The DFA was established in 2007 to promote and protect the interests of doc filmmakers in South Africa. To contact the DFA, please use the contact form: here . The DFA website is at: www.docfilmsa.com Membership applications can be made through the website here.

28 January 2010

Assistant editor and motion graphics artist wanted

I would like to offer the following two positions:

Assistant Editor junior role
Booza TV is a fake TV station that takes a humorous, tongue-in cheek and sometimes serious look at drinking culture in the Mothercity, along the lines of Super-Size me or Bowling for Columbine. Use is made of interviews, fake alcohol adverts and imaginary sequences, action sequences, animation and American archival footage circa 1950. The series is intended for national television broadcast and local community screenings. Booza TV is looking for a humorously serious, creative and passionate Editing Assistant.

If you possess the relevant criteria, please send your application together with a detailed CV to simon@periphery.co.za

If you have not heard from us within three weeks of submitting your CV, please assume that your application is not successful.

Details
Dates: Feb-March 2010
Part-time, contract position
City: Cape Town

Motion Graphics specialist/animator
Booza TV is a fake TV station that takes a humorous, tongue-in cheek and sometimes serious look at drinking culture in the Mothercity, along the lines of Super-Size me or Bowling for Columbine. Use is made of interviews, spoof fake alcohol adverts and imaginary sequences, action sequences, animation and American archival footage circa 1950. The series in intended for national television broadcast and local community screenings. Booza TV is looking for a humorously serious and creative Graphics specialist/animator

If you possess the relevant criteria, please send your application together with a detailed CV to simon@periphery.co.za

If you have not heard from us within three weeks of submitting your CV, please assume that your application is not successful.

27 January 2010

Classifieds

I am a young production manager, cameraperson and editor looking for a placement in a company doing documentaries, television, sports or events. I am energetic, hardworking and efficient. Please contact me for a full CV and a showreel of my work.
0832434088

Thank you

26 January 2010

Mofilm's Branded Ad Competition - Make some money for your short film!


Hi All

We received a communication from James Mullighan, Creative Director of Shooting People. shootingpeople.org/about and we thought we'd share this with you.

Shooting People is "always looking for ways to help independent filmmakers make money and believe that the most generous and exciting initiative out there for this at the moment is Mofilm.

Mofilm run a series of film upload competitions asking filmmakers to make ads for brands.

Stand a chance to win cash prizes from $1,000 right up to $10,000.

If the brand uses the film as an ad, the filmmakers get residuals.

You stand a chance to win a fabulous Canon 5D Mark II camera worth over £1,500. It's the camera that is the FIRST DSLR in the world to shoot Hi-Definition.

Make money from your short by entering Mofilm's branded ad competition. The prizes are really generous, and include a car, going to the Tribeca Film Festival, bespoke film tech packages, and lots of cash prizes from $1,000 right up to $10,000. The competition – open now – culminates in a gala event in Barcelona, and entries close on 1 February.

Enter via this link shootingpeople.org/mofilm

Deadline Feb 1st 2010 – Enter Now

25 January 2010

Communication regarding filming at Stadiums and Costs


Please see the communication below regarding shooting at stadiums around the country. Affected persons should contact their respective organisations explaining how this situation will affect them:

Dear all,

In response to queries regarding the location rates charged at Soccer City, Orlando Stadium, Rand Stadium and Dobsonville Stadium, Stadium Management South Africa has confirmed that the standard rate is R4,500 per hour. The location fee is the same at all four stadiums.

Note however that a company can be charged per hour or per day based on the time required on site, further line items come into play depending on the shoot i.e. will the pitch be used, floodlights, security/medical/cleaning etc. All costing is therefore sent out based on a client’s final shoot requirements.

Please also note that arrangements for requesting permission to shoot at these four stadiums as well as at Ellis Park and Loftus remain the same and we recommend that applications be submitted via the GFC. Also note that all principal stadiums will be handed over to FIFA in run up to the FIFA Soccer World Cup South Africa. While we have not been given a clear date for when this will happen we do urge production companies to schedule shoots before April as it seems more than likely that the handover might occur during April at which stage it will be impossible to gain access to the stadiums.

For location assistance please contact Puisano Phatoli or Seitiso Mogoshane at (011) 833-0409.

Regards,

Jacques Stoltz
Senior Marketing Manager
Gauteng Film Commission
56 Main Street, Johannesburg, 2108, South Africa
P.O. Box 61601, Marshalltown, 2107
Tel: +27 (0) 11 833 0409
Fax: +27 (0) 11 833 0282 / (0) 86 505 5773
Cell: +27 (0) 83 455 9688
E-mail: jacques@gautengfilm.org.za
Web: www.gautengfilm.org.za

Dear all,

Further to my previous e-mail we have just received information that Loftus stadium will no longer allow shoots up until August 2010. We await confirmation of this in writing.

In terms of Ellis Park and Soccer City please also note that certain restrictions apply when filming on the pitch. Approval to film on pitches will have to be cleared by management once a full assessment of needs have been completed. This is due to FIFA restrictions.

Regards,

Jacques Stoltz
Senior Marketing Manager
Gauteng Film Commission

Binger Filmlab a new documentary initiative: DOC LAB


Doc Lab
Applications open now!

This programme offers talented Documentary filmmakers coaching from fine-tuning the initial idea, through narrative development, the actual shooting, to the editing of their film and on towards festival platforming, marketing and release.

In approximately 18 months the project driven Doc Lab focuses - in both residential workshops in Amsterdam, and flexible individual on-site mentoring by advisors such as Jennifer Fox, Molly Stensgaard and John Appel - on creative development, production and post-production. Taking the changeable and volatile working practices of documentary filmmakers into consideration it offers flexible modules to allow different speeds of development and production.

Doc Lab is especially designed for filmmakers and projects that are innovative in their style and approach, have a social or cultural relevance and above all have a strong narrative drive and potential for theatrical release.

Documentary filmmakers with previous documentary experience and a project at an early stage of development can apply through Bingers’ website; application deadline: March 1st, 2010.

Doc Lab starts in June 2010 and offers place to 8 (6 European, 2 non-European) documentary filmmakers.

Report on Film Indaba 2009


The National Film and Video Foundation hosted its 3rd Film Indaba on 26 and 27 November 2009 at Glenburn Lodge. The indaba was attended by various delegates including government departments, industry representatives as well as individuals.

The theme of the Indaba was titled Mapping the Way Towards 2025. The second edition of the value Charter was the discussion document to generate input from government, industry and citizens. The Council`s thrust towards 2025 is about how to take the NFVF and cinema to the Citizens and aligning the NFVF long terms visions towards 2022 with the government`s Vision 2025 for South Africa.

Professor Mbulelo Mzamane, facilitated the plenary session on the first day as well as the report back from the breakaway sessions. Proceeding on the first day took place at plenary session and were opened by the chairperson on the NFVF Council Ms Charlotte Mampane who welcome everyone. The NFVF CEO Mr Eddie Mbalo presented the NFVF Strategy, providing an overview of how government works from the constitution of clusters and the purpose of the Indaba. The Value Charter will become the blue print and will be presented to cabinet for approval.

The keynote addresses by Ms Lulu Xingwana, the Minister of Arts and Culture reiterated the President's call for unification by the industry. Mr Tumelo Chipfupa, the DDG at the Department of Trade and Industry highlighted the Department's support for the sector. He spoke on the Film and Television Incentive and its revision as well as good relations with the industry as well as the NFVF.

Ms Kgomotso Matsunyane, co-chair of the South African Screen Federation (SASFED) made a presentation which outlined industry challenges. The presentation questioned the need for an indaba as a forum. SASFED also indicated the lack of Black engineers, heads of departments as well as women. SASFED is of a view that there is no need of a national film school.

The representative for the Department of communications, who was confirmed as the main speakers for the plenary presentation did not come and there was no replacement on the day.

The panel discussion on the state of the industry was opened by remarks from Clarence Hamilton, NFVF Head of Production and Development. He gave statistics on feature films and documentaries production, budgets, distribution, in the past 15 years. The Statistics indicated that a total of 132 feature films and 615 documentaries were produced. While documentaries were largely distributed on television, a small number was released theatrically whilst distribution platforms for 556 documentaries were unknown. The figures indicate that the industry is still dominated by Whites in the creative aspects.

Desiree Maakgraaf, chairperson of the Independent producers Organisation (IPO) indicated that the industry was in state of crisis. This was largely due to the SABC crisis. Research conducted by the IPO indicated that small and larger companies were not largely affected. Medium sized companies were affected and require state support.

Day two began with a session at plenary where delegates were taken through the topics and facilitators for the breakaway session. Because of the limited turnout of delegates on the second day, NFVF Executive management decided to combine topics to ensure a fair spread. The session on Policy Alignment, intergovernmental and Stakeholder session was combined with the session on Making an Economic Business Case for the industry. The Building a Sustainable Business was merged with Development and Growth of Markets for their close relativity. The session on Human Capital development Session was the only stand alone breakaway session.

Human Capital Development

The session kicked off with a presentation of the feasibility study on the establishment of a National Film School by Terrence Khumalo, followed by elaboration by Clarence Hamilton on the training interventions the NFVF has embarked on.

From the two presentations it was evident that there was a need for training within the industry, a number of positions which proved hard to fill during 2006 were identified in the study and Clarence went on to state that there is a need for middle management training.

In response to the presentations it was argued that there is no need for a new institution, a national film school is no longer appropriate at this time. There was satisfaction with the international benchmarking, but the question that came out was, what are the similarities between the selected countries i.e. Ghana, Mexico and America. The response rate was regarded as being inadequate. Other issues raised were the level of interaction with the institutions of higher learning. The commission called for an extended research with a broader consultation and bigger panel. The commission unanimously agreed that the current training does not meet the needs of the industry.

It was felt that training is essential and people out of school need to acquire knowledge and the question was “will the current training gaps be fulfilled by a school within an institution”? Care should be taken to ensure that if ever there is a school it should not produce more of the same.

There was a general agreement that the industry does not need a national film school. Some were of the view that rather the focus should be on supporting existing institutions and focus should be more on internships and short courses.

It was also agreed that there is a need for a centre of excellence. There is a need for accredited upskilling courses that will be recognized by companies and have certificates and internships and short courses for people in the industry. Apprenticeships are good models. In conducting training focus should not only be on feature film but also in television. It was also said that the industry needs to consider who is teaching at the film schools, look at the demographics within the existing film schools.

A representative from SASFED pointed out that it is so difficult for the industry to talk about training when the industry did not have a sustainable industry. She also pointed out the industry should prioritise apprenticeships as the film industry is a hands-on industry and practitioners need to learn by doing. She also asked if there was a way of accessing more funding from MAPPP SETA. A representative from MAPPP SETA responded saying that they are disbursing grants and made calls for discretionary grants recently for the film industry and the response was poor.

Gina Bonmariage was of the view that for the industry to conduct research that will address industry issues, there need to be a strong partnership between the NFVF, MAPPP SETA, DTI and DoE. She also proposed that there be a national pool of funds to initiate national up-skilling courses that are accredited.

Both Melanie Chait of Big Fish film school and David Wicht of Film Afrika spoke about the training programmes run by their companies. David Wicht talked about a model that they are currently using in their company to address skills challenges. He said companies are requested to contribute a certain percentage of their projects budget to training and that they currently have not encountered companies that are not willing to contribute. He also pointed out they try to select students who have shown passion for the industry. He said the training also includes life skills course.

There was consensus on the need for transformation within the industry. There was a question on how to access the Mapppseta funds and a representative from the seta reported that they have made three calls for discretionary grants this year.

Policy Alignment, Intergovernmental and Stakeholders Relations and Making an Economic Case for the Industry Session

This session was facilitated by Ms Lindi Ndebele- Koka from the Department of Arts and Culture. Mr Thami Nxasana was the speaker. Mr Nxasana gave a presentation on the history of the Film Industry, its current state, national competitiveness of the sector, its governability and its concurrent competency nature of film. The presentation gave a snap shot of how the Industry transformed from a laissez-faire economy into a government/political interfered one. It was stressed that the industry should realize that it is operating in a developmental state and should therefore meet government’s national imperatives which include poverty alleviation, skills development and redressing historical imbalances etc.

One of the questions asked was why government intervened with economic states? It was agreed that government intervention was due to the failure of markets. Markets succeed when they are levelled and government’s responsibility is to level the playing field by assessing risk factors so that entrepreneurs can participate in the film economy. The industry needs to prove its national competitiveness through capital diversion.

The industry's concurrent competency was discussed at large. Legislations which purport this were interrogated; these include section 76 of the Constitution which promotes good intergovernmental relations, schedule 4 and 5 of the Constitution which deals with concurrent competencies of provinces and national sphere of government. One of the ways in ensuring good intergovernmental relations is through 'sectoral integration' and this entails establishing an Intergovernmental Relations Forum (IGRF) that would consist of all relevant stakeholders of the industry. This forum needs to gazette this forum so that all resolutions taken become binding to all parties involved.

In making an economic case for the industry it was important for the industry to grapple with the Industry's structure and its dynamics. This includes understanding and identification of gaps within the value chain that in turn causes fragmentation. The value chain of film and video according to the Sectoral Industry Classification shows that it straddles across Major Division 6 (Wholesale, Retail Trade and Hospitality), Major Division 7 (Transporting, packing and warehousing) and Major Division 9 (Broadcasting and Communication). It was important for film to belong to its major division so that its contribution to the SA Gross Domestic Product (GDP) can correctly be assessed. This will also aid in riding fragmentation that currently exists within the industry.

Recommendations

Indentify Stakeholders and have a working committee
Need to have a language that the industry and government understands
NFVF has to allow creative and freedom of expression
Government needs to inject direct funding into NFVF, not through rebate schemes
Need to strike a balance between cultural and economic sectors
There's a need for a unified communication from the government to industry
SARS needs figures of how the industry is performing
An economic agenda needs to be put forth
Government needs to drive the global competitiveness of the sector
Need to integrate structures of government
Resolutions

Take the gazzetted IGRF and amend it to align or expand on it
Get raw data from production companies that will provide statistics
Government needs support organizations to be able to get information
Distribute key economic indicator and implement the sectoral information system
Monitoring and evaluation mechanisms are needed: stop new policies Collaboration with the Office of the Presidency
Intellectual Property should be seen as a mediator between the community of practice industry and government
therefore all departments should prioritize IP

IP should be unbundled

Building a Sustainable Business, and Growth and Development of Markets

The breakaway session centred mostly around the factors involved in building a market for the film business, as well as sustainable business models and a consideration also of the challenges of developing a sustainable film industry business.

The issues raised during the discussion were:

Television poses the challenge to film production since it provides cheaper and easily accessible platform.
There is a limitation of market buyers (i.e. broadcasters) and this presents special challenges to building sustainable business.
Broadcasters need regulation so as to benefit the industry. ICASA and the Competition Commission would play a pivotal role in this area.
Since M-Net & E-TV do not directly compete with SABC for local content; this further reduces the impact that should be on the market.
The disadvantage of having a broadcaster own IP rights is that the content is not competitively exploited to generate additional revenue which could add to sustaining businesses within the industry.
The 'cost plus' business with broadcasters is hampering growth of industry.
There is a need to look at different sources of funding. Venture capital firms could provide desired solution if solicited correctly.
Although making an effectively quantifiable business plan may make it possible to secure private funding, the unavailability of reliable industry specific information makes it hard to show potential investors how their investment will be returned.
The failures of distribution/exhibition pose a greater threat to the industry.
There is no subsidy in place for nurturing distribution, whereas other countries, with the exception of the USA, have a distribution subsidy.
Competition issues for theatres/distributors are similar to those of TV broadcast. Imperfect competition is perpetuated.
Resource development in terms of distribution still needs to be significantly formalised.
Producers are earning more returns from Airline deals than they do from other platforms.
The DVD market is currently being run by the pirates, and at the rate it is growing it will be impossible to curb it in the near future. And with the technological advancements globally available, film will, much like music, be freely available to any and everyone. The industry has to start looking at ways to impose a “Freemium” for online audiovisual content.
It was suggested that, as an alternative production model, the best way to make films is by making sure that the cost of production is always lower than the expected return. That way it is easier for films to break even and maybe even see good revenue from sales.
This should be coupled with a change of focus from production, to a more market/audience oriented focus.
The industry needs to understand who it is producing for. Therefore good market intelligence needs to be nurtured and fully utilised.
The "star-effect" could be an added solution to why certain features do well in the market. Therefore the industry needs to work at promoting the "star culture" to drive the productions.
Positive externalities to these would be the proliferation of both TV and theatre markets, possibly coupled with local content regulation for theatres.
Action points that came out of the session were:

Focus on markets, particularly on prising, not only on production
Budget costs based on industry markets
Abandon 'cost plus' business
Find new routes to domestic market i.e. exploiting new media platforms
Reclaim IP rights
Strengthening industry bodies – Companies need to act together to win market
Commit to transforming the industry
Collaborate on gathering and publishing data
Lobby for a change in the market power of bodies in theatre, distribution & broadcast. This involves increased competition and active regulation from government.
There is a need for the IDC to be market oriented in its participation in the industry and not just product oriented. Industry feels that IDC intervenes with a view to add gains on film products rather than developing and growing the industry.
Appointed representatives from the breakaway sessions gave report back on the discussions at plenary. Justine Loots gave a report on Human capital Development, the policy Alignment and making an Economic case for the Industry session was co-presented by Mandla Dude (lecturer at TUT) and Lindi Ndedele-Koka (DAC). Producer Jeremy Nathan and Indra de Lanorelle (consultant) reported on Building a Sustainable Business and Development and Growth of Markets merged session.

It was not possible for all sessions to reach consensus on the resolutions from some of the discussed topics. However, there was consensus on the challenges and actions that needed to be taken.

The proceedings were closed by the NFVF CEO Eddie Mbalo, who indicated that the industry needs to be familiar with government processes and how government work. The CEO indicated that the NFVF will circulate the second edition of the Value Charter to the industry and other stakeholder to input on the document as part of further consultation. The NFVF is targeting the MTEF period that will begin in June 2010 to submit the final Value Charter.

Nyanda determined to proceed with SABC funding bill


PUBLISHED IN THE BUSINESS DAY: 2010/01/20 06:25:24 AM
By LINDA ENSOR

CAPE TOWN — Communications Minister Siphiwe Nyanda is determined to proceed with the controversial proposals in the draft Public Service Broadcasting Bill despite widespread concern that they would undermine the independence of the SABC.

Even though Finance Minister Pravin Gordhan has clearly he said does not consider it “prudent” for the SABC to be funded by means of a levy of up to 1% on personal income tax. Nyanda insisted yesterday that the Treasury had been informed about the draft bill so that it could “inform (Gordhan) about (it) and its implications to his department”.

Gordhan said in a reply to a parliamentary question last month he had not been consulted about the draft bill. As a money bill it would have to be tabled in Parliament by the Treasury.

It has not yet been approved by the Cabinet.

Nyanda yesterday rejected the Democratic Alliance’s (DA’s) view that the draft bill would give him “unprecedented authority” over the SABC as “baseless and unfounded”.

“I have no intention of undermining that principle (freedom of the media) by ‘interfering’ with the day- to-day running of the public broadcaster,” he said.

“The SABC has both a board of directors and a group executive responsible for managing the public broadcaster. I have full confidence in both the board and executive management of the SABC to steer the crucial national asset towards the right direction and take it to greater heights.”

Nyanda said other ministers whose departments were affected by certain aspects of the draft bill would have an opportunity to comment on these issues when the draft bill was tabled in the Cabinet.

He said the public would be given an opportunity to comment further on the bill before it becomes law.

Comments already submitted from concerned bodies and the public on the bill would be “consolidated into the draft bill and be sent to Cabinet for discussion, after which the draft will be sent to Parliament for further discussion and be subjected to public hearings”, he said.

The DA on Monday accused the government of trying make managerial incompetence at the SABC an excuse for state interference.

ensorl@bdfm.co.za

A little inspiration...

Hi All

Just a little something for fun:

"A palindrome reads the same backwards as forward. This video reads the exact
opposite backwards as forward. Not only does it read the opposite, the
meaning is the exact opposite.
This is only a 1 minute, 44 second video and it is brilliant. Make sure
you read as well as listen both forward and backward.
This is a video that was submitted in a contest by a 20-year old.. The
contest was titled "u @ 50" by AARP. This video won second place. When
they showed it, everyone in the room was awe-struck and broke into
spontaneous applause. So simple and yet so brilliant. Take a minute and
watch it."

Announcing Imbongi Awards 2010: Call for Nominations

The Imbongi Awards' capitalises on Cape Towns strong reputation for production craft by recognising, rewarding and honouring individuals and companies for outstanding achievement in pre-production, production and post-production. With a high-profile independent judging panel and a stringent judging process audited by Galbraith/ Rushby Accounts the integrity of the awards, and therefore its winners, is paramount.

Do you think you or someone within your industry deserves recognition for dedication, professionalism and being a master of their craft? If so the nomination process for Imbongi 2010 is officially open! Visit www.imbongiawards.co.za for the full category listing and nomination forms Nominations close at 16h00 on the 5th February 2010.

All successful nominees will be notified on the 9th February 2010 and the finalists for each of the categories will be announced on the 22nd February 2010. Winners will be announced at the Gala awards ceremony on the 6th March 2010.

THE EVENT

Date: 6th March 2010
Time: 19:00 for 19:30
Venue: Cape Town International Convention Centre
Dress: Black Tie
MC: Nik Rabinowitz is back!

IMPORTANT DATES - PLEASE DIARISE!

Nominations and entries: 19 Jan - 5 Feb
Preparing Judging: 8 - 12 Feb
Judging days: 17, 18, 19 Feb
Online voting opens: 22 Feb
Online voting close: 2 March
Wrap winner selection and presentation: 3, 4 March Ceremony: 6 March 2010

DOWNLOAD MEDIA RELEASE
DOWNLOAD ENTRY CRITERIAS
DOWNLOAD NOMINATION FORM
DOWNLOAD TABLE BOOKING FORM