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Carly Barnes

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TV Connect Awards winners announced

TV Connect, a connected entertainment event, has announced the winners of the 2015 TV Connect Awards. The award ceremony was held at the Gherkin in Central London, and celebrated the industry’s continued efforts to innovate and transform 4K, cloud TV, multiscreen, OTT, TV Everywhere, VoD and more.

Winners included market leading players and the best new emerging talent in the connected TV industry. The awards aim to reward new solutions and technologies that provide more immersive TV experiences for consumers, generate new monetisation opportunities and improve delivery to new devices.

Joanna Jones, events director at Informa Telecoms and Media, commented, “On behalf of Informa and the judging panel, I would like to extend our warmest congratulations to the winners and all those who were nominated in the 11 categories. The breadth and depth of the entries received proves that great leaps continue to happen in the industry, transforming how video is created, consumed and interacted with. As video continues to transcend the traditional “living room’ viewing model, it is inspiring to watch companies accelerate this process and create exciting, immersive and targeted experiences for consumers in every location and on every device.’

The 2015 TV Connect Award Winners are:
Best TV Experience Enhancement: iFeelSmart with Andromeda
Best Multiscreen TV Service: Swisscom AG with Swisscom TV 2.0
Best Multiscreen TV Solution: Huawei Technologies LLC with Huawei VideoEverywhere Solution
Best Network Technology for IP TV & OTT TV: Harmonic with IP Video to All Screens Solution
Best Service Delivery Platform for IP TV & OTT TV: SeaChange International with SeaChange Rave
Best TV App: Screenz with Screenz Real Time Platform – for Rising Star
Best TV Consumer Device: AirTies with Air4920
Best TV Everywhere Service: Virgin Media with Virgin TV Anywhere
Best Cloud or CDN Service Delivery: Akamai Technologies with Akamai Adaptive Media Delivery service
Best Live Online TV Service or Solution: SKY Deutschland AG with Sky Online
Best Component or Enabler: Marvell Technology Group Ltd with ARMADA 1500 PRO 4K

TCFF call for SA entries

In 2015 the Tri Continental Human Rights Film Festival, which runs in September, is changing the way they do things. They are running a travelling film festival that will visit five cities – Johannesburg, Cape Town, Durban, Grahamstown and Mbombela. The festival will run for four days in each city, across several venues.

TCFF are currently looking for social impact documentaries by South African filmmakers. They are expecting a vibrant festival where diverse audiences are engaged through debates and panel discussions around the story and the filmmaking.
Where possible, TCFF want filmmakers to lead these discussions and to share the research, passion and understanding they have of the story they have told with festival audiences.

Deadline for entry is 15 June 2015.

To submit and for more information about the festival in 2015, visit the TCFF website.

New Avengers-themed Samsung ad is fully CG

Method Studios recently completed work on a spot for Samsung that ties into the release of the new Marvel Avengers: Age of Ultron film. The 60 second cinema spot shows the similarities between the new Galaxy S6 and S6 Edge phones and the Avengers’ familiar weapons. Like Iron Man, Captain America, Thor and The Hulk, the new Galaxy models are shiny, metallic, sophisticated and even green.

The spot is fully CG (aside from some live action footage shown on the phone screens), and was delivered in 4K. 72andSunny conceived the Beauty and Might spot, which was also cut in a 30 second version.

Method received weapon assets from Marvel and CAD models of the phones from Samsung. The phone models needed to be re-worked for Method’s VFX pipeline and to achieve enough detail to withstand the spot’s extreme close ups.
The Method team – led by VFX supervisor Olivier Dumont, compositing supervisor Patrick Ferguson, and CG supervisor Erik Gamache – animated several iterations of both weapons and phones in order to find the right angles and movements for smooth transitions.

Method spent four weeks on the project focusing heavily on lighting and textures. The studio used Maya for modelling, Mari for textures, Nuke for compositing, V-Ray for rendering, and Flame for finishing. Method also added some atmospheric elements to give the weapons and phones more depth against the black background.
In addition to the 4K master, Method delivered the final spot in a wide variety of codecs and formats for audiences worldwide. Alain Gourrier served as editor on the project.

Associations oppose Online Content Regulation Policy draft

An alliance of civil society and industry associations has issued a firm call for the Film and Publications Board (“the Board’) to withdraw its draft Online Content Regulation Policy, which was released for public comment on 4 March 2015. According to a press release issued by the group, the call for the withdrawal is based on the “unconstitutional, unlawful and unworkable nature of the draft, as well as the fact that it ignores several related Government processes.’

Sekoetlane Phamodi, coordinator at the SOS: Support Public Broadcasting Coalition explained, “We all accept the need to address the ease with which children are able to access pornography and other inappropriate content on the internet as well as the extension of current offline classification undertaken by the Board into the online environment. This is a critical debate already taking place within the South African Law Reform Commission and the ICT Policy Review Process.

“We do not, however, accept the appropriateness of this document as a starting point for this debate as it is premature and indicates a lack of understanding of the manner in which content is distributed online. The failure to define key terms or to provide workable definitions for others creates confusion in interpreting the scope of application of the document, but it appears that the Board wishes, effectively, to classify the internet.’

The allied organisations have called on the Board to withdraw the draft policy pending the finalisation of the SALRC process and future debate around the amendment or replacement of the Films and Publications Act.

The deadline for submissions on the draft policy is 8 July 2015.

For further information, please contact:
Sekoetlane Phamodi, coordinator at the SOS: Support Public Broadcasting Coalition: 076 084 8077
Emilar Vushe, African policy project coordinator for the Association for Progressive Communications: 073 094 5690
Zororo Mavindidze, Researcher for the Freedom of Expression Institute: 073 554 8310

French Toast well received at SA box office

French Toast, a film directed by Paul Kruger, released in South Africa on 24 April and earned over R660,000 at the local box office in its opening weekend.

The film was shot in France and South Africa and stars Lika Berning, Theirry Ballarin, Deon Lotz and Helene Lombard.

French Toast tells the story of photographer Lise le Roux (Berning), who lives with her father on a wine farm near Stellenbosch. Her mother, who has passed away, left a secret French toast family recipe which Lise stumbles upon in her mother’s old diary. To her astonishment she also finds out that she has a sibling somewhere in France. Despite the fact that Theo, her father’s right hand winemaker, is about to propose, Lise decides to travel to Paris in order to find her lost brother or sister.

Produced by Hartiwood Films and distributed by Times Media Films, French Toast is now showing at cinemas around South Africa.

SABC head reportedly hides state of broadcaster’s finances

A report in the Sunday Times alleges that SABC COO Hlaudi Motsoeneng has concealed a number of financial problems at the SABC from Parliament, including a R500 million loss experienced by the public broadcaster.

On Thursday 23 April, the Western Cape High Court ruled that Motsoeneng be suspended for 60 days pending a disciplinary inquiry as was recommended by public protector Thuli Madonsela in 2014. The Democratic Alliance (DA) applied to have Motsoeneng suspended after the SABC board failed to take the necessary corrective actions which Madonsela had proposed. “The board should take disciplinary action against Mr Motsoeneng for his dishonesty relating to the misrepresentation of his qualification, abuse of power and improper conduct in the appointments and salary increments of Ms Sully Motsweni (SABC head of compliance and acting group executive),” Madonsela said, according to a report by Mail and Guardian in February 2014.

The Sunday Times report also reveals the following details taken from the SABC’s income statement, dated 31 March:

• Over the past two years salary costs have increased by more than R500 million
• Over the past year “other income” has decreased by R120 million, due to management errors such as negotiating low building rentals
• In the last year the cost of programming, film and sports rights increased by R500 million
• The SABC spends R1 billion to collect TV licences worth R2 billion, wasting 50% of collection costs

Despite these findings, Motsoeneng last week told Parliament’s portfolio committee on communications, “The SABC, financially, we are sustainable.”

The South African Broadcasting Corporation (SABC) stated that it will be lodging an immediate appeal on the suspension ruling by the Western Cape High Court.

Source: Sunday Times

Calling all the shots

SCREEN AFRICA EXCLUSIVE: Lt. Joe Kenda, a retired homicide detective and the star storyteller in Crime + Investigation (CI) series Homicide Hunter, talks to Screen Africa about what to expect from the show’s new season, becoming an overnight celebrity, and laying down the law – on and off set.

Homicide Hunter has a huge fan-base in South Africa – did you ever expect to become such a celebrity?

Kenda: Absolutely not. I didn’t expect the people next door to be huge fans of the show, let alone anyone in South Africa. It is a shocking thing to me that this has become as popular as it has. We’re currently filming another season with 20 episodes in it.

You seem quite comfortable in front of a camera?

Kenda: Yes. Oh yes. I’m very direct. Some people find that to be disturbing but I’m a very direct person. I’m no different on a camera than I am in person. That’s me. Turn on the camera. There’s no script, I say whatever I want to say about a case.

What is it like to watch yourself on television?

Kenda: It is a very shocking thing to see yourself on television. The first time I did, I was like, “God, that’s me.’ It was shocking. It still kind of is, because I’m not an actor, I’m not an entertainer, I’m a policeman.

In your job as a detective you were the one calling the shots, and now you have a whole production team fussing over you all the time – how has that experience been for you?

Kenda: We came to an understanding between me and all the television types. I said, “Look, here’s how this is going to work. It’s either going to work this way or it’s not going to work at all. You turn the camera on, I talk, I’m done, I leave. You take what I said and you do whatever it is you want with it but you’re not going to tell me what to say and you’re not going to tell me what to do.’ Everyone was a little shocked initially and said, “Well, you have to…’ and I said, “No. I have to die and I have to pay taxes. I don’t have to do anything else. So I’ll tell you what I’ll do.’ – This is the first time I did this – “Turn that camera on and I’ll talk to that camera for 15 minutes and if you don’t like what I say, then we’ll get into a discussion about what you want me to say.’ So I did that and they said, “No, no. That’ll be fine.’ So that’s what I do. They don’t participate in that, really they don’t. They sit there and watch.

So they let you do your thing?

Kenda: I do my thing and I do one episode in the morning and one in the afternoon when I film. I’ll sit and talk about a case for four or five hours and they will edit that no end, of course, to get pieces that they like or pieces that fit in. And how they do it is they do a transcript of what I say and they provide that to the director of the re-enactments and he uses what I say as a guide to write a script for the actors who play the re-enactment parts, so that it all fits together. Because I don’t know what I’m going to say until they turn the camera on.

Do you consider yourself a leader?

Kenda: Oh yes. To many people’s regret, but yes I am a leader. One time, one of my detectives looks at me, and he’s all distressed. He’s a new guy and he says, “I have to go home.’ I said, “Why do you have to go home?’ and he said “I want to see my wife.’ So I told him, “If I thought you needed a wife, I would have issued you one.’ Everyone looks at me like, “Oh what a monster!’ Yes I am a monster, when it comes to this I am. I explained to them, “We’re going to chase the bad guys and have a good time doing it, we’re not ever going to be hungry, we’re not ever going to be tired and we’re not ever going to go home as long as there’s something to do. And if you can’t cut that, tell me now and we’ll end our relationship and you can go do something else and we will keep doing this.’ That was the way it was – and as a result we were very successful because we were dedicated to it. It’s not a job; it has to be a mission.

What would surprise people about you?

Kenda: Well, I’m left-handed which means I’m the only one in my right mind. Now you can be impressed with the fact I’m left-handed because very famous people in history were left-handed, Emperor Charlemagne was left-handed, Alexander the Great was left-handed – before you get too excited you must understand that Jack the Ripper and the Boston Strangler were also left-handed.

What do people have to look forward to in this next season of Homicide Hunter?

Kenda: I think the cases you are going to see this next time around are a little more involved, a little more intriguing, a little more complicated, a little more graphic than they have been in the past. I think it’s incremental but I think it’s noticeable and I think you’ll find them to be more intriguing than you’ve seen before.

The new season of Homicide Hunter premiered on CI (DStv channel 170) on 24 April and continues on Fridays at 21h00.

Controversial documentary receives online threats

Leading up to the Hot Docs Canadian International Documentary Festival, Parvez Sharma and his film A Sinner in Mecca have experienced a number of online threats due to the film’s touchy subject matter: the struggles which Sharma faces as a gay Muslim. The film is due to have its world premiere at the festival in Toronto on Wednesday 29 April and though no threats have been directed towards the festival itself, a security detail has been arranged for the filmmaker as a precautionary measure.

A Sinner in Mecca follows Sharma, who is openly homosexual and deeply religious, on his journey to Mecca where he hopes to find answers to his personal struggles with faith and sexuality. For Muslims, homosexuality is considered a crime and is punishable by death.

“It is a natural instinct as a filmmaker to document the most important journey I would ever take in my life,’ said Sharma, who explained that making the film was a substantial risk. Sharma added that he would not miss the screening and that he was proud of the film.

Watch the trailer for A Sinner in Mecca.

Cinegy solutions applied to Strictly Come Dancing

Cinegy, which develops and produces media asset management products, has announced that its media asset management and active archive solution Cinegy Archive is being used as a central part of BBC Studios and Post-Production’s workflow for Strictly Come Dancing.

All supported tape and tapeless rushes for Strictly Come Dancing are imported and logged in Cinegy, where they are stored at HD resolution for the four-month duration of the show’s run. The assets are also retained for use with the subsequent Strictly Come Dancing Live Tour, which takes place in a variety of UK venues in the month following the televised Grand Final in December.

Cinegy Archive is used to store shows from previous series of Strictly to make them available for browse and import to an edit suite when required. Additionally, BBC Studios and Post Production have investigated making the Cinegy system available via the internet for members of the production team to browse content while away from the office.

John Loughman, post-production supervisor at BBC Studios and Post Production said, “We needed a suitable logging system for the influx of material that’s generated over the course of the show. The Cinergy system enabled all of the material for the series to be stored in HD and readily accessed and managed.’

TV Vision Norge selects PlayBox Technology for broadcast playout

TV Vision Norge has chosen a PlayBox Technology broadcast playout and channel branding system for installation at its headquarters in Drammen, southern Norway. The project was completed in partnership with Scandinavian systems integrator Engstroms AB.

Andreas Eliasson, managing director of Engstroms AB explains, “The system was specified from a standard set of hardware and software modules. All elements of the PlayBox Technology system are field-proven and guaranteed to work effectively with each other. The solution provided for TV Visjon Norge includes an ingest server, a network-attached storage server, a preparation station and RAID-protected AirBox playout servers with integral graphics software.”

“We have been using PlayBox Technology equipment for many years,” says TV Visjon Norge operations manager John Sanjee. “Our creative team find it easy to operate and very versatile. Incoming content is stored as files on a shared central archive. Title graphics and scheduling are all performed within the PlayBox Technology system and then transmitted direct from one of our four AirBox playout servers. Our technical staff appreciate the inherent reliability of PlayBox Technology products and the fast support available if needed. The newly expanded system enables us to introduce high-definition and add more channels. We are keeping our existing software which helps make the whole exercise very cost-efficient. It also reduces the training time needed to get up to speed with the new infrastructure.”

PlayBox Technology business development director Maurice de Jonghe adds, “Our solutions are successfully in use by many of the world’s major broadcasters as well as regional and special-interest television channels. TV Visjon Norge was the first Scandinavian Christian television network to air 24 hours a day. The network’s programmes are very well produced and highly innovative, making full use of the facilities available within the PlayBox Technology digital workflow. We are pleased to see the network moving forward into high definition.”

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