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Training opportunity for aspirant scriptwriters in Gauteng 

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Training opportunity for aspirant scriptwriters in Gauteng 

The National Film and Video Foundation is offering a part-time training opportunity to individuals who wish to train as scriptwriters in the film and television arena.

The successful candidates will go through an intensive SEDIBA “Spark” Screenwriting Training Programme where they will be provided with the screenwriting tools to develop engaging stories that have the potential to be feature films.

This part-time training programme will run for five months, comprising of one workshop per month held during weekends, with final course deliverables to be sent in by participants one month after the last workshop. Workshops will be in the Gauteng province. Selected participants will have to attend all five workshops of which dates will be communicated in due course.

The programme will be at no cost to selected participants

Requirements: 

  • Relevant tertiary qualification or some experience in the film and television industry.
  • One page synopsis of your idea for a film.
  • Motivational letter to include: what inspired the idea? why would you like to be in the film and television industry? and what your future career path is?
  • A comprehensive CV

Desirables 

  • Broad knowledge of current trends in contemporary fiction, theatrical films and TV Drama
  • A creative imagination
  • Excellent computer skills
  • Good negotiation skills

Enquiries should be directed to Henry Chauke: 011 483 0880 or henryc@nfvf.co.za

Deadline for applications is Friday, 23 February 2018.

Email applications to training@nfvf.co.za or hand deliver to 87 Central Street, Houghton, Johannesburg (NFVF Offices)

NB: Late or faxed applications will not be considered

 

 

 

Cartoon Network Live production comes to SA

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Cartoon Network Live production comes to SA

Cartoon Network Live will feature Cartoon Network’s Ben 10, The Amazing World of Gumball, Adventure Time, and The Powerpuff Girls in an interactive stage production for kids aged five and up.

In Cartoon Network Live, Kelvin Gizmo, scientist extraordinaire, takes viewers into the world of Cartoon Network, which is under threat of Zarr, the evil robot. Viewers will travel through the Land of Ooo, the city of Townsville, and Elmore and meet their famous inhabitants.

The production aims to bring together an international, award-winning creative team to ensure a quality family entertainment stage show for audiences of all ages.

The show is directed by award-winning director and choreographer Bart Doerfler, known for his work on The Wizarding World of Harry Potter at Universal Studios Hollywood, The Walt Disney Company, The Ringling Brothers Barnum & Bailey Circus, Holiday On Ice, and Dreamworks.

The creative team also consists of Stephen Emmer (musical director), Cynthia Nordstrom (costume designer), David Smeets (lighting designer), Michael Al-far (video designer), and Marinus de Graaf (set designer).

Justin Van Wyk, CEO at Big Concerts, adds, “We are very excited to work together with Cartoon Network and the Live Nation team. Cartoon Network Live will feature, for the very first time, all the familiar and beloved Cartoon Network characters, together in one live stage show. Live Nation always strives to bring fans closer to their idols and, with this Cartoon Network Live, we will be doing just that.”

Maria Rosaria Milone, senior director of category management and agent markets, Cartoon Network Enterprises EMEA, says, “Considering Cartoon Network’s leading position in South Africa, we are extremely excited about this partnership.”

Milone adds, “Creating interactive and immersive brand experiences provides not only kids but their entire family with new and exciting ways to engage with our shows and characters. Throughout the development of this production, Live Nation has matched our passion and ambition to bring Cartoon Network’s iconic brands to life, and we can’t wait to see the African fan reaction to this fantastic new live show when it comes to their city.”

The interactive live show is coming to South Africa in June/July 2018.

Cape Town:

  • Date: Tuesday, 26 June until Sunday, 1 July;
  • Venue: Grand Arena, GrandWest
  • Ticket price: R245 to R365 – up to 50% off all off-peak shows

Johannesburg:

  • Date: Tuesday, 3 July to Sunday, 15 July
  • Venue: Montecasino
  • Ticket price: R175 to R390 – up to 50% off all off-peak shows

For more information, visit the Cartoon Network website.

 

Watu Wote trailer

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<em>Watu Wote</em> trailer

Watu Wote, directed by Katja Benrath, is based on the real-life events of the 2015 militant bus attack in Mandera, Kenya in which 28 people lost their lives.

When the Nairobi-bound bus was attacked, the militants instructed all Muslim passengers to separate themselves from the Christian passengers. A Muslim man refused to obey these orders and instead led the other Muslim passengers in shielding the Christians from being shot by the militants.

Produced in 2016 as a graduation film for the Hamburg Media School masterclass programme, Watu Wote (All of Us) won a Student Oscar in 2017.

 

 

 

CNNIC appoints Roland Nikolaou to work with broadcast and digital partners

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CNNIC appoints Roland Nikolaou to work with broadcast and digital partners

CNN International Commercial (CNNIC) has appointed Roland Nikolaou as the senior director of Content Sales and Licensing in EMEA, with a remit to grow content partnerships with traditional broadcasters, digital publishers and platforms.

Nikolaou will also deepen the relationships that CNN has with its existing affiliates across the region through initiatives such as CNN Consult, a bespoke offering of training and consultancy services that draws on CNN’s decades of news and publishing experience, as well as innovation in the digital space.

In addition, Nikolaou is tasked with providing EMEA partners with greater access to award-winning news, business and lifestyle content through the CNN Newsource platform and assessing further licensing opportunities for local channels and products.

Nikolaou joins CNN from sports agency MP & Silva where, as group executive director, he was responsible for driving global commercial strategies including media and brand partnerships. He has over 17 years’ experience in sales and content across EMEA and Asia. Nikolaou reports to Greg Beitchman, vice president, Content Sales and Partnerships, CNNIC.

“This is an opportune time for Roland to be joining us as we bring new products and services such as CNN Consult to market for our wide range of content partners – from linear broadcasters to OTT platforms,” said Beitchman. “His experience and laser focus on developing multi-platform strategies that bring mutual benefit to CNN and our partners will ensure that our content and expertise has a wide impact on the international news and media landscape.”

“I’m delighted to be joining CNN at this exciting time as we look to grow our existing Content Sales partners,” said Nikolaou. “Already I can see the value that CNN brings to our EMEA partners, and I am looking forward to taking this to the next level by deepening those relationships and bringing on new partners in both emerging and developed markets.”

 

Khalo Matabane’s The Number heads to the Pan African Film Festival in LA

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Khalo Matabane’s <em>The Number</em> heads to the Pan African Film Festival in LA

The Number, directed by Khalo Matabane, will have its United States premiere at the Pan African Film Festival (PAFF) in Los Angeles on Saturday, 10 February 2018.  Established over 25 years ago, PAFF is dedicated to the promotion of cultural understanding among peoples of African descent.

Khalo Matabane said, “The selection of The Number by the Pan African Film Festival is a recognition of the importance and relevance of our South African story to people of African descent, and the African diaspora at large. We look forward to sharing this unique story at PAFF.”

The Number is a tale of the nigh-impossible redemption of high-ranking Magadien, a Magistrate of the 28’s, one of the notorious Numbers prison gangs.  It charts his journey as a man who finds his humanity –  from being a hardened prisoner, loyal to his gang, to him turning his back on them and the criminal way of life; to choosing his family and building a relationship with his son.

The Number received acclaim at the Toronto International Film Festival where it had its World Premiere in September last year.

The film was shot in Durban, KwaZulu Natal and features 35 ex-offenders from Kwa Mashu and Wentworth who gave incredible performances, giving a strong authenticity to the world of the story.

The film has been licensed to the United States, Japan and other territories, and it will be presented to buyers at the Berlin International Film Festival next month.

The Number will be released in South Africa later this year.

South Africa chosen to host United Nations Africa satellite symposium

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South Africa chosen to host United Nations Africa satellite symposium

Written by Anthony Penderis, Cape Town

South Africa was chosen to host the United Nations’ first-ever Africa small satellite symposium at the end of last year, a move seen as recognition of the country’s leading role in the small satellite industry on the continent.

The 5-day symposium titled ‘Small satellite missions for scientific and technologic advancement’ held from 11 to 15 December at the Stellenbosch University Wallenberg Research Centre was attended by some 140 delegates from 33 countries.

As Africa’s first-ever conference focussing exclusively on the small satellite industry it provided an ideal forum for exchanging ideas between the continent’s leading satellite manufacturers and the opportunity to engage with international satellite industry leaders.

“It is the first time an event of this nature took place on our continent. We appreciate the regional focus on Africa’s space industry. It gave Africa’s small sat space community a platform to collaborate and exchange ideas,” says ms Pontsho Maruping, chairperson of the South African Council of Space Affairs (SACSA). Her department (SACSA) operates under the Minister of Trade and Industry, exercises regulatory functions in the South African space industry and gives the Minister advice on space-related matters.

The symposium fittingly coincided with Stellenbosch University’s 25th anniversary of starting work on Africa’s first home-grown satellite Sunsat launched four years later in 1999 with the assistance of NASA.  Equally fitting was the fact that Prof Herman Steyn, the now head of the university’s Satellite Engineering Research Group, and co-ordinator of this symposium also worked on the Sunsat project as a young engineer 25 years ago.

“We were especially pleased to have delegates at this symposium from all the Africa countries who developed their own satellites to date. Africa now boasts 8 spacefaring nations which are Egypt, Algeria, Morocco, Nigeria, Tunisia, Kenya, Ghana and of course South Africa,” says Prof. Steyn.

In his wrap-up at the symposium of South Africa’s first 25 years in space, Dr. Sias Mostert, also a member of the original Sunsat team and nowadays Executive Chairman of the SCS Aerospace Group (SCSAG), pointed out that South Africa now has the ability to manufacture up to 80% of small satellite components locally. This was proven by SCSAG’s successfully operating nSight1 satellite recently launched from the International Space Station with 28 other satellites in the QB50 project co-ordinated by the European Space Agency.

Dr. Mostert also expressed his gratitude to Stellenbosch University’s original investment in satellite technology and manpower training 25 years ago which made the satellite industry in South Africa possible today.

Prof Steyn is confident that the symposium will lead to bigger co-operation between the African countries and also expressed the hope that it paves the way for a co-ordinated space programme in South Africa ultimately driven by champions at the highest government levels.

The symposium was made possible through sponsorship by the United Nations Office for Outer Space Affairs, the South African Departments of Science and Technology (DST) and Trade and Industry (the dti), the South African National Space Agency (SANSA) and the European Space Agency (ESA).

 

Sheer Publishing turns 21

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Sheer Publishing turns 21

ADVERTORIAL:

Africa’s largest independent music publishing company celebrates its 21st anniversary. Sheer Publishing is the home of songs that have travelled the world and represents a myriad of Africa’s most prolific songwriters and composers such as Philip Miller, Brendan Jury, Peter Ngobese, RJ Benjamin and Cedric Samson.

In its two decade journey, Sheer Publishing – a middle-sized African entity – has come to represent a global clientele in the music publishing business, fast-tracking its reputation as the leading African independent music publisher. The company boasts a global catalogue that includes some of the world’s most accomplished songwriters and provides expertise in film and television music clearance supervision, jingle and songwriter representation, international copyright and library/production music management.

From the onset Sheer Publishing’s goal was to create a service-oriented business by partnering with talented songwriters and composers, and collaborating with the broader media, advertising and technology industries.

Over the past few years Sheer Publishing has established a network of offices in East Africa, Central Africa and West Africa, culminating in the company’s crowning as ‘Publisher of the Year’ at the 2014 Wawela Music Awards – which was the last time the award was contested.

Sheer’s production music entity Skumba Music, houses the largest South African music library catalogue available under the blanket license, comprising more than 33 local selections of vibrant libraries.

Skumba Music, powered by Sheer Publishing, boasts a catalogue of more than 365 000 high quality tracks which grows by a minimum of 500 new songs on a monthly basis, making it the third largest music library in South Africa by market share and an exclusive distributor of South Africa’s finest production music.

As a publishing company, Sheer has provided numerous television programmes with music, earning placements on popular shows including Generations, Noot vir Noot, Open Varsity, DTV, Soccer 411, Intersections, Spirit Sundae, Private Practice, Jacob’s Cross, Isibaya, Isithembiso, Getroud met Rugby, Muvhango, Skeem Saam, Rhythm City, and Greed and Desire.

The company has always set out to make life easy for music users by not only supplying library music, but also sourcing composers to produce unique scores for series, film and adverts.

Furthermore, Sheer has successfully supplied music on commercials for various big brands including Castle Light, Vodacom, MTN, Renault, Brutal Fruit, Cape Union Mart, and the South African Cricket promos on SABC.

Always working towards promoting South African music heritage, Sheer continues to broaden its South African catalogue with a variety of musical genres and themes which include film scores, orchestral tension builders, drones, kwaito, house, traditional African drums, afro-jazz, hip hop, urban themes, ambient and ethereal soundscapes, action sequences, trailer tool packs and a unique catalogue of original traditional South African recordings dating back to the 1960s.

Sheer Publishing’s albums are neatly packaged according to genre and theme, and filed under renowned composers and film scorers such as Philip Miller, who composed the score for the Emmy award-winning documentary Miners Shot Down; Brendan Jury, who has scored music for South African films iNumber Number, Nothing for Mahala and Happiness is a Four Letter Word; and Peter Ngobese who composed all the logos and stings for SABC News, and has music placements on a host of top South African television series.

Additionally, Sheer prides itself on simplifying the process for library music end users by not only supplying music to them, but also sourcing composers to write specific scores for series, film and adverts.

Sheer Publishing also represents a range of original publishers including the following international clients for Africa: Kobalt Music Publishing, Bicycle Music Group, Songs Music Publishing, Downtown Music Publishing, Mute Song, Passport Music, Dance Cave & Hitpick Songs, African Hypertext, Fastforward Songs, Tanoca Music, Basement Music, Mushroom Music and Enja Records for licensing purposes.

As the film and music industries continue to evolve through extraordinary transitions, Sheer Publishing is committed to serving the long-term music publishing needs of world-class songs and songwriters.

 

Behind the scenes: Getting film equipment from A to B

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Behind the scenes: Getting film equipment from A to B

If you thought the job of moving people around the world was hard work, wait until you need to get film equipment from A to B.

Like any human passenger, freight needs to adhere to the departure and entry requirements of the countries that your film equipment touches. Whether it’s point to point or transiting through a hub en route to your destination, production teams need to ensure all their documentation is prepared and correct to avoid delays and penalties.

“It can be an expensive exercise if you fail to produce the correct documentation when transporting film equipment cross borders,” says Stage and Screen’s Jennifer Smith. “There are set requirements for each country and although you may sometimes not even be asked to produce it, you’ll incur a hefty fine and delays if you’re asked for it and don’t have it.”

There’s no one-size-fits all approach when it comes to transporting gear from South Africa to different countries, says Film Freight’s Richard McCarthy. “One has to consult with the crew and find out where they’re going and how much excess baggage they’ll be travelling with.”

“Even shipping batteries requires special documentation – a Material Safety Data Sheet (MSDS) may need to be produced for every single battery being shipped to verify that they are safe to be transported by air. You have a much better chance of travelling seamlessly if you ensure all your documentation is correct before leaving the country.”

McCarthy explains that the first thing to consider is the destination to which the crew is travelling and whether they will be transiting. “We then check whether these destinations are countries that take part in the ATA Carnet System.”

Simply put, a Carnet is a shipping document that allows you to travel with Boomerang freight, aka goods like film equipment that leaves and returns to the country in its original form, without being required to pay import duty or taxes when you cross a border. South Africa is a participating country, among 87 other countries, including the US, the UK, most of Europe and several African countries.

Think of the Carnet like a passport for all your film equipment, especially when you are travelling with a lot of high-value equipment where the cost of import duty could be sky-high. A Carnet must be carried with you when you are travelling with the equipment, just like a passport would be.

Holding a Carnet does not, however, preclude you from having to comply with the customs regulations of a country.  The equipment must be returned with the original exporter, the characteristics of the equipment must remain the same and they must be identifiable by their serial numbers.

“The Carnet holder or representative must always ensure the country into which the goods are going to imported accepts Carnets and must be present when entering and leaving a country. You must also present the Carnet when leaving the country because if you fail to do so the customs authority in that country may demand that you pay duties and VAT or ask for proof of the current location of the goods. You have to get the sheet signed and stamped correctly before check-in,” explains Smith.

You also need to check your Carnet carefully when you receive it. Ensure it has the correct number of vouchers for your trip and that the equipment list, serial numbers and values are also correct.

A useful tip, says Smith, is that you should make several copies of the front page of the Carnet showing the document number and equipment list. “Ensure that members of your crew have a copy and upload to a Cloud so that you have access to it in case it gets lost.”

“Stage and Screen also recommends that you arrive at your departure airport well before your flight as you will need to complete the Carnet and get it stamped before check-in. If the customs official wants to check the equipment against the list on the Carnet, you wouldn’t be able to produce it, which would be a problem,” concludes Smith.

Written by Natalia Rosa, director, Big Ambitions

Point Of Order trailer

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<em>Point Of Order</em> trailer

Point Of Order, the 2017 SAFTA winner for Best Game Show, is now streaming on Showmax, with new episodes available weekly.

Inspired by the shenanigans in the South African Parliament, Point of Order is a comedy panel show that allows SA’s top comedians and special celebrity guests to talk politics like real MPs, perhaps with a little more sense and sensibility. The panellists also get to debate important and vital new laws – like why South Africa would be a better place if singing in the shower featured 90% local content or if there was a limit on the number of white people songs at karaoke.

Point Of Order is produced by Both Worlds, best known for the two-time International Emmy nominee, ZANews’ Puppet Nation. Thierry Cassuto, Both Worlds’ executive producer and founder, says, “So many people are tuning in to the Parliamentary channel for entertainment these days, we thought it was time the comedians were able to get their own back! Imagine QI but set in a mock SA parliament – it’s definitely a wild ride.”

As Madam Speaker, Tumi Morake was nominated for the Best TV Presenter SAFTA last year. In the first episode out today, the former Savanna Comics Choice Comic of the Year introduces “singer, actress and reformed socialite” Khanyi Mbau as the special guest. As the ‘Minister for Champagne Affairs,’ Khanyi forms part of the ‘Government,’ alongside Nik Rabinowitz and Joey Rasdien. Their ‘Opposition’ comes from comedians Sne Dladla, Ebenhaezer Dibakwane, and Yaaseen Barnes, who immediately gets the banter underway by quipping that Nik couldn’t join the standing ovation for Khanyi because “he’s already standing.”

Upcoming guests include DJ Fresh (15 January), Zapiro (22 January), Karl Ahari (29 January), Leanne Manas (5 February), Nikki Jackman (12 February), Cameron Dugmore (19 February), Mpho Osei-Tutu (26 February), Rebecca Davis (5 March), Lerato Tshabalala (12 March), Jeannie D (19 March), John Maytham (26 March), Mahendra Ragunath (26 March), Raenette Taljaard (9 April), Chester Missing (16 April), Phumzile van Damme (23 April) and Tim Noakes (30 April), in an episode to diet for. You can also expect all your favourite South African comedians, including Savanna Comics Choice’ winners Deep Fried Man, Loyiso Gola, and Mark Banks.

As Tumi says, “Join us for sophisticated wit and silly nonsense.”

Parlement Parlement, an Afrikaans version of Point of Order hosted by Elana Afrika-Bredenkamp, started screening on kykNET yesterday.

 

Africa to add 17.4 million pay TV subs

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Africa to add 17.4 million pay TV subs

The number of pay TV subscribers in Sub-Saharan Africa will increase by 74 per cent between 2017 and 2023 to reach 40.89 million.

However, the Sub-Saharan Africa Pay TV Forecasts report estimates that subscriber growth will outstrip revenue progress. Pay TV revenues will climb by 41 per cent to $6.64 billion by 2023, up by $2 billion in 2017.

Simon Murray, principal analyst at Digital TV Research, explained: “Pay TV competition in Sub-Saharan Africa is becoming more and more intense, especially given the launch of Kwese TV in 14 countries during 2017.”

Murray continued: “Pay TV operators in most countries have lowered subscription fees and/or subsidised/given away equipment as competition intensifies. By no means are all of the existing pay TV platforms are expected to survive in the long run. Having said that, several pay TV operators are booming.”

Kenya will continue to show considerable digital TV growth, but it is overcrowded. Kenya now boasts two pay DTT platforms, a cable network and five main satellite TV operators – too many for a country with only 4.01 million TV households.

From the 23.49 million pay TV subscribers at end-2017, 13.78 million were satellite TV and 9.11 million DTT. By 2023, satellite TV will contribute 20.89 million and DTT 17.53 million. This means an extra 7 million pay satellite TV subscribers and 8 million pay DTT homes.

Nigeria will have the most pay TV subscribers by 2023 – having overtaken South Africa in 2021. The top eight countries will supply three-quarters of the total in 2023.

Multichoice had 12.48 million subs across satellite TV platform DStv and DTT platform GOtv by end-2017, which will grow to 16.66 million by 2023. France’s Vivendi had 2.96 million subs to its Canal Plus satellite TV platform and Easy TV by end-2017; forecast to climb by nearly 2 million to 4.87 million by 2023.

StarTimes/StarSat will enjoy the most impressive growth: from 6.23 million subs at end-2017 to 13.42 million by 2023 – growing from half the Multichoice total in 2017 to 81 per cent of its total by 2023.

For more information on the Sub-Saharan Africa Pay TV Forecasts report, see the Broadband TV News webshop.

 

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