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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.

APEX awards deliver more effectiveness with addition of the #APEX2016 Master Class

Cera-Jane Catton
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This year the APEX awards are upping the effectiveness stakes by doing things a little differently. Two events. One day. 7 July 2016.

A glittering black-tie evening awards ceremony at The Campus in Bryanston will be preceded, in the morning, by a Master Class boasting some of the best brains in the business.

The 2016 APEX awards will once again be celebrating and awarding communications campaigns’ performance excellence. Best-of-breed advertising and communications campaigns that contributed a tangible and measured return on investment and/or objectives will be showcased for their contribution to business success. The Master Class, which is set to ignite debate, inspire critical thinking and illicit response, will add even more clout to the annual awards programme.

Six captains of industry will each present the latest trends and thought leadership in the business of advertising and communications. Each presentation will be followed by a hard-hitting, investigative session led by one of South Africa’s most eminent commentators on the profession – Jeremy Maggs.

“The APEX Awards 2016 Master Class is an event that simply cannot be missed. We have put together a stellar line-up of speakers. Not only are they going to inform and provide opinion, they will also be interrogated by Jeremy Maggs in his very own inimitable style. This is an exciting profession that continuously takes the ordinary into the extraordinary and in so doing, adds tangible value to business and the economy as a whole. The Master Class provides an essential perspective for all professionals in the business of marketing, advertising and communications and it is a necessary introduction to the Awards Ceremony that will be held later the same day,’ says Odette van der Haar, ACA CEO.

“This year’s powerful APEX 2016 programme leaves no doubt that our profession adds value to businesses intent on achieving success and it is a viable career option for creative and critical thinkers. The Master Class with its first-class line-up of speakers as well as the bursary scheme demonstrates this. The 2016 APEX awards is made possible thanks to the participation of our key partner SABC and sponsors: Alexander Forbes, Millward Brown and Unilever,’ concludes van der Haar.
The APEX awards are hosted annually by the Association for Communication and Advertising, the official representative body for the Communications and Advertising profession in South Africa.

Master Class Speaker and topic line-up:

Marketing in a digital era: are likes and clicks enough?
Monique Claassen, director: Media and Digital at Millward Brown

Reaching the consumer through media clutter.
Enver Groenewald, CCM Director at Unilever

Managing client and agency relationships and how the client/agency relationship impacts the work.
Lauren Woolf, independent consultant (ex-Ogilvy & Mather Johannesburg)

Creating work that works: how to deliver creativity and effectiveness.
Alistair King, CCO at King James

The role of strategy in creative campaigns.
Ivan Moroke, CEO at Co-Currency

Content versus experiential marketing
Dawn Klatzko, independent consultant, Executive and Business Coach (ex-Metropolitan Republic and Power FM)

The Importance of campaign measurement
International guest speaker

Master Class and Awards Ceremony Event details:

Date: 7 July 2016
Venue: The Ivory Auditorium at The Forum: Wanderers Building, The Campus
Master Class: 08h00 – 13h00
Awards Ceremony: 18h00 – 23h00

Seats at both events are limited and you are encouraged to book early.

For more information about the APEX awards visit the ACA website.

Seasoned talent joins The Ludus

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“There’s only one way to become Champion…’*

Post-production facility The Ludus welcomes Gavin Hong, Schalk van der Merwe and Angela Whitehouse to their “stable of titans.’

“Fight as one; or die as two!’*

Angela Whitehouse started her career as an offline editor 22 years ago, spending time at Lizard Post Production before becoming a senior partner at Glasshouse Post Production. Recognising the need to re-invent herself, Whitehouse has taken the decision to partner with The Ludus, explaining that its re-imagined business model has convinced her to rather stand together with like-minded industry players during uncertain times than to go it alone. Says Whitehouse, “The Ludus is all about building an environment in which talent can thrive, and it’s this ideal with which I immediately identified. I’m looking forward to working with clients both old and new in my new role.’

“Climb to the pinnacle’*

Gavin Hong has outlasted most of the companies he’s worked for, having on-lined the top commercial work in South Africa for over two decades. A career highlight was being partner and owner at The Worx Post-Production, and Hong frames his latest career role in terms of this successful business model: “The Ludus reminds me of how The Worx disrupted the post-production industry when it burst onto the scene all those years ago – it challenged all that had gone before. I’m excited to be a part of it!’

“The promise of future glory’*

Schalk van der Merwe is not only a talented online artist but also a skilled offline editor – a multi-talented master artisan with a handle on editing, grading and compositing. Van der Merwe points to the importance of finding new ways of adding value in an increasingly less forgiving space: “We need to let go of the old rules to which we’ve become too comfortably accustomed and embrace the future of collaboration and re-invention if we’re to remain the best at what we do.’

“Never Lose Focus!’*

Named after the ancient Roman schools where gladiators were trained, The Ludus is a business model, aiming to challenge the status quo. Its executive producer Joe Erasmus talks about how, if it’s to win the prize, a successful post-production company must be ever-focused on the game. Erasmus says: ‘Conventional facilities are falling by the wayside and those which are left are weakened by an inability to change at the pace required to stay relevant. Industry players need to pull together and unite as creative craftsmen, rather than chipping away at and undermining each other. That way, perhaps, synergy and capacity can be built through collaboration, with like-minded people re-imagining how their creative services fit a new way of working, rendering it less conventional and more inclusive – where they work together to retain the value of their crafts and find new solutions which offer clients the best creative talent and product at a satisfactory price. Doing so is the only way in which collective longevity can be ensured in an industry in flux.’

*Quotes pulled from Spartacus – a STARZ Original Series

Talents Durban 2016 participants announced

Cera-Jane Catton
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The 37th Durban International Film Festival (DIFF) has announced the participants of the 9th edition of Talents Durban, presented in cooperation with the Berlinale Talents, an initiative of the Berlin International Film Festival. Talents Durban is a five-day development programme consisting of workshops and seminars for African filmmakers delivered by film professionals and academics. The talents, who are selected through a rigorous application process, will also have the opportunity to attend screenings and other events at the festival.

Talents Durban is one of the six Talents International programmes formed by Berlinale Talents. Other Talents programmes include Talents Beirut in Lebanon, Talents Buenos Aires in Argentina, Talents Sarajevo in Bosnia-Herzegovina, Talents Tokyo in Japan and Talents Guadalajara in Mexico.

Twenty filmmakers from eight countries across the continent, including South Africa, Kenya, Ghana, Nigeria, Mozambique, Ethiopia, Egypt and Madagascar, will be in attendance.

The selected participants for Durban Talents 2016 are:

Adefoyeke Ajao (Nigeria), Amirah Tadjin (Kenya), Desmond Denton (South Africa), Flavia Motsisi (South Africa), Hiwot Getaneh (Ethiopia), Izette Mostert (South Africa), Kennedy Omoro (Kenya), Maragert Wacera (South Africa), Nathan Rice (South Africa), Peter Seduffia (Ghana), Razanajaona Luck (Madagascar), Sakhumzi Mati (South Africa), Sameh Morsy (Egypt), Sheetal Magan (South Africa), Tamara Dawit (Ethiopia), Thea Small (South Africa), Tumelo Moutlana (South Africa), Wim Steytler (South Africa), Wome Uyeye (Nigeria), and Yara Pereira (Mozambique).

Presented under the theme ‘Degrees of Separation: Connecting People and Story’, Talents Durban aims to boost the already rising flow of contemporary filmmaking in Africa, and to encourage filmmakers on the continent to share their stories through the lens of their own particular culture. Participants will interact with more than 600 delegates from DIFF and Durban FilmMart, the co-production and finance forum which takes place between 17 and 20 June, during the festival. The talents will also get to be part of several project-oriented, hands-on skills development programmes. Practical development programmes within Talents Durban include Story Junction, masterclasses, and one-on-one mentorships.

Story Junction is a platform showcasing projects linked to the festival. Participants will present their project at Story Junction to peers and industry delegates. Delegates will be able to request meetings with projects that they wish to engage with further.

Like last year, Talents Durban participants will have access to all industry master classes, panel discussions and festival functions. In addition, the Talents will be invited to all festival functions as well as events of the Durban FilmMart.

Each of the Talents Durban participants will receive a mentor for an intensive programme of one-on-one consultation and project and strategy development workshops for the entire group. The mentors selected are experts in the respective fields (documentary, fiction, drama series, web, mobile content, TV) that suit the needs of the participant and their projects.

Talents Durban is supported by the Goethe Institut SA, the German Embassy in South Africa and the Gauteng Film Commission.

For more information about Talents Durban visit the DIFF website.

DIFF partners with Festival Scope Pro

Cera-Jane Catton
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Festival Scope Pro, an online platform dedicated to film professionals, festivals and film producers, will present a selection of films from the 37th Durban International Film Festival (DIFF).

The partnership avails a selection of South African and African feature films online, exclusively to film professionals. The online collection will include a selection from the 50 African films – including 24 South African films – to be screened as part of the 2016 DIFF programme.

The festival is dedicated to presenting key African titles such as Leyla Bouzid’s As I Open My Eyes and Jean-Pierre Bekolo’s Naked Reality.
The partnership between DIFF and Festival Scope Pro aims to bring a greater visibility – and potentially a wider distribution – to the African film industry. Each film will be made available after its initial screening, bringing them from Durban, South Africa, straight to film professionals’ screens globally.

Festival Scope Pro offers festivals on demand to film professionals worldwide.

For more information visit the Festival Scope Pro website or the DIFF website.

MOOV brings cutting edge augmented reality technology to PSA Dubai World Series Finals 2016

Cera-Jane Catton
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MOOV, a UK broadcast graphics company, harnessed the latest virtual placement and graphics technology to showcase the Professional Squash Association (PSA) Dubai World Series Finals 2016 to audiences across the globe. MOOV provided outside broadcast production services to enhance coverage of the tournament staged in a purpose-built indoor venue at Burj Park, Downtown Dubai, with Burj Khalifa, the world’s tallest building, in the background. The season-ending tournament took place between 24 and 28 May 2016.

“Downtown Dubai is one of the world’s most exciting city centre locations and is the perfect setting to stage the pinnacle of the international squash calendar,’ said Alastair Ruxton, chief operating officer, Falcon and Associates, a strategic advisory company working on behalf of the Dubai leadership. “As a place where innovation thrives, we had a vision for this tournament that the hundreds within the venue and the millions watching at home around the world could get a real sense of the city and its energy. Using modern technology to do this was the challenge set to the PSA’s production partner, and the results have been fantastic.’

“This was a world’s first for squash’ said Nev Appleton, director, MOOV. “We had about one metre of space above the court so when the robotic camera looked up we replaced the roof structure with a live shot of Burj Khalifa, accompanied with player images, logos and a five metre wide #squashindubai image from outside. So many people at the venue were puzzled, looking around to see where it was coming from when they saw it on screen – you know you’ve got the illusion right when they do that.’

For 15 years MOOV has produced virtual and augmented graphics for numerous worldwide sports broadcasts at Olympic Games, The Grand National and many high profile football and rugby events, but had not previously attempted anything like this. MOOV worked on the project with its longtime partner ChyronHego.

“We worked closely with MOOV to work out not only the technical requirements and also the design brief. We are excited to see this, our first Virtual Placement project, on air with MOOV.’ said Mark Bowden, head of technical integration at ChyronHego.

The 2016 Dubai PSA World Series Finals saw the world’s eight best male and female players compete in a five-day tournament to determine the final title of the 2015/16 season and squash’s most lucrative prize. The PSA Dubai World Series will be staged in Dubai for the next two years following an agreement between PSA and Dubai Sports Council, facilitated by Falcon and Associates.

Appleton added, “We’ve already got great ideas to further enhance the broadcast experience for next year’s event, which will be held in the superb 2000 seat Dubai Opera house.’

More information is available at the PSA Dubai World Series Finals website.

Panavision announces new 8K digital camera

Cera-Jane Catton
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Panavision is introducing the Millennium DXL Camera. DXL was developed through a combination of three companies’ contributions: large format optics and modular accessories from Panavision, a brand new 8K sensor from RED Digital Cinema, and new colour science and optimised workflow from Light Iron.

According to Kim Snyder, president and CEO at Panavision, DXL is offered in response to heightened demand for large-format cinematography. “Our unparalleled fleet of large format and anamorphic lenses has been extremely popular in this resurgence of large format capture, and with the Millennium DXL, cinematographers now can capture more than 20-megapixels of true 4K anamorphic pictures.’

At the core of DXL is a proprietary image mapping process called Light Iron Colour (LIC), which provides a unique, cinematic look directly out of the camera. LIC integrates seamlessly with DXL’s ultra-high resolution sensor, a new 8K imager manufactured by RED Digital Cinema, and with Panavision’s large format lenses. The camera body was designed with ergonomics and temperature management in mind: its mid-size form factor is extra lightweight, yet allows for an airflow system that dissipates heat more quietly than compact competitors. DXL also has built-in, crew-friendly, modular accessories to improve versatility and quick changeovers during production.

“Our streamlined workflow includes simultaneous recording of 4K proxy files – ProRes or DNx alongside the 8K RAW files,’ states Michael Cioni, DXL product director and president of Light Iron. “This creates a direct-to-edit workflow with the NLE of your choice. Using efficient SSD media, the cost of capturing 8K files with DXL is more economical than using third-party recorders on lower resolution cameras. LIC and our Panavised Outpost Systems provide a workflow for DXL that can be easily adopted for shooting large format photography.’

“What is exciting,’ adds Cioni, “is that cinematographers will notice how 8K acquisition creates images that are smoother, not sharper. With a full frame 35-megapixel imager, DXL provides a super-sampled image, much like large format still photography, so that its smoothness is retained whether you finish in 4K, 2K, or HD.’

Jarred Land, president of RED Digital Cinema, notes that the collaboration with Panavision marks “the next step forward for the industry. RED pushed the motion picture industry into file-based RAW image capture a decade ago, but Panavision has been renowned for their optics and engineering for more than 60 years. Together with Panavision and Light Iron, we’re shaping the future of large format cinematography.’

Snyder concludes, “Panavision’s mission is to provide our customers with leading-edge tools and technologies that enable them to achieve their creative vision, and the Millennium DXL is a platform that allows us to expand the ways in which we can do just that. I am very excited about the next phase of our company’s growth and cannot wait to present all of the products and ideas that we are developing.’

The Millennium DXL will be rented exclusively through Panavision and will be available in early 2017.

For more information visit the Panavision website.

An opportunity with OnTap TV for South African filmmakers

Cera-Jane Catton
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ONTAPtv.com™ is a new video on demand platform in South Africa. Subscribers are able to watch films and television series either by streaming content on a pc or mobile device or by downloading to a mobile device

ONTAPtv.com™ offers South African producers an opportunity to showcase their films on its South African platform, whether these are feature films, shorts, documentaries or series. Simply submit your film to ONTAPtv.com™ on a USB drive as an MP4 file or as a .MOV file.

If your film is accepted, then ONTAPtv.com™ will contact you to discuss formalities.
If you have any questions, you can contact Kelly-Anne at (011) 797 3386, or email at kamorgan@pccwglobal.co.za.

You need to provide your contact details: full name, cell phone number, and email address.

If your film is not accepted, which is at the sole discretion of ONTAPtv.com™, you may collect the USB drive from their offices:

PCCW Global
Building 12
Woodmead Estate
1 Woodmead Drive
Woodmead
2191
Johannesburg
South Africa.

If not collected within 14 days of email notification by ONTAPtv.com™ it will be deemed abandoned and ONTAPtv.com™ will dispose of it.

The 2016 WGSA Muse Awards are now open

Cera-Jane Catton
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The WGSA will be hosting a knowledge share session and panel discussion with a previous WGSA Muse winner and two previous judges in Johannesburg, Pretoria and Cape Town on 11 June 2016 from 9h00 to 13h00. The venues are still to be announced.

Cover Fees

WGSA student members: Free
WGSA members/students with valid student cards and members of affiliated organisations: R50
Non-members: R100

Booking is essential, to book email admin@writersguildsa.org and indicate in which city you would like to attend.

The 2016 WGSA Muse Awards are now open for entries. The judging process of the Muse Awards is jury based and multi-phased.

Considerations will be made concerning the concept and theme, characterisation, genre, language and style, story and structure, pace, dialogue, and professional format and presentation.

The WGSA Muse Award categories are: screen, television, documentary, stage play, radio drama, animation, games and web series. Only scripts written by paid-up members of the WGSA are allowed to enter the awards.

The entry deadline is 30 September 2016.

For all the relevant information visit the WGSA website.

Family Media TV powers up with PlayBox Technology AirBox Neo

Cera-Jane Catton
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Family Media TV, the largest independent Christian broadcasting network in east and central Africa, has chosen a broadcast playout solution based on the PlayBox Technology AirBox Neo. The new system has been installed as part of a major upgrade of the facilities at the network’s headquarters in Nairobi.

“We have been aspiring to AirBox playout for several years,” says Leo Slingerland, founder and CEO of Family Media. “The system we have chosen will allow us to advance our Family TV channel from standard definition to high definition. Our AirBox Neo configuration combines the efficiency of automated playout with the freedom to insert live content from our production studio into the schedule. Colleagues from other channels speak very highly of AirBox so it was a logical replacement for old SD legacy system.”

“AirBox integrates very well with our file-based workflow so this is significant step up,” adds Family Media’s general manager, Ken Masiolo. “Our installation includes CaptureBox Neo, TitleBox Neo and ListBox. We use CaptureBox Neo to ingest studio feeds and legacy tapes. It also accepts satellite feeds and file-based content, switched via an internal router. We use ListBox for offline prescheduling, working as far ahead as we like right up to the moment of transmission. The TitleBox Neo module enables our staff to create titles, animated graphics and moving news text either in free form or based on predesigned templates. AirBox is reliable and very easy to drive.”

“We are very pleased to see Family Media joining the large number of AirBox users around the world,” adds Don Ash, president of PlayBox Technology Limited. “AirBox gives our customers the ability to configure playout systems which exactly match their current operational requirements in the confidence that they can scale up to accommodate extra channels or new transmission standards.”

For more information visit the PlayBox Technology Limited website.

Telemetrics displays innovative camera robotics offering at Broadcast Asia

Cera-Jane Catton
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Telemetrics Inc. is showcasing a selection of the company’s camera robotics and control products at Broadcast Asia, taking place between 31 May and 3 June 2016 in Singapore. The products on display exemplify Telemetrics’ long history of delivering products to the broadcast and video production industries.

Featured Telemetrics products include the versatile RoboEye™ HD Camera/Robotic PTZ that delivers HD imaging and high-end robotics performance in a fully integrated package, and the RCCP-1 Control Panel providing unified command over camera robotics and camera shading.

Telemetrics is also previewing its new PT-LP-S5 Pan/Tilt Head which features a unique counter balancing system that enables quick, easy, and accurate setup and commissioning. A quick button access enables pan, tilt and pedestal limits to be set directly on the PTZ head, without the need for a control panel. LED indicators provide monitoring capability for Ethernet connectivity, power and load out of balance status. Along with direct Ethernet and Wi-Fi support with pass-thru, the PT-LP-S5 is virtual set ready.

Telemetrics is also displaying its software platforms for studio and legislative chamber applications. Telemetrics Studio Software is an intuitive workflow solution that lets operators focus on creating brilliant and compelling productions. Features include unlimited programmable shots, shows and cameras; various shot modes including single camera/storyboard mode complete with image thumbnails, robotics positioning and camera settings; camera shading; concurrent control of cameras; and advanced motion record/playback. The Studio Software is also EDCS compatible to allow database synchronisation of shows, shots and camera settings across the enterprise.

Telemetrics’ LGS Legislative Automation Software is designed to enable production of live, high quality legislative and corporate meeting video content while decreasing operating expenses. The high-production platform features a one-touch user interface for instant shot, camera and graphic page recall actions; advanced third party device event triggers; and prioritised camera assignment to route the best camera shot to preview.

For more information visit the Telemetrics’ website.

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