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Greetings!!!
Season, Sunshine and Celebrations await us.
I wanted to share with you a course I took part in last week,
which has changed my life dramatically… Please see “Focus
On” column.
"It is the birthright of every human being to live
with a stress free mind
and a disease free body. Yet, neither at school nor at home
are we taught
how to handle our negative emotions" Sri Sri Ravi Shankar
Contact
Us...
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|  Petra
Damross heats things up at Refinery
Bookings for Refinery’s Autodesk Smoke suite are open,
together with operator extraordinaire, Petra Damross.
With extensive international photography training and experience,
Petra’s eye for detail is unrivalled, and her energy and
enthusiasm for every project, unwavering. Her showreel boasts
commercial and extensive retail work for some of the country’s
best loved brands and she has worked with SA’s hottest
directors.
In addition to her many short-form jobs, Petra has worked on
music videos and on the feature film, White Lion – true
testament to her dynamic ability in the compositors suite. It’s
her creative input and enthusiasm that puts her ahead, offering
great solutions and fresh ideas.
“Petra and the Smoke suite are the perfect combination,”
comments Tracey Williams, Director of Post Production at Refinery,
“Both offer multiple solutions on every job; there couldn’t
be a better match for our clients.”
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Picture Tree and Miller Genuine Draft
play with photosonics
When it comes to tabletop shooting, there is no questioning
the pioneering flair of Picture Tree’s Ian Difford.
With a brief to complete a series of liquid shots for a Miller
Genuine Draft’s AV, Difford’s camera of choice
was the Photosonics 4C – a bold move considering the
ultra-high speed camera technology has just landed on SA soils.
The 4C shoots at speeds of up to 2000 frames per second,
working on a rotating prism system with a fixed 72°shutter.
“The shutter speed at 2000 FPS is 1/10000 of a second
so it is recommended that you take into account reciprocity
issues with the film stock. We found that with using Kodak
500T, we had nothing to worry about,” comments Director
of Photography, Tom Van Schaik. He had had the arduous task
of prepping the technical aspects required to make the shoot
a success. “We landed up shooting at enormous basic
stops. We had an 8.1 stop compensation factor at 2000 FPS
and on top of that, it is recommend that you over expose another
1 Stop. For the first time in my life I was lighting to stops
in excess of T 90 which, after all the calculations, gave
us a stop of ‘wide open’. In our case this was
T 4.5. The Photosonics 4C has a Pentax Lens mount so we were
restricted to using a Cooke 10-1 Zoom Lens and a set of Pentax
45 Prime Lenses. The Primes became our lenses of choice.”
It wasn’t only Tom who was experienced the difficulties
on the shoot, as most of the crew will confirm. Lighting proved
to be one of the greatest challenges; the amount of lighting
required meant that it was almost impossible for the rig operators
to function without literally burning up, as well as additional
issues like burning flags and steaming water. The camera is
also a huge piece of equipment, weighing in at almost 60kg’s.
With the goal of producing high quality, never before seen
footage of liquid on motion, Difford was determined in his
choice of camera. “There was quite a lot of guesswork
involved,” adds Difford, “The video take-off only
records at 25 FPS which means that most of frames are not
seen on the play back; we had to predict what the missing
images would look like! The amount of light required also
made it impossible to see contrast values.”
The Photosonics 4C camera uses 1000 Ft rolls. One 1000 Ft
roll allows for about 7 Seconds of live action in between
the run up and slow down. With speeds in excess of 1200 FPS,
the camera cannot be manually slowed down after cut without
causing a jam. “Kodak 500 Vision III stock proved to
be the best filmstock for the job” adds Van Schaik,
“But we had to be quite accurate with our timings in
order to get the most out of each roll.”
Despite the enormous complications of the shoot, the results
are extraordinary – with shots so clear you can see
the wobble in a single drop of liquid and colours so vivid
they’d do unrivalled justice to any beverage or food
shot. “It was undoubtedly worth the challenge and difficulties,”
concludes Difford, “It is always exciting to work with
new technology that produces such an incredible picture.”
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THE ART OF LIVING COURSE
Enjoyed by millions of people from all backgrounds and traditions
across the globe, this course empowers you to unlock your deepest
potential and bring fullness to life.
The cornerstone of the course is a unique, scientifically-researched,
powerful breathing technique called Sudarshan Kriya?, which
incorporates specific natural rhythms of breath to release stress
and tension and bring your mind into the present moment.
On the course you will learn:
1. Practices that heal and harmonise your body, mind and spirit
2. Skills for handling negative emotions and situations
3. Practical wisdom for improving work and relationships
4. Deeper insight into the laws that govern your body, mind
and emotions
5. Stretching and low impact yoga
To book: contact Gerlinde or Mukesh on
083 301 3976 | 082 413 4500 or gerlinde@artofliving.org.za |
mukesh@artofliving.org.za
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It’s a quick one-two for Alan Irvin
Picture Tree’s Alan Irvin did a quick “one-two”
punch nailing 1st and 2nd place in the latest Creative Circle
results for TV / cinema.
Alan directed the Lexus / Mark Levinson Sound System spot “Orchestral
Manoeuvres in the Dark” for Draftfcb Jhb that won 1st
place as well as the 2nd place winner Vodacom / Rugby “Player
23+1”also for Draftfcb Jhb.
Creative Circle released their June 2009 results this week.
For more information on these commercials visit www.picturetree.co.za
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TVIEC UPDATE
17 AUGUST 2009
URGENT: SABC PAYMENT PLAN
Dear All,
Following a meeting with the SABC around payments, we have finally
reached a point where a proposed payment schedule, which takes
cognizance of the SABC’s cashflow situation, has been
put forward as well as a set of underlying principles that will
govern the payments schedule. The SABC contact person for verification
and payment related issues, is Mandy Branch, (x6764) at Office
1926, SABC Radio Park Building. Any queries regarding verification,
your payments as well as your invoices (as part of the final
verification process) will need to be delivered to her.
In short, the SABC has finalised a list of companies to whom
monies are owed. They have categorised these companies according
to both amounts owed and the “age” of the debt.
The proposed principles governing the payments schedule sees
the smaller numbers being cleared early with larger amounts
being pushed to later in the year when they anticipate they
will begin to feel the benefit of the cost-cutting measures
they’re proposing. Please bear in mind that this is directly
linked to the SABC’s cash flow situation. We raised the
issue that while there are numerous payments in category 1 (individual
payments that amount to under R50k), the bulk of the larger
payments sit in schedule 5 and 6 and are scheduled to happen
in November/December, this may prove to be a challenge. For
this reason, individual companies will need to use the one-on-one
meeting with Mvuso (more about this later in the mail) as a
platform not only to clear disputes on individual projects,
but to present a strong argument for payments to be expedited
i.e. that the principle of the categories is wavered in order
to prevent a company from going under. This will however be
assessed on a case by case basis and will not include the steering
committee.
The broad principles governing verification and final settlement
of outstanding debt are as follows …
On each production (and where it is appropriate):
- All assets as stated must have been/must be returned to the
SABC.
- All reports including the relevant supporting documents to
be received by the SABC by each due date (these dates are contained
in the attached powerpoint presentation).
- All verifications to be finalised by the set deadlines, if
information is not received by the set deadline then SABC will
pay 50% of the outstanding amount in full and final settlement.
- If report is received with all the relevant supporting documents
by the SABC in line with the timeline, including the return
of assets, and the verification is not finalised by the set
deadline, then SABC will pay in full on condition that all the
assets and bank statements have been received.
- If there is under-spend on a delivered programme, the SABC
will pay 50% of the savings in line with contract and the principles
above.
The steering committee has reverted to the SABC with the following
queries:
- SABC and producers need consensus on the verification process
i.e. how do the individual companies know that they have been
verified. This is not clear.
- We’ve made a request for individual companies to meet/speak
with Mandy Branch to facilitate this process before their submissions
on the 19th and certainly before their one-on-one’s with
Mvuso and Henk on the 22nd of August 2009.
- We’ve asked for clarity on how companies outside of
Johannesburg be dealt with in terms of the one-on-ones?
- In the slide 4 of the powerpoint presentation made last week
Friday by the SABC, it states that all verifications to be finalised
by the set deadlines, and that if information is not received
by the set deadline then SABC will pay 50% of the outstanding
amount in full and final settlement. Our understanding from
the discussion on the day is that SABC would pay 50% in good
faith and that the producer would have the opportunity later
on to make an argument for the remaining 50%. We’ve asked
for clarity on this.
- We have raised the issue of interest and await a response.
The deadline for the submission for Category 1 has lapsed.
We’ve request that this deadline for submission be extended
to the 19th of August as per Category 2.
Moving forward ….
- Payments have been categorized and scheduled so that outstanding
payments can be dealt with between now and the end of January
2010. Please find attached a power point presentation which
outlines the various categories.
- Any verification disputes that individual companies have,
must be submitted in writing (concise and succinct please) to
Mvuso Mbebe, copying Mandy Branch and Hank Lamberts no later
than the 18th of August 2009. Please ensure that all your documentation
is in order and that your submission will not be rejected on
the basis of a technicality (this is critical and a part of
the process which you need to take extra care with. Please be
organized).
- Individual companies need to schedule one-on-one meetings
with Mvuso Mbebe for the 22nd of August 2009 (Saturday) in which
verification disputes will be evaluated on a case-by-case basis
and a decision taken within the meeting to “unblock”
payments. Please note that your preliminary submissions must
be in by the 18th of August.
It has been a long and arduous process, but we are slowly making
headway. It is essential that we all understand that we are
willing to travel this road with the SABC, but until we see
concrete results and some form of resolution to the payments
crisis, we do not endorse the proposed plan. Having said as
much, the reality is that it is the only workable and reasonable
plan for the moment.
OUR CONTACT: tvcrisis@gmail.com
This letter is written on behalf of the TVIEC (Television Industry
Emergency Coalition) which consists of: IPO (Independent Producers
Organization), SASFED (South African Screen Federation), TPA
(The Producers Alliance), DFA (Documentary Filmmakers Association),
WGSA (Writers Guild of South Africa) as well as the CWU (Creative
Workers Union).
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Issue
69 - August 2009 |
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| CAPE
ROYALE
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CAPE
TOWN’S BEST KEPT SECRET...
Set against the iconic outline of Table Mountain, with panoramic
views over the city and Atlantic Ocean, Cape Royale Luxury Hotel
and Residence provides an enclave of luxury and refinement right
in the heart of South Africa’s most beautiful metropolis.
From the grand and elegant façade and entrance to the
intimate and relaxed atmosphere of the designer furnished suites,
the Cape Royale is the first choice for discerning travellers
seeking the very best in comfort and convenience. With ample
living and entertainment areas in all suites, a choice of two
restaurants, state-of-the-art executive meeting rooms and boardrooms,
a Spa and Wellness Centre and gym and roof deck pool and bar,
the Cape Royale is set to become a landmark hotel in Cape Town.
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NetConnect
Netconnect was founded in 1994 by Adrian Karth
who identified a need within the market for specialized computer
communications. Netconnect develops solutions focusing on
computer networks, internet solutions, integration and system
communications. Our skills and experience focus is in the
area of LANs, WANs, System Security and Internet Access.
Our belief is that reliability, honesty and top services
will nurture long term relationships with our clients and
ensure our strong and stable growth well into the future.
Netconnect is an enthusiastic IT company, our highly motivated
sales & technical departments combine as a strong team
to provide you and your company with the best solutions and
service possible.
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Ola! Films and Craig Gillespie cause havoc
in the Mother City
South Africa has proven itself to be one of the world’s
premier commercials production hubs once again; this time for
USA based production mega-house, MJZ and their big-name director,
Craig Gillespie. With a quirky, off-centre brief on the latest
Wrigley’s Orbit Gum campaign, plus the high expectations
of international agency BBDO Chicago, Ola! Films was called
in to deliver on the challenging duo of commercials.
Although not traditionally positioned as a service company,
Ola! Films won the pitch on the Orbit commercials thanks to
Executive Producer Olivia Leitch. Leitch lived in the USA for
10 years, and knows what the International clients are looking
for when shooting abroad. “Working on a project of this
scale with a globally acclaimed production house was a great
scoop for Ola! Films, plus its just fun to work with some decent
budgets that allow for big set designs, SFX, animatronics, live
penguins and some beautiful aerials along our coastline. Jobs
like this really do demonstrate what South Africa is capable
of delivering using local cast, crew and locations.”
The script was pitched out across three continents; South America,
Europe and Africa; with Ola! Films bagging the job thanks to
some ingenious location and prop scouting, including the discovery
of the ideal boat, which had to represent a floating Naval laboratory
from the 70’s.
The two 60” TVC’s follow The Commodore (cast in
London), a quirky, complicated character with an affinity for
madcap experiments conducted in his run-down, gritty ‘Mistitute’
lab – a location with an unapologetic throwback to outdated
70’s technology. His personality is infectious, optimistic,
but altogether serious, with an underlying trait of absurdity
that would probably remind you of the main character in The
Life Aquatic with Steve Zissou. “It’s this concept
of off-the-wall illogicality that made the scripts so exciting,”
adds Leitch, “but creating this also had its challenges.”
“We knew the only way to create an authentic look and
feel for the commercials was to create and shoot each scene
in live action, rather than rely on post production. We actually
hired a warehouse in Cape Town to build two of the sets. With
the help of some superb SFX guys, we shamelessly flooded the
‘laboratory’, with sparks flying and computers exploding,
real penguins swimming around as the waters rose. There were
some bedraggled seamen (superb local cast) casually hanging
around or having to deliver their lines as the walls started
cracking up or the pipes sprung leaks around them! We definitely
caused a bit of drama and created quite a stir - despite a big
budget Hollywood Clint Eastwood film being shot simultaneously
in the same city!” A big highlight for the internationals
though, was bumping into Clint Eastwood in the bar, and having
a drink! ‘We had to come all the way from Los Angeles
to meet the great movie maker!’ said the International
Producer.
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