a massive injection of money into the world economy. Think of the TV series Mad Men, and you’ll have some idea of those riotous times.

It was an era of cars with big fins and chrome finishes, cigarette smoke and whisky, and the birth of television. David Ogilvy’s 1963 book Confessions of an Advertising Man was the Bible for anyone in advertising in that time, and it still contains many words of wisdom for anyone working in the industry today. (Not least of them: ‘The consumer isn’t a moron. She is your wife.’) Yet the world started to move in by the 1970s, when the focus moved from brand speak to conversation with consumers. Amidst the disillusionment as the Vietnam War and the Summer of Love ended, consumers started to look for more than branding in their products and services they bought.

They also wanted an emotional connection, brands that connected with the heart. And that hunger for warmth and authenticity is as strong as ever today, though the world has continued to move on. By the late 1990s, we started to see talk of the death of advertising.

Public relations was cutting advertising out of the picture as companies moved towards a softer sell, or least, so we were told. No longer would advertising and marketing be about awards and big ideas and windy bluster – it would be about radiating brand awareness as gently as the sun gives off the beams that tan a sunbather.

There was, of course, a lot of truth to that argument. Brand advertising did indeed give way to brand communication, with a more holistic focus on using PR, advertising, direct marketing, and other tools to reach the consumer with the right message. Maintaining brand awareness also started to get its due attention in advertising strategies.

We’re now in the fourth, and potentially biggest, shift in the advertising industry landscape. Here, we’re seeing a shift from mass media to personalised media on a mass scale, thanks to the Web and social media.

We’re also seeing new ways of modelling consumer behaviour come to the fore, informed by neuroscience and behavioural economics. Suddenly, there is a feedback loop between the consumer and the brand, one that gives advertisers analytical information they can use to keep improving the ways they talk to consumers.
It’s a massive shift that demands brands have real dialogues with their customers rather than talking at them. It also means that professionals working in advertising and marketing need to be able to customise and personalise their messages to their customers.

The pace of evolution shows no sign of slowing down. Indeed, the rate of change has accelerated between each shift. If you’re going to work in advertising, you need to be adaptable and innovative in the face of constant disruption.

Yet despite all the new tools we have at our disposal and the rich data we can access, some principals remain constant. Creativity has always been important in talking to the customer in a manner he or she can relate to, and that is not likely to change any time soon.

Communication has always been about saying the right things to the right people at the right time – it’s just that we know have data to inform our decisions about how we shape our messages for different market segments, more choice in the channels we can use, and a quicker way to get customer feedback on the things we say.

Online portal created for the African animation community

CGAfrica is a new website catering to the computer graphics community in Africa. Ostudiolabs, a Lagos- and London-based full-service animation company founded the platform in an initiative to service and inform the architecture, animation, gaming and movie industries in both Africa and abroad.

The online community portal allows users to showcase their renders and videos, broadcast industry news, keep up to date with advancing trends in technology and network with other members.

Users can register on the site for free and will be able to market themselves through their own profile page where they can list their skills, work experience and upload a copy of their CV.

For companies and individuals seeking direct access to industry materials and resources, the training and store sections are designed specifically for this purpose.

For more information visit the CGAfrica website and the Ostudiolabs website.

Cape Town World Capital of Design recognises top Cape Town tech start-ups

The World Design Capital, a city promotion project which highlights the accomplishments of cities that are applying design as a tool to improve social, cultural and economic aspects, awarded Cape Town its World Capital of Design title after the city won a bid for 2014. The project highlights hundreds of relevant outstanding projects, start-ups and events in and around the city.

As part of this initiative, a number of tech start-ups have come into the spotlight.

Dirty Collective
An online store which promotes local clothing brands, artists and designers and sells their merchandise both in South Africa and abroad.

Cape Town Cycle Map
A website and app which promotes cycling by creating awareness on popular, recommended routes.

Connected Space
A site which shows free Wi-Fi hotspots across South Africa.

AidBrella
A website outlining the local NGOs in the greater Cape Town area.

Shopstar
An online portal which allows anyone to easily create and manage their own online shop.

Aweza
A crowd-sourced language translator app.

Doc2doc
A smartphone platform aimed at improving communication between doctors and patients.

Ikamva Youth
A platform which provides young people with tools for web-making and digital storytelling in the current mobile driven era.

AgriSuite Mobile
A mobile app which provides a range of agricultural information for farmers.

Agora Projects
Providers of free Wi-Fi connectivity areas, aimed at underserved populations, which allows them access the internet for educational purposes.

Kaya Labs
An organization which uses technology to provide education and give communities access to information, by partnering with other organizations.

Bookly
An e-reading app for instant messaging service Mxit which gives people access to more than 450 free books.

Given Gain
An African WordPress plugin for online activism.

Merchants on Long
An online store offering products from the best of Long Street’s traditional merchants.

Openinspiration
A website which aims to link consumers to a product or brands by creating an interactive platform for feedback.

MzansiStore
An e-Marketplace which helps small-scale handcraft producers grow sustainable businesses.

Visit the Cape Town World Capital of Design 2014 website for information on the initiative.

2014 CaribbeanTales International Film Festival call for entries

The ninth Annual CaribbeanTales (CT) International Film Festival runs from July until mid-September 2014, with screenings taking place at various venues in Toronto, Canada including the Canadian National Exhibition, the Scotiabank Carnival, and The Royal Cinema. Not only does the event seek to celebrate a wide variety of films from the Caribbean Diaspora, it also hosts valuable interactive workshops, screenings and networking sessions.

The festival is now open for submissions from filmmakers from Caribbean backgrounds and / or which celebrate and explore Caribbean culture, life, society and themes, with a deadline of 1 May 2014.

Submission Guidelines

• All lengths and genres will be accepted.
• There is no entry fee.
• Submissions should include a link to online preview of the film, for example through a password-protected Vimeo link.
• Email and previews should include the following information: director’s name, film title, length, country, contact info, genre and year of completion, as well as a 150-word synopsis.
• Incomplete submissions will not be accepted.
• Films in foreign languages must be subtitled in English.
• Participants must pay print shipping costs to Toronto. The festival will pay the cost of shipping exhibition prints back to the participants.
• Please do not send preview or screening copies by courier, as these may incur customs and duties charges. CT will not cover these charges, and will refuse the package.
• All preview tapes will be added to CT’s archives for consideration to its year-round international programming, unless filmmakers indicate in writing that they do not wish it so.

Submissions must be sent via email to the Programming Director, CaribbeanTales International Film Festival at caribbeantales@gmail.com.

Visit the CaribbeanTales website for more information.

Volicon provides solutions for monitoring IP-based content delivery at NAB

Volicon, a leading provider of enterprise media intelligence solutions serving the needs of broadcasters, networks, cable operators, and governments, will reveal new applications within the company’s Observer® Media Intelligence Platform (MIP) ™, an enterprise-wide solution which records a station’s media from ingest to playout, as well as multiple on-air broadcasts at the 2014 NAB show in Las Vegas from 7 to 10 April.

The launch of OTT services, which include internet-based video on demand services like YouTube, Netflix, Amazon, Lovefilm, BBC iPlayer, Hulu and myTV, can be accessed through a number of portals and devices on which audiences consume content. The vast range of viewing platforms can make it difficult for operations of any size to monitor the quality and value of the viewer’s experience.

Though the industry still faces economic challenges, broadcasters are implementing simple and cost effective ways of monitoring OTT services by extending their existing models to include these mediums. Broadcasters who are equipped to monitor both quality and compliance of their content are able to capitalise on the many benefits of IP-based content delivery.

Linear broadcasts have typically required monitoring of a single output while internet-delivered content requires the evaluation of multiple outputs, which may be distributed in a number of different versions. Attempting to monitor every version of content on all available outputs all of the time is an unrealistic and near impossible process, which has led to broadcasters implementing a selective monitoring process which examines: ingest, encode, packaging, delivery and the signal received by the viewer.

A broadcaster is able to get a good sense of any given file’s integrity by examining bit rates, syntax, reference timestamps and alignment of each of the files. Instead of placing focus on the video, the emphasis is reshifted to the video’s data. Not only is this process able to be automated and accelerated across a large number of files, but the broadcaster can also confirm correct packaging of files for the appropriate content delivery network.

Another way for the broadcaster to assess service quality being experienced by the majority of its customers is by sampling a variety of the most popular outputs.

Visit the Volicon website for more information.

Visit the Volicon stand at the NAB 2014 at Booth SU7121.

Study reveals that mobile is a crucial tool for moviegoers

The Interactive Advertising Bureau’s (IAB) mobile centre inMobi in the US and Asian mobile research company Decision Fuel have conducted a study that shows the value of mobile platforms in a moviegoer’s cinema experience.

When it comes to sourcing information on movies and entertainment, 56% of moviegoers cited that mobile phones were their device of choice before computers and print media. A staggering 87% stated that they also used mobile platforms to find out more about a film after seeing or hearing it advertised on other media.

The preferable method of purchasing tickets remains to be in-person box office purchases at 35% while movie tickets purchased on PCs are slightly higher at 34% than those bought using mobile phones at 30%.

Joe Laszlo of IABlog wrote: “Mobile moviegoers use their phones at all stages throughout the movie trip process – during pre-show activities such as planning and purchasing, at the theatre to “check-in,’ and after the show to plan other events.

“All of these stages in the movie path-to-purchase are opportunities to reach these people and influence what they go see, incentivise them to spread the word, and encourage their next trip to the theater.’

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