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: Membership applications can be made through the website here.

17 June 2011

Doc Meeting Argentina

DOC Meeting Argentina, is an international meeting dedicated to the joint production of documentaries with venue in Buenos Aires.

Doc Meeting Argentina has the biggest Pitching Forum of Latin America, an increasing market of Documentaries and a series of conferences made by the most prestigious representatives of the industry. This meeting has offered a strong impulse to the creation of a network of work, as well as possibilities of new business, among to the great development that the documentary market is experiencing in the last years.

In his edition 2011, DOC Meeting Argentina will take place between the 22nd and 24th of September.

With the objective of promote DOC Meeting Argentina around the world, we would like to present our event to you with the expectation that you can promote to producers in your country

This way, producers of documentaries could present their documentary projects in our market.

Visit the web site.

Documents emailed to members.

16 June 2011

KwaZulu-Natal African Film Festival Call for Entries

Please click the image to view the details.

The Heart of Documentary: Call for Entries

Dear All

This year DOK Leipzig is going to open the International DOK Leipzig Co-Production Meeting to all who would like to apply. Our target is to encourage international co-productions and to help finance outstanding documentary projects for an international audience. We will present the latest news and detailed insights into documentary film markets, pre-scheduled one-on-one meetings with potential co-producers (day one) and potential financers (day two) such as representatives of film and media funds, commissioning editors, distributors and relevant institutions.

The application deadline is 30 June 2011. The Co-Production Meeting will take place on Monday and Tuesday in the festival week, 17 – 18 October 2011.

The participation will cost 190,40 Euros incl. VAT. This includes one accreditation per project and participation in all events linked to the Co-Production Meeting for one or maximum two participants per project.

Please read the pdf carefully for more information on how to apply.
All the best, good luck and see you hopefully in Leipzig in October!

Have a look at Co-Production Meeting 2010.

Download PDF

Original post here.


During this MIPCOM again, we will develop different themes dedicated to Producers within our conferences and events.

Due to its success, we have also renewed the “Associations First Timer Contract” (attached) which will enable your members who have never attended MIPCOM before to benefit of the special rate of 675 € excluding tax instead of 1 145 € + VAT (regular fee).
For returning client, they could benefit of the Early Bird price i.e. 895 € + VAT until July 12th.

SASFED has an important network of producers and I was wondering if you would like to communicate to your members this offer, through one of your shownews or directly on your website.

You will find attached a presentation of the MIPCOM

Thanks to let me know your thought and if you need any further information,

I wish you a nice day and look forward to hearing from you.

AVID Training Offered

Michael Lee of the Academy of Screen Arts is extending an invitation to one Avid editor to attend an Avid Media Composer Train-the-Trainer seminar that will be hosted on the Academy of Sound Engineering campus, Auckland Park, from 27 June to 1 July. As this training opportunity is free of charge, the successful candidate is an Avid editor who:

1. Is able to commit themselves to attending all five training days, from 09:00 to 17:00

2. Is able to take an Avid knowledge test that will help the international trainers better tailor the local Train-the-Trainer seminar to the Academy of Screen Arts’ needs

3. Is able to commit themselves to training students & corporate clients at the ASA campus exclusively, for a period of three years; that is, you may not train students & corporate clients at any other training institution

You can contact Michael Lee at or on (011) 482-9200 or on 082 223 5432 for more details.

VOD Comes to South Africa

SA’s new TV challenger: all the details

This article was posted by Editor on May 9th, 2011 and filed under In-depth, Top. You can follow any responses to this entry using RSS 2.0. Both comments and pings are currently closed.

SouthTel Group's Oscar Dube shows off the Qwerty keyboard on VOD:TV's remote control

SA couch potatoes, rejoice! SA is getting another challenger in the television market. And the man behind it, SouthTel Group’s Oscar Dube, is optimistic the service will offer the value proposition that will attract millions of subscribers.

VOD:TV, which is slated for commercial launch on 1 September, is promising a new type of pay-TV service to South Africans: transactional and subscription video on demand delivered via satellite. Similar, in a way, to the US’s Netflix, VOD:TV plans to offer SA consumers the latest movies and TV series before they are broadcast on traditional pay-TV broadcast networks like MultiChoice’s DStv.

Dube says VOD:TV will complement rather than be a direct rival to pay-TV broadcasters, but TechCentral believes many SA consumers could see it as an alternative platform for their TV entertainment.

Competition is also likely to be intense given that MultiChoice is said to be working on a transactional video-on-demand service of its own. Called Box Office, the MultiChoice product should be launched sometime this year.

Here’s how it works.

VOD:TV will deliver the latest, selected TV shows and movies to a high-definition (HD) personal video recorder (PVR) via the same IntelSat-owned satellite that MultiChoice uses to serve the Southern African region. This is important because it will obviate the need for DStv subscribers to install a second satellite dish: all they’ll need is a second “low noise block down-converter”, better known as an LNB.

The service will offer free-to-air channels that are provided by Sentech over satellite, though the intention over time is to migrate to digital terrestrial television. Consumers should simply be able to install a US$15 digital tuner based on the European DVB-T2 standard once SA has defined the specifications for digital broadcasts.

However, VOD:TV doesn’t offer live broadcast TV directly itself, but rather TV content that is downloaded and stored on the PVR for “on-demand” viewing by subscribers.

About half the content delivered to the PVRs will be available for viewing as part of a subscription fee, which Dube says won’t be more than R200/month. The rest of the delivered content, which will include the latest Hollywood blockbusters, will be available for purchase, much like one would rent a DVD from a video store. The latest movies will probably cost in the region of R25 to R40, and consumers will have a set period in which to watch them.

Unlike broadcast networks, which tend to broadcast weekly episodes of TV shows, VOD:TV will offer entire seasons of the latest series at once.

Dube, whose background is in telecommunications — while working at Ericsson, he helped build MTN’s networks in Swaziland, Uganda and Rwanda — has partnered with Logiways to deliver the VOD:TV product. Paris-based Logiways, which is a spin-off of France’s giant pay-TV group, Canal+, will take a minority equity stake in VOD:TV.

VOD:TV’s Linux-based PVR, which has a 500GB internal hard drive, is being built by Germany’s TechnoTrend Görler. It has an Ethernet port to hook up an Internet connection and an active USB port, allowing consumers to plug in 3G dongles to access the Internet wirelessly.

An external hard drive can also be hooked up to the device to provide additional storage capacity for TV content, though Dube emphasises the box has strict conditional access and anti-piracy technology to prevent unauthorised copying.

Read the rest of the article here.

Strategic Partners September 2011

Please click the image to view the details.

As you will note from the attached festival document, South Africa has been selected as one of the focus/spotlight countries for Strategic Partners (SP) which takes place alongside the 31st Atlantic Film Festival (AFF) which will be held in Halifax from 15 to 18 September 2011. The AAF will feature films from the spotlight countries, see the document for SP offerings.

The Strategic Partners would like to attract 10 – 15 South African producers as well as active industry players (financiers, agencies, broadcasters and distributors) to take advantage of Strategic Partners and its offerings. It would be appreciated if you could circulate this information to your members and interested parties should apply directly to SP as they will be making the final selection of attendees for this purpose. Please note the deadline for applications is Monday 11 July 2011

Please also be informed that selected attendees may approach the dti for additional assistance under the EMIA programme. The guidelines of this programme are attached and paragraph 7 “Individual Exhibition Financial Assistance” will apply in this case .

The EMIA contact person is:
Ms Marlene Vlok
Tel: (012) 3941036
E mail:

In addition to benefits listed in the document, the SP will cover hotel accommodation for the duration of the festival for selected South African delegates.

Documents mailed to DFA members.

SAGE Presents Megan Gill

Please click the image to view the details.

Please click the image to view directions.

14 June 2011

Electronic Delivery leads in the US

Netflix and other streamers, as well as 3D, Blu-ray, kiosks and cinema advertising will each do their part to make sure the film industry prospers domestically and worldwide for the next several years, according to PwC.

The film industry domestically and worldwide will grow at a healthy clip through 2015 as Blu-ray and electronic-delivery make up for waning DVD sales and rentals, 3D helps box office revenue grow despite stagnant ticket sales and in-theater advertising comes into its own.

That's the word from PricewaterhouseCoopers and its annual Global Entertainment and Media Outlook report due out today.

In North America, the film industry should generate $40.8 billion in revenue this year and $50.3 billion in 2015. Globally, it should generate $88.8 billion this year and $113.1 billion in 2015, according to PwC.

In North America, PwC estimates $12.2 billion in box office revenue this year and $27.9 billion in home video. The box office will grow to $15.5 billion because of rising prices for tickets and 3D premiums while home video will rise to $33.9 billion. Every category of film, even the various home entertainment sub categories, will grow, including sell-through, courtesy of Blu-ray, and in-store rentals, courtesy of kiosks like Redbox.

The report notes that in 2010, seven 3D titles accounted for 20% of the domestic box office: Avatar, Toy Story 3, Alice in Wonderland, The Twilight Saga: Eclipse, Despicable Me, Shrek Forever After and How to Train Your Dragon.

Despite the overall bullishness of the report, PwC warns: "The novelty effect of 3D may be waning, and because of the higher price points for those releases, people may become more selective in choosing to go to a 3D film. Nevertheless, we believe 3D will have a long-term positive impact on admissions because it helps distinguish the theatrical experience from the home video and online experiences of watching a movie."

About the home-video market, PwC says: "Blu-ray discs may be approaching a critical mass where sales are large enough to counter the impending demise of DVDs."

Electronic delivery of movies, which is all the rage as Netflix, Apple, and others have a profound impact on distribution practices, will grow from $4.8 billion this year to $7.6 billion in 2015. That category generated just $1.2 billion in revenue in 2006, according to PwC.
From 2011-2015, electronic will be the fastest-growing segment of the North American film industry, with 13.8% compound annual growth. That's followed by cinema advertising (6.7%), the box office (6.1%), physical sell-through (3.9%) and in-store rentals (1.4%). Globally, the order in growth nearly identical, the exception being that the box office will slightly outpace cinema advertising.

Original article here.

12 June 2011

Call for African Music Films

Sauti za Busara 2012 (Zanzibar)

Call for African Music Films

We are looking for feature length films and entertaining shorts from around the African Continent and diaspora. These can be music clips and videos, recorded concerts, documentaries or more experimental films. Apply anytime before 30 September 2011.

Go to:

Call for Artists

Calling all African musicians. The selection committee meets at the beginning of August to decide the line up for Sauti za Busara 2012. Together with your application we need one or two recent recordings (CD or DVD), photos and other information. Apply anytime before 31 July 2011.

Go to:

What Colour is Indie

Guest Post: Ava DuVernay “What Color is Indie?”
Back in January I heard of Ava DuVernay for the first time when the NYTimes ran a story on her new distro initiative. I thought “wow, there’s a good idea, that can be replicated in many forms.” It lifted my spirits, but then the assault of super-abundance of everything pulled my attention elsewhere. Recently, my attention got pulled back when a Twitter conversation turned it to the overtly white male dominance of the “indie scene”. Fortunately, I was put in touch with Ava, and she guest posts today with some of experiences in DIWO distribution.

My name is Ava DuVernay and I just completed a 7-week theatrical release of my film I WILL FOLLOW in 20 major US cities, including NY and LA, without studio or corporate backing and no formal P&A. The release was accomplished through AFFRM, a black film distribution collective that I founded. Have you heard of us?

I may incorrectly assume that most of Ted’s readers have never heard of AFFRM, or I WILL FOLLOW, or the excellent black film orgs that make up the African-American Film Festival Releasing Movement—for which AFFRM stands.

Why do I think that? Because we haven’t cracked that American indie establishment circle. You know, the Tribeca-Indiewire-IFP-FilmIndependent-SXSW-Lincoln Center of it all. The gate-keepers to the mainstream indie treasures. We haven’t had their attention. So we might’ve slipped by you.

It’s weird. Some new group pulls off an $11,235 per screen full-run simultaneously in multiple cities with absolutely no formal P&A, no four-walling, no touring, no service deal on their first try, and enterprising filmmakers and film pros don’t want the skinny on how? Maybe you just hadn’t heard. We’ve had full features in NY Times, LA Times, CNN, NPR and USA Today, but not one inquiry from the many DIY, DIWO, new distribution panel programmers or experts? The circle is tight.

Read the rest here.