Home Authors Posts by Cera-Jane Catton

Cera-Jane Catton

316 POSTS 0 JOBS
Cera-Jane Catton is a writer and journalist with years of experience in community newspapers, blogging and freelance journalism. She has worked in a cache of capacities, often finding herself behind or in front of the cameras, intentionally and less so. She has been a stunt double in two Bollywood movies, has worked in various capacities on a number of natural history documentaries, and other international productions shot in South Africa. Cera is a former Screen Africa journalist.

Spotlight on Zanzibar

Cera-Jane Catton
-
0
Spotlight on Zanzibar

Every year since 1997 the Festival of the Dhow Countries illuminates the heart of Zanzibar. Between 9 and 17 July 2016 Stone Town hummed with the Zanzibar International Film Festival (ZIFF). The colourful and crowded streets between vintage hotels saw more than 60 filmmakers traverse between screenings, art galleries, musical performances and parties among thousands of Zanzibaris and international visitors to the vibrant village.

A full moon graced the closing ceremony, awards evening and numerous after parties that was clearly visible from the quaint and charming Old Fort amphitheatre. This alfresco backdrop hosts the first and final celebrations of the largest East African film festival.

“More than 500 films were entered and 90 were in competition,” says ZIFF acting chairperson Hassan Mitawi. Speaking at the awards evening, he said: “It’s not about the management, I shouldn’t be making a speech. Tonight is about the filmmakers, it is they who have made this film festival possible.” He went on to say that while film is the core of the festival, the arts make up the exterior, and artists from all over the world were there to perform.

The opening night film of ZIFF 2016 was the South African film Kalushi, which won the Bi Kidude Award. Composer Rashid Lanie accepted the award, a fitting tribute to the protagonist and apartheid struggle stalwart Solomon Mhlangu, after whom a school is named in Tanzania. The poignant biopic was embraced and audiences were moved to tears by the graceful portrait. Lanie says that he and director Mandla Dube plan to educate South Africans about their connection to the spice capital, which long served as a hub for “central slave, now cultural trade between many nations from Britain to China, and all these countries were involved in bringing a culture which then extended all the way down to SA, and not many are aware of how much SA culture stems from Zanzibar. We want to make that awareness from our relationship to Zanzibar. Through music (Lanie) and film (Dube) there is much to learn from ZIFF,” he confirms, “The connection goes far beyond a creative one.”

“There was big buzz but a smaller festival because we had less money to spend,” says ZIFF CEO Martin Mhando. He explains that the festival was formed to encourage the culture of watching films. In Tanzania all cinemas had collapsed, so ZIFF became the only time that the community could sit down and watch a film together. “Our job was to revive the culture. That is why we do not charge locals to watch the films,” he adds. This year the major sponsor retracted its support in March, pulling out after five years despite having a ten year contract.

“At the same time another ten-year contract with a sponsor ended. Mhando explains, “The biggest problem with them pulling out was the timing, it was very close to the time the festival was on. Therefore it was very challenging to find sponsorship, but we were able to bring in local sponsors: ZanLink, ComNet and AzamTV for the first time (being the biggest TV station in Tanzania); it is a fitting partnership.”

This is the tenth ZIFF where Mhando has been CEO. Zanzibari born and bred, he has been living in Australia working at Murdoch University but plans to retire in Zanzibar. This will be his final year as CEO, after which, he plans to move on to brighter and bigger things.

Mhando was the first recipient of the ZIFF Golden Dhow for Best Feature Film, and in 2017 he plans to return as he began. “ZIFF launched my filmmaking career and now is the perfect time for me to come back as a filmmaker,” he confirms.

After cleaning up at the awards evening, Watatu director Peter Reding explained that ZIFF is important for Kenyan filmmakers. “It’s the platform where you get your film recognised. He says it was his launchpad, where the success of his previous film Ndoto allowed him to find funding.

“ZIFF opens many doors and it helps filmmakers grow within the industry,” says Leeches director Payal Sethi. “Once you’re noticed at a film festival you can get better funding,” she says. She adds that her “struggle allowed me to tell the story the way I wanted to tell it.” Leeches won the Silver Dhow for Best Film from the Dhow Countries.

ZIFF 2016 awarded some of the best films from across the globe and announced the dates for ZIFF 2017, which will mark the 20th anniversary and be held under the theme Finding Joy, from 8 to 16 July 2017.

While Mhando won’t be back as CEO he will be busy making his homecoming film and trying to raise funds to restore the old cinema. The Majestic, as it was once known, is now an abandoned and derelict cinema, with decrepit seats filling its two-storey theatre. Marvelling at its exterior Mhando hopes that this cinema can be restored to its former glory for next year’s festival. The task of finding a sponsor to rebuild it has not yet begun.

Despite the dilapidation, the cinema is still used by a handful of elder gentlemen, who watch a VHS video there every afternoon. A reflection of the spark that still remains in Zanzibar for its steadily growing film industry.

ZIFF 2016 Awards:

European African Film Festival Awards

  • Zawadi – Richard Card and David Kinyanjui – Kenya
  • Watatu – Nick Reding – Kenya

Emerson’s Foundation for Zanzibar Award

  • Daladala – Salum Stika – Tanzania

Sembene Ousmane Award

  • A Place for Myself – Clementine Dusabejambo – Rwanda
  • Macarrao – Iyabo Kwayana – Brazil
  • Ugali – The Family Dinner – Tony Koros – Kenya

Jury Special Mention

  • The Suit – Jarryd Coetsee – South Africa
  • Zawadi – Richard Card and David Kinyanjui – Kenya

Signis Prize

  • Watatu – Nick Reding – Kenya
  • APlace for Myself – Clementine Dusabejambo – Rwanda

Azam Bongo Movie Awards

  • Best Actress – Godliver Gordian – Aisha
  • Best Cinematographer – Freddy Feruzi – Kariakoo
  • Best Editor – Momose Cheyo – Aisha
  • Best Feature Film – Amil Shivji – Aisha
  • ComNet Bongo Movie Awards
  • Best Actor – Salim Ahmed – Safari ya Gwalu
  • Best Writer – Abubakar H. Guni and Devotha Mayunga – Queen of Masai
  • Best Director – Chande Omar – Aisha
  • Best Film in Sound – Joseph Myinga – Bongo na Flava

ZIFF Awards

  • Golden Dhow – Best Feature – Watatu – Nick Reding – Kenya
  • Silver Dhow – Best Documentary – The Valley of Salt – Salaud Morisset – Switzerland/Egypt
  • Silver Dhow – Best Film from Dhow Countries – Leeches – Payal Sethi – India
  • Golden Dhow – Short Film – A Place for Myself – Clementine Dusabejambo – Rwanda
  • Golden Dhow – Special Jury Prize – Me a Belgian, My Mother a Ghanaian – Adams Mensah – Belgium
  • Bi Kidudu/Chairman’s Award – Kalushi – Mandlakayise Dube – South Africa
  • Best Music Video – Walk it Off – FID Q featuring TAZ

FILM DIRECTORS SPEAK: Michael MacGarry

Cera-Jane Catton
-
0
FILM DIRECTORS SPEAK: Michael MacGarry

Adroit overachiever, Michael MacGarry is an award-winning filmmaker, visual artist and commercials director. He creates sculptures, films, installations and photographs which are designed to question systemic paradigms: sovereign nationality; logics of making and meaning; power relations; notions of value; equity and progress; as well as the relationship between industrial technology and African resources.

He has been researching narratives and histories of socioeconomics, politics, forms and objects within the context of contemporary Africa for more than a decade.

In his filmmaking and photographic work these macro concerns often take the form of micro narratives, personal memory and subtle identity politics in spaces where contemporary life is in a state of invention and flux. He has written and directed seven short films, and has exhibited internationally for more than 10 years at the likes of the Tate Modern, Guggenheim Bilbao and currently at Everard Read Gallery in Johannesburg.

WHAT IS YOUR BACKGROUND AND HOW HAS THIS SHAPED YOU AS A DIRECTOR?

I grew up in Durban where I completed an Honours Degree in Fine Art, I then moved to Dublin, Ireland where I worked as a graphic designer – the plan was to afford tuition fees for a Master’s Degree at Glasgow School of Art. I moved instead to London, continuing to work as a designer, and lived there for a couple of years before moving to Johannesburg to complete a Masters in Fine Art at Wits University.

During my time in Europe I made a series of books and wrote extensive film scripts of future film and visual art projects. This strategy developed into a dogma called ‘All Theory. No Practice.’ whereby I stopped physically making any artworks at all. Instead I published books and online via alltheorynopractice.com. This approach was initially very useful but over time became a serious hindrance to growing as an artist. Consequently, I began making the short films and film ideas I had been writing and thinking about for numerous years. I have so far made 12 of these films, video installations and animations. As these various film projects have grown in audience, production value and scale I have been able to work as a director of TV commercials in the South African film industry, something I have been doing for four years.

DESCRIBE THE MOMENT YOU DECIDED TO BECOME A DIRECTOR?

I can’t recall a singular moment; it has been a steady process from about my mid-teens. I have never been to film school, but have instead obsessed about films in my own way – how you practically make them and what the medium can really create and mean – more or less consistently from about that time in my life onwards.

WHERE DO YOU FIND INSPIRATION?

My work as both a filmmaker and a visual artist is focused on investigating the politics of socio-economics in several African countries right now, as well as projecting into the near future.  As such, I find the work itself to be a driving force, an inspiration of sorts – studying contemporary life in places like Angola and Nigeria, in addition to South Africa, provides an unrelenting torrent of information, ideas and connections that feed into new work.

DO YOU HAVE ANY MENTORS?

Filmmakers Abderrahmane Sissako and Michelangelo Antonioni.

WHO IN THE INDUSTRY WOULD YOU REALLY LIKE TO WORK WITH?

Actor Ntare Mwine.

WHAT ARE YOUR PERSONAL CAREER MILESTONES?

Managing multiple careers and ongoing tertiary studies have, and continue to be, meaningful milestones.

WHICH PROJECTS ARE YOU CURRENTLY INVOLVED IN?

I currently have a solo exhibition titled Between Rot and Genesis at Everard Read Gallery in Johannesburg until 20 August 2016, as well as numerous film festival screenings and museum shows this year in Europe, South America, USA and Israel; I am engaged in a PhD in Philosophy at Wits University; I am completing writing a feature film titled Show No Pain that is an adaptation of a short film I made in Angola in 2014, titled Excuse me, while I disappear. scheduled to shoot in November this year; I am developing a touring exhibition programme with a colleague in Berlin focused on visual art and filmic responses to China’s growing presence in sub-Saharan Africa scheduled for 2017-18; and pitching on TV commercial work with production company Bouffant.

DO YOU PREFER FILMS OR EXHIBITIONS?

In addition to film festivals and programmes, my films are often screened as part of my solo and group exhibitions, so both means of display and making are great.

WHAT HAS BEEN YOUR PROUDEST MOMENT AS A DIRECTOR?

Not so much a single moment, rather being able to make seven short films with total freedom and space to genuinely experiment has been a memorable, collective achievement I guess.

IF YOU COULD PRODUCE AN AFRICAN VERSION OF A HOLLYWOOD CLASSIC, WHAT WOULD IT BE?

The Crowd, 1928.

WHAT OR WHERE IS YOUR HAPPY PLACE?

With my son, Max.

Creating the exceptional: the champagne of Investment Banking

Cera-Jane Catton
-
0
Creating the exceptional: the champagne of Investment Banking

Playing out like a short film, ABSA’s new Investment Banking commercial is the tale of a vigneron creating champagne.

From seed to harvesting to uncorking the bottle, the TVC uses visual and subliminal methodologies to bring out the way in which thought, nature and commerce overcome problems demonstrating how those associated with award-winning wines can equate to those involved in the investment banking profession. It does so by focusing on how insight, understanding and determination are the way to overcome whatever problems one may encounter, and then produce winning results. Augmenting the story told through the visuals is a voiceover consisting of the words of renowned philosopher Allan Watts, used with permission from his son Mark. “We took from actual recordings of many speeches Alan Watts gave in the 50s and 60s and put together a single cohesive message,” says director Sam Coleman of Giant Films.

Crafting the concept for the campaign, Coleman knew that the words and distinctive voice of Watts would lend the required gravitas he and Johannesburg agency, The Jupiter Drawing Room, were searching for. Under the slogan Strive for the Exceptional, Watt’s voice and thoughts direct the message in the commercial to meet the standards of the brand.

Copywriter at Jupiter, Matthew Bouch explains that the brief was to create a TV commercial to position Absa’s Investment management division, and its creative platform: Strive for the Exceptional. “This is an area in which the standard of advertising, conceptually and production wise, is incredibly high. So from the word go we knew we had to tell a story of scale and one rich in narrative,” says Bouch. “The challenge with this was finding a story that also allowed us to touch on the many nuances of investment management: process, determination, teamwork and expertise.”

He says their idea was to tell the story of a champagne farmer and his journey to produce a fine sparkling wine. “This is a craft that embodies the same values as investment management, and through his journey we were able to bring all of these facets to life,” explains Bouch. “Dramatic as our final product is, we worked with actual champagne farmers to ensure that everything is based in fact. The cutting of vines, the grafting of new buds, and even the hail canon, are all actual processes and techniques that are called on to grow the right grapes, and turn them into an exceptional vintage champagne.”

The TVC was filmed in the areas of Muratie, Knorrhoek and Natte Valleij, near Stellenbosch in the Western Cape. “Authenticity was a key word in the treatment, as a result we consulted with various professionals that helped us with the process of champagne making,” says producer Boris Vossgatter of Giant Films. Authenticity was the biggest challenge faced aside from being able to film at harvest time.

“From the start getting the best performer for the job was critical, and locking a date down was important as we needed grapes on the vines prior to harvest. This became a moving target using previous records,” explains Vossgatter. “What el nino did the previous year with a warmer summer, was that it made the grapes ripen faster and thus the harvest was done weeks earlier.”

Filming was done over five days in the first week of February. The TVC was released on 4 June 2016.

The commercial was filmed using an Alexa Mini with a Ronin rig. “This gave us a loose feel to the camera movement,” says Vossgatter. “Jamie Ramsay was instrumental in that.” Ramsay, the DOP, requested the Alexa Mini and says the Ronin works best with smaller cameras.

Clear skies are turned grey by Wicked Pixels who created the storm in which the hail cannon is utilised to disrupt the formation of hailstones as a storm threatens the combined work of man and nature in producing award winning vines. The music accompanying the voiceover was composed by Simon Malherbe of Freqncy.

Throughout the TVC nature is clearly shown to be what it is: unpredictable, sometimes an ally but all too often a foe; while at the same time a good understanding of nature enables one to harness the benefits conferred by it. This analogy is a simple yet powerful way in which to demonstrate the pitfalls involved in the investment banking industry, which is beset with problems and opportunities that can turn around at short notice, just like nature. Attention to detail, cinematography, post and passion combine to convey a portrait of lifelong lessons as we see a man map out the elusive road to the exceptional.

Key crew:

  • Production
  • Director: Sam Coleman
  • Producer: Boris Vossgatter
  • Production Manager: Carnita Ferrara
  • AD: Mike Hoyte
  • DOP: Jamie Ramsay
  • Copywriter: Matthew Bouch
  • Grip: Allan Gray
  • Gaffer: Gilles Boisacq
  • Art director: Darryl Hammer
  • Wardrobe: Laura Meek
  • Make up: Anette Keet
  • Unit: Julia and Riaan Serfontein

Post production:

  • Editor: Kobus Loots
  • Colourist: Nic Apostoli
  • Online: Charmaine Greyling
  • Sound: Simon Malherbe
  • Sound Design: Louis Enslin

Key companies:

  • Agency: Jupiter Drawing Room
  • Production: Giant films
  • Post Production: Upstairs post/ludus
  • Video effects: Wicked Pixels
  • Casting: Traffic studio
  • Sound: Freqncy

PlayBox announces major additions to AirBox Neo

Cera-Jane Catton
-
0

PlayBox Technology announced major additions and refinements to the feature set of its Neo channel-in-a-box playout platform to be showcased at IBC 2016, taking place between 8 and 13 September 2016 in Amsterdam.

“This will be the first time we have exhibited AirBox Neo at IBC,” comments PlayBox Technology president Don Ash. “Used by over 16 500 television and branding channels around the world, AirBox is one of the most successful playout platforms in the entire history of broadcasting.”

The most recent updates to AirBox Neo add compatibility with Microsoft Windows 10 running on the latest certified Intel CPUs including the sixth generation Core I7 and the Xeon Processor E5 v4 Family.

Other new additions include advanced automation, ingest control for CaptureBox Neo, Service Description Table support on streaming outputs, automatic playlist export on playlist changes, extended third-party playlist import plus support for closed-caption data from MXF files.

“We have also extended the capabilities of other products in the Neo product series,” adds PlayBox Technology CEO Pavlin Rahnev. “These include NewTek NDI support for TitleBox Neo, external control from AirBox Neo for CaptureBox Pro Neo, expanded external control capabilities for ProductionAirBox Neo and support for custom metadata from AirBox Neo within Multi Playout Manager Neo.”

Available exclusively from PlayBox Technology and its regional partners, the PlayBox Neo suite is based around the AirBox Neo playout server.

Designed for 24/7 unattended operation, it can also be operated manually – including the ability to handle live-to-air throughput. AirBox Neo supports UHD, HD and SD in single server.

TitleBox Neo provides a wide range of interactive on-air graphics and titling capabilities which can be manipulated live. It includes substantial improvements for dealing with UHD projects as well as supporting HD and SD operation.

CaptureBox Neo allows HD or SD content to be captured from up to four video sources simultaneously. These can be monitored on a single screen and controlled via a streamlined user interface with enhanced multichannel control and operability.

SafeBox Neo replicates remote content to local playout server folders for safe transmission. It implements a new graphic interface plus new significantly faster processing for moving primary or copied content to the playout and central storage servers. A new workflow routine protects content against unauthorised deletion.

Multi Playout Manager (MPM) Neo is a fully assignable monitoring, control and viewing system with user rights management for single or multiple AirBox Neo channels from one or more PCs connected locally or from anywhere in the world via a web browser. MPM Neo is a networked workflow solution created for multi-channel playout centres to monitor and control all channels locally and assign full or restricted user rights for any of the TV channels to one or more people to remotely monitor, control and view the TV channels from PC or Mobile Device.

For more information visit the PlayBox Technology Limited website.

IPO to participate at the first annual US-SA Film and TV Dialogue

Cera-Jane Catton
-
0

In its mission to ensure representation, promotion and protection of the needs of the local producers, the Independent Producers Organisation (IPO) has partnered with Motion Picture Association, International Film Studios, and the National Film and Video Foundation to host the first annual US – SA Film and TV Dialogue. The first ever event to be hosted in South Africa will run over a period of two days, from today 10 until 11 August 2016.

For the two days, the film and television industry professionals will engage on pertinent industry issues through workshops with focus on topics including: South Africa and the global market place, pre-production, production, cinematography, post-production, marketing, distribution, merchandising and animation.

“This is a critical event that would assist us in ensuring that our producers are at the forefront of technology, and that we continue to develop our skills. As storytellers it is important to collaborate with producers from other countries, therefore the platform will also guarantee the understanding of how we can best utilise partnerships in order to achieve our goals as a storytelling nation,’ says Akin Omotoso, IPO Chairperson.

As one of the hosting partners, the IPO, through Omotoso will present a business case on the challenges and opportunities in the local film and television industry.

The IPO strives for a transformed film industry as well as a viable and stable environment for both television and film producers. In its quest to ensure that there is an industry dialogue and that aspiring producers learn from industry professionals, the IPO hosts ‘The IPO Presents’ which takes place once a month.

For more information visit the IPO website.

Megahertz to deliver hybrid fibre and satellite UHD Links Truck for IBC 2016

Cera-Jane Catton
-
0

Megahertz Ltd. announced that it has delivered a new hybrid fibre and satellite UHD links truck to BT TVOB, the outside broadcast arm of BT Media and Broadcast. The new truck (known as TES52), will be showcased on BT Media and Broadcast stand in the outside broadcast space at IBC, taking place in Amsterdam between 8 and 12 September 2016. It is the first truck in the UK with the ability to transmit HD and UHD/4K via fibre and satellite simultaneously.

Prior to IBC, TES52 will cover the first Premiership match of the 2016/17 season, supporting customers by providing 14 HD outbound visions (as 1080i and 1080p) simultaneously. Later on this year, it will be deployed in UHD/4K mode providing up to three UHD visions on fibre and one on satellite. The truck will be in constant use until it appears at IBC.

Megahertz’s design team worked closely with BT TVOB engineers to provide a powerful and flexible UHD vehicle that is capable of transmitting pictures both through its roof-mounted, Ku-band, satellite antenna and via BT’s own fibre network, which connects over 150 major sports venues and news outlets across the UK.

TES52 is a step up from TES51 UHD truck that Megahertz also built in 2014, offering greater encoding capability. It is also fitted with two 750W amplifiers and built on a 7T Iveco Daily chassis.

“We’re incredibly proud to be at the forefront of UHD and 4K live events broadcasting in Europe,’ said Neil Huggins, senior product manager at BT Media and Broadcast.

“The capability that TES52 has to deliver in HD and UHD/4K via both fibre and satellite could not have been achieved so lucidly without our solid partnership with Megahertz. They consistently deliver flexible, rugged and timely solutions that truly address our customers’ current and future requirements. Megahertz has played a big part in our ability to stay ahead of the game when it comes to industry technology transitions.’

BT TVOB provides a delivery service from all the major sporting and event locations in the UK, via fibre and satellite, to broadcasters and production company headquarters. The BT truck will sit alongside the outside broadcast production vehicle, accepting multiple feeds which are then compressed, multiplexed and fed to the broadcaster via the BT Tower in London. At each point, including the input and outputs of the link truck, careful quality monitoring will take place to ensure that the signal arrives in excellent condition.

The TES52 monitors multiple signals via a 4K Miranda multi-viewer on to a Sony 4K screen, with two 4K/HD Marshall monitors for additional qualitative signal monitoring and an HD Phabrix for test signal generation and checking. The truck supports up to sixteen fibre links in HD mode, or three 4K/UHD and four HD links, using the intelligent video networking platform (IVNP) and BT’s core MPLS (multi-protocol label switching) network. Its on-board, 192-port Snell router is capable of handling a mixture of 4K, 3Gb/s and HD baseband signals, and ASI transport streams.

The newly configured vehicle can be seen as part of the Megahertz presence at IBC2016 and will demonstrate how live Ultra HD/4K content passes through the vehicle. A formal presentation on the design and build of TES52 will take place on the BT stand O.C01. Additional information can be sought from the Megahertz team on stand 12.F20.

For more information visit the British Telecommunications website.

Ikegami positions 4K at centre stage for IBC 2016

Cera-Jane Catton
-
0

4K UHD will form the central element of Ikegami’s exhibit at IBC, taking place in Amsterdam between 8 and 12 September 2016. Making their IBC debut with the 4K-native 2/3 inch UHK-430 portable broadcast camera and the HQLM-3120W 31 inch monitor. Also on show will be the revolutionary new HDL-F3000 multi-format ultra-low-light camera and the new MCP-300 Network Master Control Panel. Established in September 1946, the company also celebrates its 70th anniversary at IBC 2016.

Ikegami UHK-430 4K-native portable broadcast camera:

4K resolution and high dynamic range have become important issues throughout the broadcast media industry as content producers and delivery channels plan their investment strategy for the coming five to ten years. The Ikegami UHK-430 portable broadcast camera incorporates three newly-developed 4K-native 2/3 inch 8 megapixel CMOS sensors which provide full 3840 x 2160 ultra-high definition resolution plus the depth of field required for studio and outdoor production. The camera delivers four times more image detail than high definition and has a colour depth of 10 bits per pixel instead of the current limit of 8 bits per pixel. The UHK-430 incorporates a B4 bayonet mount compatible with 2/3 inch HD lenses.

Ikegami HQLM-3120W 31 inch 4K Broadcast Quality Monitor:

A major addition to the Ikegami range of broadcast quality picture monitors, the HQLM-3120W is designed for use as a full 4K master reference monitor in television production studios, postproduction suites, master control rooms and playout centres. It employs an LED-illuminated 31.1 inch pixel LCD panel with full 4096 x 2160 resolution and 10-bit processing depth. This has a wide viewing angle allowing critical content evaluation within horizontal or vertical viewing angles of up to 178 degrees.

Ikegami HDL-F3000 Multi-Format Ultra-Low-Light Camera:

Ikegami has chosen IBC2016 as the launch venue for the HDL-F3000 multi-format ultra-low-light camera. Capable of operating at illumination levels down to starlight, the HDL-F3000 produces high quality colour video under an extremely wide range of night or daytime conditions. Image adjustment capabilities include haze removal, backlight correction and digital zoom.

The camera head measures a compact 100 x 123 x 80 mm WHD and weighs only 1 kg, making it ideal for a wide range of ground-based or airborne gyro-mounted applications. It employs three 2/3 inch 2.6 million pixel MOS sensors in RGB prism configuration to achieve 1000 television lines horizontal resolution.

Ikegami MCP-300 Network Master Control Panel:

The MCP-300 is a newly designed network master control panel for use not only with Ikegami’s conventional ICCP control and Arcnet based control but also under Ethernet based control. It allows simultaneous master control of up to 10 cameras. Up to 100 source cameras can be selected (10 cameras x 10 groups). The MCP-300 also supports Powering over Ethernet, so a separate power supply is not necessary.

For more information visit the Ikegami website.

Women take over for Women’s Day at POWER 98.7

Cera-Jane Catton
-
0

Some of South Africa’s most accomplished women took over the POWER 98.7 airwaves from 06h00 on 8 August until 24h00 on 10 August 2016. #987Woman aims to celebrate South Africa’s women leaders in their respective spaces while displaying their dynamism beyond what they are publicly renowned for. As presenters, these powerful women will share their perspectives on amongst other things, leadership, work, fun and family to showcase their individual personalities.

For more information visit the POWER 98.7 website.

Full Line-up for Monday, 8 August 2016 was:

TIME SHOW PRESENTER
00:00 – 03:00 POWER ZONE Mpumi Mlambo
03:00 – 06:00 POWER UP Sebenzile Nkambule
06:00 – 09:00 POWER BREAKFAST Celeste Ntuli
09:00 – 12:00 POWER TALK Dr Nkosazana Dlamini-Zuma
12:00 – 13:00 POWER UPDATE Karima Brown
13:00 – 15:00 POWER LUNCH Jenny Crwys-Williams
15:00 – 17:00 POWER DRIVE Lerato Mbele
17:00 – 18:00 POWER BUSINESS Raisibe Morathi
18:00 – 19:00 POWER HOUR Dr Judy Dlamini
19:00 – 21:00 POWER LIFE Philisiwe Mthethwa
21:00 – 00:00 POWER PERSPECTIVE Thuli Madonsela

Full Line-up for Tuesday, 09 August 2016 was:

TIME SHOW PRESENTER
00:00 – 03:00 POWER ZONE Mpumi Mlambo
03:00 – 06:00 POWER UP Sebenzile Nkambule
06:00 – 09:00 POWER BREAKFAST Angie Motshekga
09:00 – 12:00 POWER TALK Thandi Ndlovu
12:00 – 15:00 POWER LUNCH Nomzamo Mbatha
15:00 – 18:00 POWER DRIVE Jacqui O’Sullivan
17:00 – 19:00 POWER Business Special Edition Gloria Serobe
18:00 – 21:00 POWER LIFE Khanyi Dhlomo
21:00 – 00:00 POWER PERSPECTIVE Nina (listener) & Tryphosa Ramano

Full Line-up for Wednesday, 10 August 2016 was:

TIME SHOW PRESENTER
00:00 – 03:00 POWER ZONE Mpumi Mlambo
03:00 – 06:00 POWER UP Sebenzile Nkambule
06:00 – 09:00 POWER BREAKFAST Nomvula Mokonyane
09:00 – 12:00 POWER TALK Felicia Mabuza-Suttle
12:00 – 13:00 POWER UPDATE Nozipho Mbanjwa
13:00 – 15:00 POWER LUNCH Minnie Dlamini & Qedani Mahlangu
15:00 – 17:00 POWER DRIVE Leigh-Anne Mathys & Mbali Ntuli
17:00 – 18:00 POWER BUSINESS Ramasela Ganda
18:00 – 19:00 POWER HOUR Funeka Montjane
19:00 – 21:00 POWER LIFE Tumi Morake & Nandi Mayathula-khoza
21:00 – 00:00 POWER PERSPECTIVE Bongiwe Gambu and Koketso Moloko (both listeners)

Disney commissions first long-form local series production in SA

Cera-Jane Catton
-
0

Disney Africa launches its first local long-form series production in South Africa, Disney Cookabout. The series is a brand new weekly comedic adventure game-show that uses food preparation, cooking and outdoor exploration to showcase local ingredients and a fun-filled approach to healthy eating.

Disney Cookabout is inspired by The Walt Disney Company’s long-standing commitment encourage healthier living, through imaginative and entertaining family content, and will air every Friday at 15h30 on SABC2 from 5 August 2016.

Penguin Films was commissioned to produce the 26 X 24 minute live action series which will feature some of the best of South Africa’s locally-farmed, wholesome produce, giving a fascinating insight into the food consumers are used to seeing only in supermarkets and on their dining room tables. The show is fronted by home-grown talent including hosts Kirsten Mohamed “Chef Kirsten’ and her side-kick “Sous Chef’ Mthunzi Ntoyi who travel across the Western Cape with a dynamic group of young cooktestants, all in search of the freshest ingredients.

Midway through the live action, Disney Cookabout will feature a three-minute Disney Channel Mickey Mouse animation, before returning to follow the progress of the cooktestants.

Christine Service, senior vice president and country manager of The Walt Disney Company Africa comments: “Through Disney Cookabout’s action-packed, fun-filled approach to sourcing food and creating delicious and nutritious meals, we hope that kids and families will be inspired to take an active interest in their wellbeing and encouraged to lead healthy lifestyles. With exploration, comedy and fascinating insights added into the mix, we are thrilled to be presenting something fresh, new and entertaining for South African audiences.’

“As our first ever local, long-form television series production, Disney Cookabout reaffirms Disney’s commitment to contributing to the local creative community, creating and distributing content that is not only globally connected but locally relevant too.’

Since 2006, Disney has been committed to helping families make healthier choices, using its stories and characters to make healthy living simple and fun. Since then, Disney has been looking at the different ways it can support families to live more healthily. This includes introducing robust nutritional guidelines for food and drinks as well as their advertising and offering content that positively focuses on healthier lifestyles such as the Disney Healthy Living Website, Aim High on Disney XD (2011 – 2014) and Disney Cookabout.

Disney Cookabout follows other local content initiatives including last year’s Disney Channel companion series I Love Violetta, Idols 2015 winner Karabo Mogane’s recording of the theme song for Disney Junior’s The Lion Guard, local celebrity voice cameos in Disney and Disney•Pixar films as well as grassroots projects like the Disney XD Super Skills Challenge. In addition, the past few years have seen local production stops of films such as Disney’s upcoming 14 October release Queen of Katwe, Marvel’s Avengers: Age of Ultron as well as ABC Studios’ Of Kings and Prophets.

For more information visit the Disney Cookabout website.

Imago brings Pexip to SA

Cera-Jane Catton
-
0

Efficiency and savings have become the focus areas of business in South Africa’s economy, driving a management quest for flexible solutions that deliver high performance without locking a company into a proprietorial cul-de-sac.

The market insight comes from Marius van Wyk, technical director at Sandton-based Imago Communications, a supplier of communication and video conferencing solutions to both major corporates and small and medium-size enterprises via a vast network of certified channel partners.

“Today, all businesses have to work harder and smarter with less resources both human and financial,’ says Van Wyk. “That’s why the channel community response to the launch of the Pexip Infinity meeting platform has been so positive.

“Its cross-platform capabilities allow Pexip Infinity to connect to almost any communications tool and video and audio conferencing technology for a seamless meeting experience.

“Businesses facing cost and marketplace pressures can upgrade to a new level of meeting experience and get the most out of their existing, even aging, technology without building an entirely new solution from the bottom up. In today’s tough economy Pexip Infinity finds a great fit at companies committed to sweating all their assets.’

The introduction of one of Pexip’s flagship products follows the signing of a distribution agreement between Imago and Pexip, the international technology developer and supplier.

John Harald Grønnigen, Pexip’s senior vice-president for Europe, Middle East and Africa, comments: “We’re excited to team up with Imago Communications as our distributor in South Africa. Their broad experience, technical expertise and commitment to long-term customer relations are second to none.

“Imago shows deep understanding of their customers’ business objectives and challenges. Together, we are well suited to address all of these issues.”

Imago followed up the distribution deal by offering select channel partners demonstration accounts to enable them to judge the benefits and product features of Pexip Infinity for themselves.

Initial reaction has been invariably positive, says Van Wyk.

He adds: “High quality performance and the cross-platform flexibility of the Pexip meeting platform allow for an extraordinary user experience for those customers requiring an on-premise, cloud or hybrid video infrastructure solution.

“With the ability to connect from any device, software client or browser, users are able to meet when they want on the platform and device of their choice.

“Some companies may be cutting back, but meetings can’t be axed as management interaction and business leadership are even more vital in tough trading conditions. The challenge for efficiency-focused management is to get the most out of meetings, no matter what technology is being used at various locations. Pexip Infinity meets that challenge brilliantly.”

For more information visit Imago Communications website.

1...161718...32Page 17 of 32
- Advertisement -
- Advertisement -
- Advertisement -
© Copyright 2017

Pin It on Pinterest