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Cera-Jane Catton

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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.

Opening of the world’s longest railway tunnel online via Blick webTV and LiveU

Cera-Jane Catton
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LiveU announced that the opening of the world’s longest railway tunnel – 57.09 km – was brought live to online viewers by Blick webTV using LiveU technology. The Gotthard Tunnel was officially opened on 1 June 2016 after decades of debate about its viability, with the result now being hailed as an engineering tour de force.
Blick webTV was founded in 2006 and is part of the larger Ringier, a Swiss-based, multifaceted media group with employees in 15 countries. It produces web video content for both Ringier and external customers.

Michel Huber, head of technology, said, “We were determined to broadcast live from the entire event. We also wanted to stream the first train journey through the Gotthard live. That was why we chose LiveU. The mobility was crucial. Our video journalist was able to transmit images to our editors for almost an hour without an external power supply and all live.’

Blick webTV used a LU500, LiveU’s flagship uplink device for professional newsgathering, equipped with eight SIMs spread across three network operators. The company also took a Reuters Live Stream from the tunnel via satellite downlink. That was produced onsite by SRF and allowed Blick webTV to cut between images from the two feeds.

Huber said, “Our expectations were more than exceeded. No test runs were possible in advance so we therefore had to rely on the 4G network working in the tunnel as advertised. There were, in fact, a few places where the available bandwidth dropped to just 500k bits. Even in those extreme circumstances we kept broadcasting. As a result, we were very satisfied with what LiveU delivered to us from the Gotthard.’

Blick webTV has been using LiveU technology for 18 months now with the company deploying it for various types of news and sports coverage including the European Beach Volleyball Championships this year. It highlights even greater LiveU use since Facebook opened itself up to live video streaming.

LiveU owns the patent for cellular bonding for remote news gathering in the US, Europe, China and other countries. All LiveU products are based on this fourth-generation patented technology.

For more information visit the LiveU website.

Eyeheight launches AudioLoudnessSuite broadcast audio conformance plugins

Cera-Jane Catton
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Eyeheight announced a new addition to its product range with the introduction of the first two modules in its AudioLoudnessSuite: the AudioLoudMeter and CorrectLoudWidget. Both are designed to operate seamlessly with some of the most widely used video editing applications, allowing programme audio to be conformed quickly and easily to European or North American approved standards.

The new modules are being offered on a six-month free-trial licence so that all clients can try them out with their specific loudness files.

The Eyeheight AudioLoudMeter is a comprehensive audio loudness metring plugin which evaluates mono, stereo and 5.1 surround. Compatible with Adobe Premier Pro, Apple Final Cut Pro X and Avid Media Composer, it offers the following key features:

– Three bargraphs displaying momentary, short term and integrated loudness respectively.

– Five bargraphs showing individual loudness contributions, L, R, C, Ls and Rs.

– Five true peak bargraphs using 8x oversampled audio. Each peak bargraph has an additional indicator which latches onto the highest found value from the start of the audio until manually reset. If this value is off the scale, a red arrow appears above the highest point of the bargraph. Digital read out is also shown for each bargraph in Loudness K-weighted Full Scale (LKFS) units.

– An audio loudness distribution histogram with Loudness Range (LRA) measurement.

– Time-scalable loudness history graph for ATSC A/85 and EBU 1770 modes of operation.

The Eyeheight CorrectLoudWidget is a loudness analysis and correction plugin for use with Adobe Premier Pro and Avid Media Composer. Target and true peak values can be changed as appropriate. For Europe, the EBU target is -23.0 LKFS and the true peak level is -1.0 dBU. For the USA, the ATSC A/85 target is -24.0 LKFS and the true peak level is -2.0dBU.

Both plugins will shortly be available via the Eyeheight website for free six-month evaluation.

DTI emerging filmmakers workshop at DFM

Cera-Jane Catton
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SCREEN AFRICA EXCLUSIVE: On the fourth and final day of the Durban FilmMart, the Department of Trade and Industry (DTI) presented a workshop on its emerging black filmmaker’s incentive. A full room enjoyed what was deemed an inspiring discussion. A call for applications is currently open and the panel clearly explained how emerging filmmakers can reap from it.

The DTI’s deputy director general Malebo Mabitje-Thomas explained the DTI’s suite of incentives, emphasising that the workshop was on emerging black filmmakers. With a budget of 5.2 million the incentive focuses on employing South African cast and crew, and supporting black talent in terms of production and narrative.

DTI director Nelly Molokoane talked us through a slide show that explained in detail the DTI process. “Launched in September 2014 when at the time, government was not supporting black filmmakers,’ said Molokoane, the DTI conducted workshops and then launched three programmes to support the local film industry, encourage and attract large budget films and to increase SA’s creative and technical skills base.

Molokoane spelled out the requirements to apply, which included that the holding company must have 65 per cent black SA shareholders, a BEE level three, a black producer and director, the company must have been in existence for at least six months with existing work to show. The incentive is limited to one film per production, the company must have a ten minute trail blazer or short film and the project seeking funding must be shot at least 80 per cent in SA over a minimum of two weeks.

Molokoane talked everyone through the qualifying and non-qualifying productions of which a lengthy debate ensued in the Q&A. While feature films, tele-movies, TV drama series, documentaries and animation are included. Reality shows, discussions, news, current affairs, soapies and mobile phone videos are excluded.

A member of the ATFT asked why these popular formats are excluded, especially reality? Mabitje-Thomas answered by using Big Brother as an example and said, “When we develop an incentive we need to consider what is the hardest nut to crack, these formats are easier to do, which is why we are not bringing government money for this one.’ She explained that the incentive is not to finance the industry, but to increase content where it is harder to fund. This same querrant expressed gratitude to the DTI, stating that this incentive has been a game changer in the industry.

Molokoane talked the audience through the application procedure. Claiming it has a four week turnaround. Mabitje-Thomas expressed that time is money and should a filmmaker be struggling to get a response to escalate the query to her office.
It was confirmed that the DTI is looking at various ways to assist filmmakers and they asked that anyone interested is welcome to drop them those ideas because they want feedback from emerging filmmakers.

Malebo ended by making a plea that this incentive is developmental and said that fronting is illegal. “Don’t allow yourself to be used in that way because you are undermining the development,’ she said.

For more information and to apply as an emerging filmmaker visit the DTI website or contact:
Nelly Molokoane: NMolokoane@thedti.gov.za (012) 394 1425
Malebo Mabitje: thompson@thedti.gov.za (012) 394 1058

SABC’s 90 per cent local music quota invades the African continent

Cera-Jane Catton
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The South African Broadcasting Corporation (SABC) announced that its recently implemented 90 per cent local music quota on radio and the introduction of local content on TV has not only been positively accepted by local artists, the South African music industry, the corporation’s audiences and many other interested parties. This move has generated a great interest from other public service broadcasters on the African continent.

The SABC views this positive development as a confirmation that this radical decision to prioritise local music was not motivated by any other reason except to indicate that as Africans we should love our own artistic work more and it was also a perfect way to deconstruct the dominant western-based narratives that implies that Africa is not good enough.

“We are delighted that our positive efforts are recognized beyond the South African boarders and we strongly believe that if we can work together as African public service broadcasters we can play a pivotal role in telling the positive African story to the rest of the world. When we started this campaign, we had clear objectives to change the lives of South African artists and obviously to make an impact in Africa and the rest of the world. We are happier that the campaign that is spearheaded by our COO, has started yielding positive results in its early stages,’ said professor Maguvhe,SABC board chairperson.

Maguvhe further indicated that “The Board is excited the innovations and strategies on local content introduced by Motsoeneng has been so well received by the other broadcasters on the continent.”

The SABC has already met with some key stakeholders including public service broadcasters to discuss the possibility of rolling out this transformational drive to other African countries. Today the SABC was visited by the Swaziland broadcaster who wanted to benchmark from them on how best to implement the increased local content.

Their initiative to prioritise culture and heritage in the implementation of local content was also hailed by the vhaVenda King and the Zulu King in their recent interaction with our COO, Motsoeneng. The Zulu King honoured Motsoeneng for his efforts in the implementation of local content while the Venda King applauded him for the implementation of the 90 per cent music airplay and the prioritisation of culture and heritage.

“It is through the efforts of the COO that the SABC has moved from a government guarantee era to the era of financial stability,” concluded Maguvhe.
The SABC will make announcements as soon as the plans have been finalised where Motsoeneng will address other public African broadcasters’ representatives in Mauritius. Motsoeneng has been requested to come and advise other African broadcasters on the implementation of local content.

“Pursuant to the appeal against Motsoeneng, I thought it is imperative to put certain salient points in the public domain. My observation is based on my years of experience at the SABC, the private sector and the many foreign broadcasters that I have worked for. Motsoeneng has the rare qualities of a leader, a seasoned broadcaster and also an astute business mind. Motsoeneng was seconded by the board to act as COO in November 2011 when the SABC was under severe financial strain and his main priority since then has always been to save the organisation. The SABC was under government guarantee loan and had negative cash reserves under his leadership he raised significant funds and in the process saved numerous employees from losing their jobs. With the introduction of the new channels, numerous new jobs were created,’ said Jimi Matthews, SABC acting group CEO.
As a public service broadcaster, the SABC remains committed to serving South Africa and the African continent diligently as expected.

TRACE TV acquires African VOD service Buni.tv

Cera-Jane Catton
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TRACE TV has announced the acquisition of pan-African VOD service Buni.tv, in preparation for the launch of its own VOD platform TRACE Play, which is scheduled for later this year.

Previously a company of pan-African studio Restless Global, Buni.tv was launched in 2012 as one of the first ever VOD platforms to focus on the African market and is today recognised as one of the three largest VOD services on the continent alongside Iroko TV and Nasper’s Showmax.

“TRACE and Buni.tv share the same strategic vision in that we believe that VOD is the future of television,’ said TRACE CEO Olivier Laouchez. “We also share the same analysis that the success of any VOD service in Africa will depend on whether it can source and offer high quality original African content.’

As part of the deal, TRACE secures the pay-TV and VOD rights to highly sought-after comedy shows Ogas at the Top (Nigeria) and The XYZ Show (Kenya), produced by Buni.tv’s sister company Buni Media.

As a first step, Buni.tv will be hosted under the TRACE Play banner, although the plan is eventually for both services to fully merge. Buni.tv’s existing subscribers will have access to the full TRACE Play catalogue, which will include at launch thousands of hours of African and international content.

“Critical mass is crucial for the success of any VOD service,’ said Buni.tv’s CEO Marie Lora-Mungai. “As the African VOD market becomes increasingly competitive and sophisticated, we are thrilled to join forces with a solid and forward-thinking partner such as TRACE.’

TRACE’s acquisition of Buni.tv also means that Lora-Mungai will join TRACE to consult on the company’s content development strategy for Africa.

The NFVF presents co-production with the Netherlands

Cera-Jane Catton
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In December 2015 a co-production treaty for the production of audio-visual works was signed between South Africa and the Netherlands. The treaty was put in place to enhance and facilitate the co-production of films and other creative media productions between the two countries, in the aim of stimulating the industries and the development of cultural and economic exchanges in both countries.

At the 2016 Durban FilmMart (DFM), taking place in conjunction with the Durban International Film Festival (DIFF) the National Film and Video Foundation (NFVF) presented a co-production dialogue between industry professionals from Sotuh Africa and the Netherlands. The panel included Terrence Khumalo, from the NFVF, he introduced the panel: Frank Peijenburg and Pieter van Huijstee from the Netherlands, and Marc Schwinges from SA.

Peijenburg began by conferring the facts and figures of the Dutch film industry. He said that in Holland they have 265 cinemas, with 893 screens where 369 films are released in the Netherlands each year, meaning that 60 per cent is Dutch, with 33 million visitors to the country, and a box officer of 275 million Euros where 18 to 20 per cent goes to Dutch films.

“Co-production is very important for a small country,’ said Peijenburg. “It’s important to build a relationship with other countries and it’s a little bit of our claim to fame, we are proud of it.’ He explained the 30 per cent cash rebate and tax incentive. Each year 20 million US has to be spent in the Netherlands, and they are hoping to open this spend up to the TV market.

There are 15 to 20 co-productions a year. The Netherlands work with neighbouring countries and have existing treaties with France, Canada, Germany, China, Belgium and SA. “We support marketing and distribution for foreign films,’ said Peijenburg, further pointing out why a treaty is an advantage. He added, “There is access to support schemes in both countries. It is important for marketing and distribution, it opens up production, offers more creative and technical cooperation, broadens networks and helps crossing the borders.’

Van Huijstee said, “Holland is good in two things, skating and documentary film making.’ He believes that documentaries are an ideal way to tell stories and build bridges. “Co-producing gives me the opportunity to work with others. Holland is often too direct and practical,’ which is why he likes working with South Africans. He met Schwinges at International Documentary Film Festival (IFDA), and the two are now working on a co-production.

Schwinges said that one should consider joining the DFA and Hotdocs, and consider applying for the travel grants they offer. “Going gives you exposure and an opportunity to meet people.’

“The greatness of storytelling is that everyone can relate it to themselves,’ said van Huijstee about working on a South African story about a South African journey with a target audience in Holland. “You can make a great documentary that can be shown everywhere and inspire many people but you need a co-production and that co-operation to make it happen.’

After the panels discussion a Q&A was opened to the audience. Wherein the question about whether the film needs to be shot entirely in SA or can be shot throughout Africa were answered. The panel explained that any spend outside of SA would be precluded from funding. However, if shot within the country the story could be a Chinese story as long as it has an SA interest along with a strong artistic and international appeal.

It was further stated that should a South African wish to be in a co-production to contact the NFVF first, and they will further advise on co-producing and how and who to contact.

For more information visit the NFVF website. Or the Netherlands Film Fund website.

Music search engine workshop by SONOTON at DFM

Cera-Jane Catton
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SCREEN AFRICA EXCLUSIVE: Production music was discussed in depth at the Durban FilmMart (DFM) in a workshop presented by Barbara Hintermeier from SONOTON. SONOTON Production Music is the largest independent provider of professional library music worldwide.

With a production music catalogue for background music for documentaries, subtle underscores, industrial film, trailers, advertising from all genres. SONOTON has more than 100 000 production music tracks by more than 2400 composers from around the world.

Founded by Gerhard and Heidi Narholz, in Germany 51 years ago, who were in attendance at the DFM workshop, both introducing the company they are both still passionate about, and answering questions from the audience.

The workshop consisted of a demonstration of SONOfind. The music search programme of SONOTON. “You may trust us and our 51 years of producing music,’ said Gerhard. Hintermeier explained exactly how the search engine worked, and how easy it is to simplify the process of finding the right score for a film. Whether you are looking for a big orchestra or a single instrument track, you can filter your search and find a variety of songs to suit your needs. Hintermeier demonstrated how quick and easy it is to find music, with or without an internet connection.

In a Q&A with the audience fees were queried. Hintermeier explained that there is no registration fee and the only fee incurred would be through Capasso as per the license fee.

Asked how to submit songs to SONOTON Gerhard said, “We commission hundreds of composers a year producing 80 to 100 albums, it is free to offer your product to us or SONOTON may record it. Thousands of composers are in the library and all creativity is welcome.’

Details are on the SONOTON website.

SONOfind is running a competition concurrent with DFM.

– 1st Prize: Apple iPad Pro
– 2nd Prize: Samsung Galaxy Tablet
– 3rd Prize: Dr. Dre Wireless Studio Earphone

Visit the SONOfind website, and correctly answer four questions about SONOfind to enter.

Entry deadline is 12h00 noon, on 1 July 2016. Random drawing will be held on 6 July 2016. First, second and third place winners will receive their prize by mail. Names of all winners will be published on the SONOTON and SONOfind websites.

Storytelling and story selling with the Business Model Canvas at DFM 2016

Cera-Jane Catton
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SCREEN AFRICA EXCLUSIVE: On 17 June 2016, at the 7th Durban FilmMart (DFM) held in conjunction with the Durban International Film Festival (DIFF), Screen Africa attended a panel discussion between four industry professionals on how to sell your story using the Business Model Canvas. From Cape Town, Kenya and Canada, they were, respectively, Tina-Louise Smith, Fidel Namisi, Orla Garriques and Erica Shaw.

Local filmmaker Smith introduced the panel and the discussion for the morning, ‘Storytelling and story selling with the Business Model Canvas’. Invented by Alex Osterwalder The Business Model Canvas is a strategic management tool for content producers to make the transition to content entrepreneurs. The materials were co-designed and tested by content producers, content investors, industry practitioners and subject matter experts.

The discussion revolved around the business tool, were Garriques explained in detail how it works, and who it is designed for. Garriques, Canadian producer, called up ten volunteers from the audience who formed two groups to demonstrate the effectiveness of the tool. It aids creatives in taking a story from telling it to selling it. Using the “yellow pages’ method, these two groups had, in ten minutes come up with a new idea, a new concept, a plan for funding and a team to take it further.
This discussion showed how the canvas can be used to build a team of people to help take an idea completely through to fruition. The discussion shed light on how to get your story to the world, how to get your story making money, and how this canvas can ignite the passion you need.

Namisi, screenwriter and filmmaker, talked finance, the fundraising element of the tool. He talked about how to tap into the interest of the respective funders, and advised filmmakers and producers to use the DTI as the final pillar of a finance plan because the department provides a timeline regarding when to go into production. He emphasised that personal relationships are vital. He advised that a distributor is needed before one approaches the IDC, and stressed that the business model helps to garner the support of the right key partners, who have the strengths to build the business out of the creativity.

Shaw, media educator, advised that even without the tool you should talk to everyone, use the people around you as your team, depending on the genre, speak to as many of the people you know to get the same feedback, support and ideas. She encouraged the audience to do the full day workshop on the Business Model Canvas, where sign up is available immediately.

DFM 2013 finance forum winner gears up for the big screen

Cera-Jane Catton
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Seven years after writer Sean Drummond and director Michael Matthews first set out on an 8000km research and development journey around the country, The Be Phat Motel Film Company and Game 7 Films’ Five Fingers for Marseilles, which was a project selected for the 2013 Durban FilmMart (DFM), is taking the next big step to the big screen.

The film, a contemporary South African thriller modelled on the western and played in Sesotho and isiXhosa, with a fully local cast, begins production in the Eastern Cape in July 2016, in association with Stage 5 Films and Above the Clouds.

Once, the young “Five Fingers’ fought for the rural town of Marseilles, against brutal police oppression. Now, twenty years after fleeing in disgrace, freedom-fighter-turned-outlaw Tau (Vuyo Dabula) returns, seeking only peaceful anonymity. Finding the town under vicious new threat, he must choose whether to run again or to reluctantly fight to free it. Will the Five Fingers stand again?

Dabula heads an ensemble cast featuring Thishiwe Ziqubu, Kenneth Nkosi, Mduduzi Mabaso, Lizwi Vilakazi, Kenneth Fok, Anthony Oseyemi and Dean Fourie, with Jerry Mofokeng. Cast by Moonyeenn Lee, the film will look to local Eastern Cape communities for a number of youth and supporting roles.

Five Fingers is Be Phat Motel’s first narrative feature, after international documentary and shorts success. Game 7 Films’ Yaron Schwartzman and Asger Hussain’s credits include Academy award-winning Precious, The Paperboy, and upcoming true-life crime-story 37. Stage 5 Films’ credits include Silwerskermfees-winner Hollywood in my Huis, Unearthed, the upcoming The Whale Caller and the 2016 Durban International Film Festival opening film The Journeymen.

The film was awarded DFM Finance Forum’s “Best South African Film in Development’ in 2013. Indigenous Film Distribution will release it in South Africa in 2017 and XYZ Films will represent the film for North American sales. Five Fingers for Marseilles is made possible with the support of the NFVF and the DTI, with additional services from Dupa Films.

Five Fingers for Marseilles will premiere internationally in early 2017.

NWFC establishes a Writers Guild and launches a One-Minute Film Festival

Cera-Jane Catton
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The non-profit North West Film Commission (NWFC) has set up a Writers Guild to help to develop the stories and screenwriters of the region and will help assist with the foundation of the film industry in the province – thus be supportive to the North West Film Commission’s work.

The North West Writers Guild will be affiliated to the Writers Guild South Africa (WGSA). The provincial chapter will thus establish branches throughout the province where the branches job would then be to facilitate the workshops for the North West writers on the WGSA’s behalf

The NWFC is launching a One-Minute Film Festival. The NW One-Minute Film Festival will present a provincial competition programme of films of all forms in duration of up to one minute.

NW One-Minute Film Festival is built to generate the largest amount of exposure possible for the one minute filmmakers and the collection of one minute films showcased, shortlisted, and awarded by a national jury and the public.
Film entries of any genre from the following: Online entry only.

– Competition 1 – Feature and Documentary Film
– Competition 2 – Art and Experimental Film
– Competition 3 – Animation
– Competition 4 – Under 20 Youth
– Competition 5 – Schools

The NW One-Minute Film Festival will have build ups from all local municipalities and then proceed to District Levels where upon District Winners compete at Provincial Level.

Closing date for registrations is on the 1 July 2016.

The local festivals will run on the following dates: 9, 16 and 23 July 2016. The District Festivals 30 July 2016 and the Provincial Festival will be on the 6 August 2016 in Rustenburg.

In the five categories the best one-minute film will be chosen. The jury will nominate three films and the winner will be announced at the award show.
The audience award will be chosen by the audience at the festival.

For more information email polani@nwfc.co.za or deon@nwfc.co.za.

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