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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.

4K-UHD Summit 2016

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Even though it has been investigating the technology it regards as a new frontier for two years, Sky has revealed that virtual reality still has quality issues hindering mass adoption.

Speaking at the 4K-UHD Summit 2016 in Seville, Massimo Bertolotti, head of engineering and innovation Sky Italia, said that the company’s fundamental intention regarding VR was to create new content and product experiences for customers. He added that as regards content at least, all the trends pointed to the fact that VR was “an interesting platform’ from which Sky could create a new experience in a country where it had not yet rolled out 4K services (unlike the case with its subsidiaries in the UK and Germany).

Bertolotti said that the task ahead for Sky Italia was to go and generate content to create such new experiences from sport to films and from TV series to documentaries. The experience established for each of these categories would be different, plus, and most crucially, he said that the company was busily rolling out 360-degree video in news.

The executive stressed that he was not taking about TV – “360-degree is not ready for that yet,’ he said — but nevertheless he regarded 360-degree video for news as a revolution where Sky had the opportunity not just to show some highlights but instead have the possibility for real context and real live views.

“VR can offer a new relationship between the customer and the digital platform. In some cases journalists have difficulties in presenting in 30 seconds a full story. They can do so now and let the users really understand the context,’ he revealed.

Yet despite this process, Bertolotti cautioned that Sky Italia was not yet fully ready for VR. In the two years that the company has been using VR, it was confident that it found a good post-production ecosystem and workflow and had a good idea as to what content will be interesting or not. But one big issue was quality.

“A portion of [the picture that is delivered to a user] is less than 4K for users. Also users typically watch VR from a mobile phone and they often can’t get a 4K stream all of the time. Our technology people are working on a solution for this but it affects workflow, every part of which has to change.’

Concluding, Bertolotti said that Sky’s roadmap was to create an ecosystem of the future despite VR not enjoying the same levels of investment enjoyed by 4K service and that maybe it would be two or three years before “the full story’ emerged.

Source: Rapid TV News

Kwese and Discovery Communications announce partnership across sub-Saharan Africa

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Econet Media, and Discovery Communications announced the start of a long-term broadcasting partnership for Africa. Four Discovery Networks channels; IDX, Discovery Science, Animal Planet and Discovery’s latest turbo channel, DTX, will join the African media company’s growing Kwese TV portfolio upon the launch of the platform, offering a mix of well-established shows and never-before-seen content for African audiences.

“Our purpose is to give our audiences access to the best programming from all over the world’, said Joseph Hundah, CEO Econet Media. “Discovery’s thought-provoking and compelling content is globally recognised for its quality and entertainment value. These channels are a natural fit for Kwese, adding a unique dimension to our programming which we believe will appeal to our different audiences across Africa.’ he added.

“Joining forces with Kwese represents our commitment to expand our African consumer fan-base and bring our content to more audiences, across more screens than ever before,’ said Dilek Doyran, Vice President of Commercial Development, Discovery Networks CEEMEA. “IDX is one of our most globally successful channels, with sticky content that keeps its female audiences gripped to their seats as the mystery unfolds; while DTX, our newest channel brand for younger males, offers lovers of turbo programming a dedicated home to quench their first for everything fast and loud. With Animal Planet and Discovery Science included, this is the perfect channel line-up for the whole family to enjoy.’

Making its debut on African screens, DTX, which will be exclusive to Kwese, is a fully-loaded, turbo-charged entertainment channel offering African viewers a non-stop programming line-up with “Xtra’ man appeal. Transporting viewers into a world where speed, adrenaline and extreme antics rule, themed nights on DTX include; “Xtreme Mondays’, “Totally Turbo Tuesdays’ and “Feel Good Fridays’, plus a dedicated Eurosport block on Sundays featuring highlights from a selection of the world’s biggest turbo-themed sporting events. Programme highlights early next year include How it’s Made: Dream Cars, Kindig Customs and Fantomworks.

Animal Planet is one of the world’s most-loved wildlife networks, offering viewers a unique and compelling mix of heart-warming, hilarious and uplifting programming straight from our charismatic and lovable animal ambassadors. In 2017 the animal fun continues, with new shows such as Deadliest South Africa and Meet the Penguins premiering on the channel, as well as the globally popular series Treehouse Masters.

The only global channel dedicated to science, Discovery Science celebrates science as part of our everyday lives. From the low-tech to the high-tech, and from how your smartphone works to the mysteries of the universe, Discovery Science satisfies the needs of those who are curious by nature through diverse genres such as space, gadgets, engineering and body science. When Discovery Science launches next year, Econet viewers will be treated to programming such as Stephen Hawking’s Universe, Alien Encounters and Storm Rider.

IDX is a market leader in the mystery and suspense genre, showcasing the best in gripping stories and dramatic reconstructions of real-life mysteries, all filmed in a contemporary and stylish format. From devious housewives to vengeful husbands, IDX depicts intriguing real-life stories of passion and revenge to satisfy the most curious and inquisitive viewer. Content guaranteed to keep viewers at the edge of their seats next year includes, People Magazine Investigates, How (Not) to Kill Your Husband and Married with Secrets.

DTX will be exclusive to Kwese across Africa, alongside Animal Planet, which will be exclusive in select markets including Ethiopia, Ghana, Kenya, Lesotho, Liberia, Nigeria, Rwanda, Democratic Republic of Congo, Sierra Leone, Tanzania (including Zanzibar) and Uganda.

AMT revolutionises network communications for broadcast video field operations

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Accelerated Media Technologies (AMT) Inc. showcased its ENGenesis™ bi-directional 2/7GHz BAS band communications solution at NAB New York. Based on industry standard Long Term Evolution (LTE) technology, ENGenesis incorporates innovative IP architecture to enable high-bandwidth IP bi-directional connectivity of A/V streams, VoIP and Internet traffic with up to 50 per cent greater sensitivity even at low levels in areas with obstructions such as heavy tree coverage.

ENGenesis recently received FCC part 74 type acceptance after extensive field trials and deployments providing documented proof of performance.

“ENGenesis is the new benchmark for broadcast video, audio and IP data communications between field production units and their base studios,’ said Dudley C. Freeman, VP of Business Development, Accelerated Media Technologies. “We are extremely pleased to have received FCC part 74 type acceptance, which is unique to ENGenesis. This innovative transmission solution enables broadcasters to gain a significant competitive edge by enhancing their field production operations with superior sensitivity, and better overall performance and cost-efficiency versus legacy microwave equipment systems.’

AMT’s ENGenesis 2/7GHz BAS band communications solution utilizes a single high-capacity radio channel to support simultaneous bi-directional IP based video/audio/data communications, thus providing broadcast stations with high capacity private networks. The unique bi-directional communications solution enables full remote control of IP devices in the field from a centralized studio. ENGenesis’ innovative LTE Dynamic Bandwidth Allocation also provides improved support for multiple field units with myriad performance benefits while eliminating cellular airtime costs.

With greater than 36dB front end gain versus conventional DVB-T systems (a 50 per cent increase in sensitivity), ENGenesis delivers superior image quality with a transmission range of up to 80 kilometres using simple, small-footprint antennas that do not require elevating masts on vehicles or directional antenna adjustments on towers or buildings. Exceptional Quality of Service (QoS) allows broadcasters to set user and application data priorities to control traffic by field unit, by application within a field unit, or both.

“ENGenesis allows TV stations to virtually bring their studio control and operations into the field,’ continued Mr. Freeman. “It is truly a game changer for the broadcast industry.’

Passing of SA film pioneer Jans Rautenbach

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Last week, on 2 November 2016, a pioneering filmmaker in South, Jans Rautenbach, the director of such controversial films as Die Kandidaat, Katrina and the frightening Jannie Totsiens, passed away at the age of 80.

Born in Boksburg in 1936, Jans Rautenbach was arguably South Africa’s most celebrated and, at the same time, most controversial filmmaker. He began his career in the film industry working for Jamie Uys Film Productions and can be glimpsed as a beer swilling bar patron in Emil Nofal’s Kimberley Jim. He also worked as a production manager on the Jamie Uys film Dingaka.

When Emil Nofal and Jamie Uys parted company, Emil Nofal started his own production company with Jans Rautenbach and thus began what could be considered South Africa’s golden age of cinema, with the partners releasing King Hendrik (1965) ~ a gentle political comedy in which a small town in South Africa discovers that it can legally declare itself independent from the rest of the country and does so ~ Wild Season (1967) ~ a human drama set against the backdrop of the sea and all its perils for those who make a living on the waters; Die Kandidaat (The Candidate) (1968) ~ a harrowing look at the stifled nature of South Africa and South African politics as an organization based on the feared Afrikaner Broederbond goes about its’ daily business, and their most controversial and thought-provoking feature Katrina (1969).

The latter film is still considered to be a milestone in South African cinema ~ a searing examination of South Africa’s horrific racial policies under Apartheid ~ and also a film which was applauded (instead of being vilified) by those who instituted those exact same unjust laws. Rautenbach also produced and directed the eerie Jannie Totsiens (Johnny Farewell) , a harrowing tale set in a lunatic asylum which is further disturbed by the arrival of a person of discord, namely a catatonic mathematics professor. This production is now known to have been South Africa’s first horror genre film and also its’ first black comedy as there are dashes of humour in an otherwise terrifying tale.

Among Rautenbach’s other notable films are Ongewenste Vreemdeling (The Unwanted Stranger) which was based on the popular Springbok Radio serial, the experimental film Eendag Op “n Reendag, (Once Upon A Rainy Day) the well-received doppelganger comedy Blink Stefaans (Double Crazy) and the powerful racial drama Broer Matie. (Brother Matie) During production of the latter film, the apartheid laws were broken time and time again, especially the ludicrous one that stated that “people of differing race could not be in the same shot or scene together’, rules which Rautenbach continually ignored, even to the point of getting the film’s star, Simon Bruinders into the premiere of his film. Rautenbach also directed Winners 2 – the sequel to the 1972 worldwide box office success The Winners and the German – South African co-production No One Cries Forever.

Rautenbach’s final film was Abraham, the true, tragic and emotional story of the poverty stricken Abraham Soetland who reached out to Rautenbach as a mentor and friend and whose artworks still adorn Rautenbach’s home in the Western Cape.

Source: National Film, Video and Sound Archives

4K adoption up 104 per cent

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Total US home entertainment spending was nearly $4.2 billion for the third quarter, bringing the year-to-date total to more than $13 billion — with 4K/Ultra HD on the rise.

According to the Digital Entertainment Group (DEG), this means that sales rose 3.8 per cent in the third quarter compared to the same period last year, including robust sales for 4K/Ultra HD TVs, Ultra HD Blu-ray players and 4K/Ultra HD Blu-ray Discs.

An additional two million 4K/Ultra HD TVs were sold in the US market, up 104 per cent from the third quarter of 2015 and bringing the total number of sets purchased to 9.9 million. In total, 72 4K Ultra HD Blu-ray title releases are now available.

HDTV penetration meanwhile is approaching the total number of US households. The DEG estimates that 85 per cent – 104.5 million – of all US homes have at least one HDTV.

Video-on-demand (VOD) platforms continued to grow, up about five per cent in the quarter from a year earlier.

To date, home-entertainment sales are up 2.5 per cent in the first three quarters of 2016. Consumers continued to show their interest in Blu-ray disc movies and TV shows, with spending up nearly six per cent for the quarter and about eight per cent for the year. Blu-ray playback devices (including set-tops and game consoles) are in nearly 87 million US households.

Consumers also continued to transition their collection of filmed entertainment to digital, with digital HD – or electronic sell-through (EST) – up nearly 10 per cent over the same period last year.

Source: Rapid TV News

MARS an unprecedented global event series

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Of all the planets in our solar system, none has captured our collective imagination like Mars — a mysterious, indelible part of the zeitgeist. The quest to send humans to Mars has engaged the top minds in science in a modern-day space race, and it has infiltrated pop culture through blockbusters like Andy Weir’s The Martian and through out-of-this-world tweets from astronaut Scott Kelly. Now, National Geographic Channel (NGC), Academy Award- and Emmy-winning producers Brian Grazer, Ron Howard and Michael Rosenberg of Imagine Entertainment; and Academy Award-nominated and Emmy-winning producer Justin Wilkes and Dave O’Connor of RadicalMedia have joined forces to launch viewers farther into outer space than ever before with the global event series MARS.

Premiering on the National Geographic Channel in 171 countries and 45 languages this November, MARS — which is set both in the future and in the present day — will redefine television storytelling by combining feature-film-quality scripted drama and visual effects with best-in-class documentary sequences to drive forward a cohesive, edge-of-your seat story of mankind’s thrilling quest to colonise Mars. This epic six-part global event series tells the inspiring story from the vantage point of a fictitious crewed mission in 2033.

“Grazer and I, along with our friends at Radical, had this ambitious idea, which was to create a documentary about the quest to go to Mars but also bring it to life in a really dramatic and cinematic way,’ said executive producer Ron Howard. “The offer to the audience will be information meets vivid and experiential filmmaking. Nat Geo’s ambition was high, and we are really honoured and thrilled to try and meet that challenge.’

The starting point for this unique storytelling method is the year 2033, and we have embarked on the first crewed mission to MARS. As dramatic scripted elements and feature film-calibre visual effects bring this future world to life, the modern-day quest to reach the red planet is told through documentary verite and interviews with the present-day scientists and innovators who are leading the research and development of space technology that will make the 2033 mission possible. Executive producers Howard and Grazer hand-selected visionary Mexican filmmaker Everardo Gout (Days of Grace) to direct the scripted portions of the series, filmed earlier this year in Budapest and Morocco.

The First Crewed Mission to MARS

MARS envisions the future of space travel funded through a corporate-public partnership of two fictional organisations: the Mars Mission Corporation (MMC), a consortium of aerospace corporations formed in 2022 and headquartered in London that builds and manages the technological hardware for the Mars programme, and the International Mars Science Foundation (IMSF), which was created by a coalition of space-faring nations to carry out a mission to Mars.

The scripted portion focuses on Earth’s first crewed mission to MARS aboard the spacecraft Daedalus. Its maiden voyage in 2033 is crewed by a carefully selected international crew of six uniquely qualified astronauts, including American mission commander Ben Sawyer (Ben Cotton), Korean American mission pilot Hana Seung (Jihae), Spanish hydrologist and geochemist Javier Delgado (Alberto Ammann), French mission physician and biochemist Amelie Durand (Clementine Poidatz), Nigerian mechanical engineer and roboticist Robert Foucault (Sammi Rotibi) and Russian exobiologist and geologist Marta Kamen (Anamaria Marinca). Back on Earth, the MMC control team based in London includes Hana Seung’s twin sister, capsule communicator (CAPCOM) Joon Seung (also played by Jihae) and French CEO of the MMC Ed Grann (Olivier Martinez).

Once Daedalus successfully lands on Mars and sets up a preliminary base of operations, British nuclear physicist Leslie Richardson (Cosima Shaw) will lead a Phase 2 settlement team along with her husband, world-renowned experimental botanist Dr. Paul Richardson (John Light).

The production team took painstaking efforts to base the scripted narrative in real-world science. The series writing team worked with an extensive group of experts, both in the public and private sectors, to understand how the science could serve the story. Dr. Robert Braun, an aerospace engineer and professor of space technology at the Georgia Institute of Technology, provided expert consultation on all scientific aspects of the fictional storyline. Dr. Mae Jemison, a former NASA astronaut who holds the distinction of being the first woman of colour in space, acted as a space advisor on the series, working closely with the cast to help them hone their portrayals.

In terms of the visual look of the series, production designer Sophie Becher turned to NASA and SpaceX to help inform her designs of the Daedalus spaceship and Olympus Town, the first human colony on Mars as portrayed by the series. Costume designer Daniela Ciancio extensively researched the types of fabrics being created today to make spacesuits lighter, stronger, more flexible and radiation resistant to protect the astronauts of tomorrow. And Framestore, the Academy Award-winning visual effects team behind Gravity, will layer in the final external visuals to complete the look of the series.

Visionaries paving the path

MARS also showcases an unprecedented collection of interviews with the top scientific minds currently working to overcome the many obstacles that stand in the way of an eventual maiden launch. National Geographic received exclusive access to film Elon Musk (founder of Tesla and SpaceX) and his team at SpaceX mission control as they successfully landed their Falcon 9 reusable rocket on a drone ship off the East Coast of the U.S. this past April.

“The future of humanity is fundamentally going to bifurcate along one of two directions: either we’re going to become a multi-planet species and a spacefaring civilisation, or we’re going to be stuck on one planet until some eventual extinction event. In order for me to be excited and inspired about the future, it’s got to be the first option,’ says Musk in the series.

MARS brings together all of the world’s leading minds in a way never before accomplished — think of the world’s largest TED talk with the most fascinating people on Earth. Those interviewed for the series include:

• Charles Bolden, NASA administrator; former NASA astronaut
• Peter Diamandis, founder and executive chairman, X-Prize; co-founder and co-chairman, Planetary Resources
• Neil DeGrasse Tyson, director, Hayden Planetarium at The Rose Center for Earth and Space
• David Dinges, professor, department of psychiatry, University of Pennsylvania
• Casey Dreier, director, space policy, Planetary Society
• Ann Druyan, executive producer and writer, Cosmos
• Charles Elachi, retired director, NASA’s Jet Propulsion Lab (JPL); professor emeritus, Caltech
• Jim Green, NASA planetary science division director
• John Grunsfeld, NASA associate administrator, Science Mission Directorate; former NASA astronaut
• Jennifer Heldmann, NASA planetary scientist
• Jedidah Isler, award-winning astrophysicist; emerging Explorer, National Geographic
• Thomas Kalil, deputy director, policy, White House Office of Science and Technology Policy; senior advisor, science, technology and innovation, National Economic Council
• Roger Launius, associate director, collections and curatorial affairs, Smithsonian Institution’s National Air and Space Museum
• John Logsdon, professor emeritus, political science and international affairs, George Washington University
• James Lovell, former NASA astronaut; commander, Apollo 13 mission
• Elon Musk, CEO and chief technology officer, SpaceX; CEO, Tesla Motors; chairman, SolarCity
• Stephen Petranek, author, How We’ll Live on Mars
• Mary Roach, author, Packing for Mars
• Jennifer Trosper, Mars 2020 mission manager, JPL
• Andy Weir, author, The Martian
• Robert Zubrin, president, The Mars Society; president, Pioneer Astronautics

The quest not only to reach Mars but also to colonise it one day has stirred vigorous debate within the space community. The question is not only “could we?’ but also “should we?’ Neil DeGrasse Tyson is not convinced that we have to send humans to Mars; he bets it would take less effort and less money to figure out how to survive threats to Earth than to colonise another planet in order to maintain the species: “I think we should visit planets, as you’d visit any place you’ve never been before… But we evolved on Earth to live on Earth.’

The consensus seems to be forming that humans will eventually make the trip to Mars, but the time table for doing so also remains a point of debate. Robert Zubrin, president of The Mars Society and of Pioneer Astronautics, makes a bold assertion: “If the next president were to get up in the spring of 2017 and announce his or her commitment to send humans to Mars, we could be there by the end of that administration’s second term.’

A Global Event

National Geographic will extend the MARS storytelling in an unprecedented cross-platform effort, including a six-part digital companion prequel series. Before MARS, which will launch prior to the premiere, is an extensive digital virtual-reality experience at www.MakeMarsHome.com.

MARS is produced by Imagine Entertainment and RadicalMedia for NGC. For Imagine Entertainment, Brian Grazer, Ron Howard and Michael Rosenberg are executive producers. For RadicalMedia, Justin Wilkes, Dave O’Connor, Jonathan Silberberg and Jon Kamen are executive producers. For NGC, Robert Palumbo is executive producer; Matt Renner is vice president, production; and Tim Pastore is president, original programming and production.

African content is king at DISCOP Johannesburg 2016

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DISCOP Johannesburg wrapped up on Friday 4 November after three days of intense deal-making between hundreds of production companies, distributors and media platforms from across Africa and beyond.

With a more streamlined and business-oriented approach, the market saw a major increase in African representation with African content producers taking centre stage throughout the event.

Feedback from many of the organisations attending this year’s event all pointed to an increased interest in African content. International distributors, perhaps for the first time, are experiencing major competition from African content producers and suppliers. With twice as many exhibitors from Sub-Saharan Africa as last year, African content on offer was not just more abundant, but also of higher quality.

This content is now in high demand from broadcasters, Pay-Tv operators, Telco’s and mobile and online content aggregators: 218 content distribution platforms from 39 African countries from Africa attended DISCOP Johannesburg, predominantly seeking locally generated content.

This trend is in-line with other regional trends over the past few decades, as Basic Lead CEO and DISCOP organisation director Patrick Zuchowicki explains, “Across Central and Eastern Europe, where we started our first DISCOP markets 25 years ago, there was also a marked increase towards locally or regionally produced content. Whilst international content was not fully replaced, better production values in locally produced content spurred an increase in interest in homegrown content that still exists today. Africa is now at the start of that same trend that will see more and better produced African content taking its place on screens across Africa and beyond. Our international content producers were certainly feeling the heat this year from the increase in both the quantity and quality of African content on offer.’

Whilst registration was up for this year’s DISCOP Johannesburg, the event team was mindful to ensure a high quality mix of serious producers and distributors – and this year’s event had a much more business-focused feel, as many delegates will attest.

267 independent production companies were in attendance hailing from Africa – an increase from 193 last year – to take part in a rich program of talks, workshops and pitching sessions offered alongside the three-day market.

The total number of companies participating in this year’s event was 742, an increase from last year’s 637 and the organisers are optimistic about the continued growth of the annual DISCOP Johannesburg and DISCOP Abidjan events. The USA was welcomed as this years’ guest country as part of ongoing effort to assist and encourage American independent producers and platforms to build stronger ties with South Africa.

As part of a concerted effort to promote film content produced in Africa, DISCOP Johannesburg partnered with the inaugural edition of the Joburg Film Festival, which ran from 28 October to 4 November.

Next year’s DISCOP Johannesburg will take place from 25 to 27 October in order not to conflict with the American Film Market anymore. DISCOP Abidjan will take place from 30 May to 1 June.

For more information visit the DISCOP website.

Photo and film location in CT

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A hidden gem with a domed roof in the southern suburbs of Cape Town is available for photo and film locations.

The Novalis Ubuntu Institute in Cape Town is a non-profit organisation committed to acknowledging, honouring and nurturing the unique gifts, talents and inner resources of each individual.

Their Holistic Adult Education Programme combines Steiner education principles with Ubuntu, the universal spiritual values embraced in African philosophy. They have been working in holistic education for more than 30 years.

The Novalis Ubuntu Institute is a unique and versatile venue centrally located.
The Institutes easily accessible venue make it suitable for a variety of events including conferences, workshops, exhibitions, seminars, talks, concerts, musicals, board meetings, receptions, screenings, launches, creative events and we are a great location for photography and film shoots.

Their clients include trainers, facilitators, NPO’s, government departments, both small and larger businesses, film and photographic companies, theatre groups, therapists, artists, authors and community markets.
The Novalis Ubuntu Institute offers a variety of cost effective options to suit both small and larger groups and events, productions and shoots.

For more information visit the Novalis website.

Intra brings a new catalogue to Africa

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Intra Communications, Inc. presents its special and totally new catalogue for Africa at DISCOP 2016 held between 2 and 4 November. Many years of experience in TV content business show that TV channels rating depends on our work. So Intra has been gathering from all over the world the most interesting, most valuable and high quality TV programmes to increase number of audience and meet their needs. The most important for us is to be able to deliver each title to its viewer. That is why their catalogue includes more than 500 hours of various programmes. Each channel can find the most required programs for its audience such as: Travel, Wildlife, Lifestyle, Family\Kids and Educational titles and others. They work to make your job easier, more interesting and valuable.

View Catalogue Here.

Passing of a South African film industry stalwart, Junaid Ahmed

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Junaid Ahmed, was an international award winning writer, director, and producer of Happiness is a Four Letter Word, Hard to Get and the upcoming film, Keeping up with the Kandasamys.

“Junaid Ahmed’s contribution to the South African and International film industry is unparalleled and the news of his passing caught us by surprise. Junaid will forever be remembered not only for his belief that it is essential that young aspirant filmmakers are given every opportunity to develop their craft, but also for his humour, sharing nature, and hard work. His memory will live on through the tears, the laughs and the motivation he has given South African audiences through the films he has created over the years. We send our deepest condolences to the Ahmed family and wish them strength during this difficult time,’ says Zama Mkosi, CEO of the National Film and Video Foundation.

Ahmed’s journey with the NFVF began with the films Stockholm, and Zululand. His relationship has continued to grow with the NFVF family through the years. Ahmed’s hard work and persistence allowed him the opportunity to become one of the first slate fund recipients from the NFVF, through his unique proposition to develop a program targeted at sourcing and developing emerging black talent within the local film industry.

The National Film and Video Foundation will in due course organise a memorial service in honour of Junaid Ahmed for the industry.

The Independent Producers Organisation mourns the passing of Ahmed. His works include productions for South Africa broadcasters, Channel 4 and the Discovery Channel. His accolades include Best Sports Documentary at the Milan FICTS Festival for Iqakamba – Hard Ball and Lucky – BAFTA nominated for Best Short Film and winner of Best Short Film at over 40 International Film Festivals including Oscar eligible festivals of Clermont Ferrand, Cinequest San Jose and Aspen Shortsfest.

“Junaid indeed epitomised excellence! His work, professionalism and commitment to his craft positively impacted the lives of many people, not only in South Africa, but also around the world. May his soul rest in peace,’ says Akin Omotoso IPO chairperson.

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