Dowbload Part 2 - size: 2.0mb - Screen Africa

TRACKINGTECHNOLOGY CAMERAS
Cameras in Action
With the wide selection of good cameras available, it can be difficult to find a one which suits your particular
needs. Screen Africa spoke to four cameramen about which cameras they prefer and why.
18
Sony VX-1000
Sony PD-100
Sony D30SP-BetaCam
Sony D30-DVCam
Sony DVW700 Digital BetaCam
Sony PMW-EX1 HD
Sony PMW-EX3 HD
Panasonic HDX-900
Panasonic HVX-200
SCREENAFRICA – May 2009
Jacques Goosen
JACQUES GOOSEN
Cameraman for SANHU –
The South African Natural History
Unit. The company is based in the
Kruger National Park and produces
a range of wildlife and natural history
programmes for international
distribution.
What cameras do you
use and why?
JG: I have various cameras of my
own at the moment, all being Sony.
They are robust and reliable if you look
after them. I have kept all of them since
1996 when I bought my very first
camera after leaving the SABC for the
big freelance world.
I currently have the following in
working condition and a couple of
them, pure ornaments from the past.
These are my Sony VX 1000 and two
Sony PD 100s, which all did their time
in some really harsh and rugged
conditions with some great results at
that time, before all the new generation
of cameras arrived (PD 150, 170 and
the Z1s).
The VX1000 was only two days old
when it was trodden on by buffalo and
it then went on to do another five years
of work before I put it to retirement on
the bookshelf. It was a great camera at
the time, very user friendly and great
quality picture for its price tag.
Some of my cameras still working
and in good condition are: a Sony D30
Betacam SP camera – 13 years old
(used for training interns and students),
a Sony D30 DVCam camera – 10 years
old (currently the camera mostly used
for filming SABC productions), and
then the good old Sony 700 Digital
Betacam camera – 12 years old and still
going (used mainly for international
clients that are not shooting on HD
yet), which has been my favourite
camera to date. This camera has filmed
in very dusty and hot conditions, over
rough terrain and yet with minimal
repairs, other than its normal services
and parts.
I have recently acquired two small
HD cameras, namely the Sony EX-1
and the Sony EX-3, to my stable of
Sony cameras.
What are some of the best
features of these cameras?
JG: Since I have so many cameras,
which have all had their day in the
limelight, I’d rather discuss the new
cameras I’ve just bought. Although I’ve
only filmed twice with the EX-1 and
once with the EX-3 to date, they are
different.
The EX-1 is a great little camera,
excellent picture, great audio,
manoeuvrable, compact and versatile.
It’s not a big camera, far from it, but has
some great features in that it has a
proper focus, iris and zoom ring on the
lens for cameramen who prefer to use
manual focus and iris. An added
feature, which I like, is a proper zoom
server grip that also rotates position.
This and the size of the camera I found
very handy recently in a chopper where
there was barely room for me, yet I was
able to film holding the camera on its
zoom grip away from me to record a
great high quality shot with ease. It’s
not possible with a bigger camera.
The Sony EX-3 is a bigger version of
the EX-1 and comes with a better
viewfinder, is switchable from colour to
B&W and that can be used as a normal
LCD screen like the EX-1. This came
in very handy while filming at night
catching crocodiles in the Olifants river
recently, as the lighting conditions were
extremely low, due to the technique
used to catch these crocs, and the focus
on the camera was critical especially in
HD. The viewfinder made it a bit
easier than the LCD screen of the
EX-1. The only problem I had with the
camera was that it’s not really a
shoulder mounted camera and needs an
additional shoulder brace to use your
shoulder as support. I found one can
only support the camera against the
body, but then the weight rests mainly
on your wrist holding onto the zoom
grip. Other than that the pictures are
great and the camera is user friendly.
ROB WALDRON
Wildlife filmmaker of Wild Dog
Productions.
What cameras do you
use and why?
RW: I use two Panasonic cameras –
the full high definition HDX900 and
the P2 camcorder, the HVX200. One
of the main reasons we chose the
HDX900 is because it greatly simplifies
the post-production process. Unlike
most cameras, the HDX900 has both
HDSDI and Firewire 800, which
means that footage can be ingested
directly onto hard drives or into nonlinear
editing systems. This allows for
very rapid turnaround from shoot to
edit. We tend to use the HDSDI for
high end productions for ingestion into
an Avid and the Firewire 800 for high
speed turnover, ingested into a Final
Cut Pro. I particularly like the cine
‘filmlike’ settings on the HDX900
which give beautiful and warm images.
We’ve tried a competitive camera and
found it difficult to get the same degree
of warmth.
We often use the HDX900 together
with the HVX200 and can dial in a
very similar look on both cameras for
simultaneous use, particularly when
we’re doing fast action-based work like
game capture. In such instances the
HDX900 would be on a tripod as the
main camera, while the HVX200 is
used nearer the action, being lighter
and smaller. The beauty in postproduction
is that the images from both
cameras are compatible. Also, both
cameras process data at 100MB per
second. None of the smaller
competitive cameras can process data at
the same rate. A handy feature on the
cameras is the variable frame rates for
slow motion and time lapse. Both
cameras have been used in several
African countries and endured extreme
conditions such as heat, humidity, dust
and moisture.
We’ve used both cameras to film a
13-part series called The Zoo That
Saved The World, about South Africa’s
National Zoo in Pretoria. This is rated
as one of the top five zoos in the world
and the series documents the role it
plays in preserving endangered species.
It was shot partly at the zoo and on
location in Mozambique, Botswana
and KwaZulu-Natal. The series is
currently in post-production and was
commissioned by e.tv’s affiliate, the
Natural History Unit.
I’m very happy with our HD choice
and think it’s the most cost effective
system in the market.
– to page 20

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TRACKINGTECHNOLOGY CAMERAS
Trevor de Kock
Russell Belter
Panasonic HPX-2100
Panasonic HVX-200
Sony XDCAM PDW-F350
Panasonic HDX-900
from page 18
TREVOR DE KOCK
Wildlife filmmaker of Pelican
Pictures.
What cameras do you
use and why?
TDK: I use the Panasonic
HPX2100 as my main camera and its
smaller brother, the HVX200, as my
secondary camera. I chose these
cameras because I decided to go the P2
tapeless route, which is increasingly
becoming the trend worldwide as it
moves towards solid state, and with
broadcasters like the BBC also going
tapeless.
One of the best features of the
HPX2100 is the pre-record button,
which memorises up to eight seconds
before the action takes place. For a
wildlife cameraman this is obviously a
great facility. Ironically, this way you
end up saving on footage rather than
wasting it. The camera also allows you
immediate access to shots, with
thumbnails displayed on the menu.
I am currently working on a 13-part
reality-based ‘animal soapie’, which
focuses on the daily lives of a troop of
baboons. I’ve already been filming the
series on this camera for two years.
There’s never a dull moment in baboon
society so the series is certainly
amusing, entertaining and dramatic at
times.
One challenge I’ve encountered is the
time it takes to download the P2 cards.
I have to do this every night after a long
day in the bush just to check my shots
and it takes a long time. Having said
that, Panasonic has just launched [at
NAB] the E-class P2 cards, which are
about a third of the cost of the cards I’m
using. This means that I will be able to
use more cards on shoots.
In terms of accessories used on the
HXP2100, I have had the new
Panasonic AVC Intra codec installed,
which has various advantages. I use two
Fujinon HD lenses, a 13x4.5 and a
25x11.5 on the camera.
A Bebop pan bar remote control
allows me to shoot and zoom with one
hand. A lot of these cameras are
specifically designed for ENG, whereas
wildlife filmmakers have to use big
lenses on them so they become
awkward to manoeuvre. Another
accessory is the P2 store which I use in
the field for emergencies. It allows you
to download up to an hour of footage so
it’s very useful.
I am shooting at 720 50p which gives
me the option of slowing down footage.
A lot of wildlife filmmakers are going
the Panasonic route. I haven’t tried any
other competitive cameras, having
decided early on to stick to P2. One
issue that is common to all filmmakers,
regardless of which cameras they use, is
that unlike other most other cameramen
we have to invest in our own
cameras. The rapid rate of technology
means that these cameras may be
redundant in a year or two, which
impacts on your personal investment.
RUSSELL BELTER
WildCam – the company has eight
full-time cameramen and they shoot
everything from Supersport news to
wildlife documentaries for National
Geographic and Discovery.
What cameras do you
use and why?
RB: I have tried all the cameras out
there – first the Digi Beta, then
DVCPro, DVCam and then three
years ago I moved to XDCam and
finally in 2007 just before the Rugby
World Cup I moved to XDCam HD.
I am not a purist and have no
loyalties to any brand. I always look at
the market and try to gauge what the
broadcasters are looking for. It’s that
fine balance between quality and
affordability. Just last year I purchased a
new DVCPro HD 100 camera for the
end of the year Springbok Rugby Tour.
I have been using the XDCam brand
for more than three years and have
never sent a camera back in for a repair
and the format has never let me down
on a shoot. I have only been using the
DVCPro for six months and have not
yet formed an opinion.
I find the XDCam workflow to be
far superior to the DVCPro. Shooting
on full HD, Final Cut Pro sometimes
struggles to read the P2 HD footage,
whereas the XDCam workflow with
FCP is flawless. Both formats are not
that much faster when it comes to the
ingesting from the camera, but there is
one obvious basic difference. When
viewing the proxy files on XDCam you
can give the proxy In and Out points
and then ingest only the footage you
need for your field edit with the
knowledge that your archive remains
on the Blue Ray disc. On the DVCPro
side you have to ingest all the material
and then edit so that you can free up
the P2 disks to continue shooting.
In terms of archiving, there is no
comparison. In an attempt to save
budget I only bought three P2 chips for
my DCVPro camera and now find
myself continuously having to buy extra
external hard disks to archive my
footage when on a shoot. Just last week
I travelled to the UK to shoot interviews
for the Lions Rugby Tour and
found myself sitting up until late at
night transferring the data from my P2
to a hard disk. I can honestly tell you
that my stress levels have increased
dramatically since I tried the P2
standard. Putting your archive on Blue
Ray is the answer.
If you are ever worried about
XDCam as an acceptable format then
you had to be with me at the 2008
Beijing Olympics. ABC, the biggest
broadcaster at the Olympics, has
accepted XDCam as their HD
acquisition format. When you stand in
the mixed zone at the swimming and
35 of the other 40 cameraman all have
XDCam, then you know you are on
the right track.
Quality is also a major issue. With
the new XDCam camcorder recording
HD material at up to 50Mb/s onto
Dual Layer Disc – three 2/3-inch
CCD sensors, full 1920 x 1080 4:2:2
operational and 1080/720 swithcables
the argument is not worth my time.
It’s simple – I want a camera
that is acceptable to all the major
broadcasters.
20
SCREENAFRICA – May 2009

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TRACKINGTECHNOLOGY EDITING
Editing tips: CRASH! Recover your cut
Susan Scott and Candice van der Valk, members of the South African Guild of Editors (SAGE), have for many
years been cutting HD documentaries for National Geographic, Discovery Channel and Animal Planet. Here they
share their technical experience of working on Avid and Final Cut Pro.
Susan Scott: I start to feel old, really
old when I remember cutting on the
old Mac Quadras, which used to crash
regularly. In those days I accessed
Avid’s Attic probably once a fortnight
for a corrupt bin that wouldn’t open or
God forbid, a sequence that wouldn’t
play. Nowadays, the editing systems are
more stable and thankfully our trips to
the Attic are not as frequent. But there
comes a time when despite your
brilliant housekeeping and making
gazillion duplicates of your sequences,
you need to go back to an earlier
sequence.
Of course you copy everything, you
just didn’t copy that sequence with
those cuts. And now you’re headed for a
trip to the Attic and you can’t
remember how to get there, let alone
find it because it’s been so long since
you were last there. And you’d better
believe the procedure has changed.
Like everything, except the damn
effects palette, Avid makes subtle
changes on every teeny little release.
So here’s a quick update on how to
access your attic:
Open the Attic’s project folder and
then the Bins folder – look at the image
on the left if you don’t know where your
Attic is. Double click the folder for the
bin you want to recover, in this case the
Sequences Bin. Make sure you select
View >Details to see the Date
Modified. A back-up bin file has the
same name as the bin, but with a
number appended to it. The highest
number indicates the latest bin saved.
Choose the back-up bin file you would
like to retrieve. Copy and paste the file
onto your desktop, as you want a copy
of the file while leaving the original in
the Attic.
The Avid will also not open a bin file
directly from the Attic. Don’t be
tempted to type the Avid Bin extension
(.avb) onto the file and use it as your
“new” bin. This workflow is
recommended by Avid; it’s a bit longer
but safer. Re-open or maximise your
Avid Application and close all your
bins, either manually or Window
>Close All Bins (Avid does not allow a
Platform: AVID
bin and a copy of a bin to
be open at the same time,
so play it safe and close all
your bins while retrieving
from the Attic).
Select File >Open Bin,
and select All Files (*.*)
from the Files of Type list
and navigate to the
desktop where you will
open your back-up bin
file. It will now open in
your project window.
Create a new bin, for this
example we have called
this one, Sequence RECOVER. Select
the sequence from the back-up bin file
and drag it into the new bin. Delete
your back-up bin file in the Other Bins
folder as well as deleting it from the
desktop. Its job is done now!
Candice van der Valk: The thing
about Final Cut Pro is that you can
change just about anything within it to
Platform: FCP
customise your working environment.
Great for those who enjoy technical
wizardry but for those of us who enjoy
working in an application the way it
was intended – here are a few
guidelines:
With Final Cut Pro you have to (at
the start of every project) set up all your
preferences. So as far as the Autosave
Vault goes you need to set it up front.
Launch FCP. Go to the Final Cut
Pro tab > Click on System Settings in
the scratch disk setting – see diagram.
Set your Autosave Vault to your
internal drive as these are much more
stable than external drives. Now you
are ready to start your project.
Down the line you might need to
recover a past sequence and you can
either restore from within your current
project by going to File > Restore
Project and then select the date you
wish to restore. BUT if you are trying
to find a project from months back, you
should hide FCP (cmd-H) and go into
the internal hard
drive originally
selected to store your
autosaved projects. In
that selected drive
will be a folder called
Final Cut Pro
Documents > and
inside that folder is a
folder called
Autosave Vault >
Click on that folder
and select the project
file you require.
They are ordered in
date and time order.
Double click the one
you require which
will open up in FCP
> check you have the
correct project. Go to
file and “Save As”
and rename your
project and save it in
the appropriate
folder. Once you
are happy and
working again…
BACK-UP!
BACK-UP!
BACK-UP!
Join us next time where we’ll discuss
the various ways to navigate in and
around your timeline on both
platforms!
To find a SAGE Editor please
visit: www.editorsguildsa.org
Tel: (011) 266 1500
Fax: (011) 266 1543
E-mail:
broadcastsales@spescom.com
Web: www.spescom.co
Integrator of Choice
22
SCREENAFRICA – May 2009

FILM
White Wedding
By Karen van Schalkwyk
on the right road
TRIP DOWN THE AISLE – Lead actors Kenneth Nkosi, Jodie Whittaker and Rapulana Seiphemo in White Wedding
The latest in a spate of
independent South African films
to be screened on the local circuit
is White Wedding, which opened
on 29 April on 38 screens. Distributed
by Ster-Kinekor, this romantic comedy,
also part road trip film, is about
making it to the wedding on time. The
film was scripted by Jann Turner
(director), Kenneth Nkosi (Tsotsi,
Surprise) and Rapulana Seiphemo
(Tsotsi, Jerusalema, Hijack Stories).
Turner, who has directed television,
says that her film directing debut was
fantastic. “The difference with film and
TV is that film is much bigger.
Literally, the aspect ratio makes for a
bigger picture. It’s also bigger in that
the crew is larger, there is more time
per scene and yet the stakes feel higher.
A film is also a complete work and not
an episode or series of episodes.”
The hundreds of hours of television
she has directed have stood her in good
stead. “Television taught me the
importance of making sure you meet
the deadlines. It gave me lots of practice
at being able to organise and shoot to
schedule. This comes in very handy
when you have only 18 days to shoot a
feature.”
Regarding the inspiration for the
film, Turner explains: “About seven
years ago Raps and Kenny and I took a
road trip from Jo’burg to Cape Town.
We’re friends and we talked a lot about
relationships that holiday. We also
talked movies. The experience of being
on the road together combined with
what we had discussed at
the time was the seed for
White Wedding.”
Turner says that when they wrote the
script they worked in a collaborative
way. “First we had a meeting to
generate our ideas. Then the step
outline and more meetings to define
that, followed by the writing process
where we sat for days on end working
on the script. I sat with my fingers on
the keyboard trying desperately to keep
up with Raps and Kenny as they talked
so fast and acted out some of the
scenes.”
Turner adds that while they might
argue a lot, “we would never leave the
room without coming up with a
solution to the problem. I am not a
good collaborator, but the energy was
great and the three of us really worked
well together.”
Nkosi elaborates: “Writing together
was great. We created our story and
characters and made joint decisions in
the writing process. When we had to
perform, I had Jann to guide me as a
director and Rapulana to play against
as an acting partner.
Seiphemo adds that the whole
experience was overwhelming. “When
we set out to write this story we never
imagined it would turn out the way it
did. We spent countless hours with
Jann at the computer or at times with a
tape recorder. Finally we ended up with
a script that was a South African story
that was funny, wittty and really
adorable.”
Turner says that as always, the
biggest challenge was coming up with
the money. “Time and money were the
big obstacles. Making something as
beautiful as possible and as funny and
real as possible within those constraints
was the daily battle. Fortunately we had
a fantastic crew, highly talented and
experienced actors and great locations.
It would have been nice to have more
time so that we could have got more
coverage, but the truth is that the script
didn’t need a fancy visual treatment.
We needed to capture the life that was
being created in front of the camera.”
Nkosi says that for him the biggest
challenge, “was when the three of us
were writing together and we
disagreed. We could argue freely about
it, whereas when we were with the cast
and crew, if any disagreements
emerged, we had to exercise extreme
control.”
Turner says most of her directing
style and attitude to directing depends
on the script and what you are given. “A
good script is crucial and that will tell
you most of what you need to know
about how the film should look and
feel. I like strong stories and good
performances, so I am probably an
actor’s director. On the film I worked
closely with Willie Nel, our DOP, and
we were in strong agreement about how
the film should look and feel.”
Turner says that the response to the
film so far has been great. “We
screened the film in Britain to a mostly
English audience and they laughed as
hard as the South Africans. I think the
film is universal. It is really wonderful
to watch the local audiences because
they really like the film and delight in
our local humour. The audience at the
Cape Winelands Film Festival gave us
a standing ovation.”
Turner says she is excited by the
current development of the local
industry. “There are more South
African films coming out and it is
starting to feel more like an industry. It
feels great to be working in South
Africa right now.”
Nkosi adds: “It is great with a film
like White Wedding to see South
Africans laughing at themselves. This
is what we are and we should be proud
of it. There are so many of us making
our first movies. We are all making
mistakes and learning from them.
Filming our own stories is so important
and White Wedding is a good example.”
Seiphemo concludes: “We are writing
South African stories that people can
identify with and that is something
to cherish.”
24
SCREENAFRICA – May 2009

MA
- T: the +230 DOPS 206 choice 333 in Africa
South Africa plays host to three International feature films in the first quarter of 2009. All are shot on Kodak
motion picture film stock, a tacit reinforcement of the continued reliance and confidence in the use of film
as the premiere shoot format, and on Kodak motion picture film stock to provide the highest quality and most
reliable results when there is no compromise.
Directed by Clint Eastwood, the filmatic version of the John Carlin book the
Human
E:
Factor looks
richards@mediafilmserv
at life for Nelson Mandela after the fall of apartheid in South
Africa during his first term as president when he campaigned to host the 1995
Rugby World Cup event as an opportunity to unite his countrymen. Human Factor
stars Matt Damon and Morgan Freeman. The DOP is Thomas Stern ASC who used
Kodak VISION3 500T 5219 almost exclusively. Panavision supplied cameras, grips
and film stock.
Shot in Cape Town the Warner Premiere Free Willy 4 shot approximately 280,000
feet of Kodak VISION2 250D 5205, VISION2 50D 5201, and VISION3 500T
5219 for water, days, nights, interiors and exteriors. Free Willy 4 is a South African
and German co-production produced by David Wicht of Film Afrika. The DOP is
Rob Malpage SASC. Panavision supplied cameras, grips and film stock.
Shooting commenced recently in Johannesburg on the movie The Bang Bang
Club, a drama depicting the true-life experiences of four combat photographers
capturing the final days of apartheid in South Africa. Based on an amazing story
of photographers Greg Marinovich, Kevin Carter, Ken Oosterbroek and Joao Silva
it is based on the semi-autobiographical book written by the surviving Club
members, Silva and Marinovich. The Bang Bang Club is a Canadian/South African
co production with Daniel Iron of Foundry Films Inc Canada and Lance Samuels of
Out of Africa Entertainment (Pty) ltd.
DOP Miroslav Baszak talks about the film and
his reasons for choosing Kodak film stock: “I live
and work out of Toronto Canada and I work all
over the world. I shoot commercials and features.
My first African Movie was Shake Hands with
the Devil, a Roméo Dallaire Movie based on a
Commander of the UN forces in Rwanda – during
the xenophobia in the early 90’s, and I have done
a variety of movies of different types and genres,
including Land of the Dead by George A. Romero.
This is however my first project in South Arica and I must say that you have amazing
crews, a great country and great weather. I would come back, I could very well
stay here!.
The shoot is 30 days – it’s a challenging shoot because of the tight schedule – we
could use a couple more shooting days but that’s what we have and we will make it
work. Its also different because you sometimes come here to use South Africa as a
location only but this time we are shooting a South African film so we are not here
to shoot the beauty of the South African country – we are shooting in townships,
we are shooting in downtown Jhb, so we are more about the people in South Africa
than just the landscape.
We are shooting on two 35mm Arricams running at 3-perf and we are using three
Kodak motion picture stocks namely VISION2 250D 5205, VISION2 50D 5201,
and VISION3 500T 5219. We have had three days of shooting thus far and I have
seen the dailies and I am extremely happy. One single reason that I wanted to use
Kodak stock here was simple. Basically 5201 is the stock that I couldn’t imagine
shooting this movie without, because it’s a daylight stock with extreme latitude
and fantastic contrast and the way it penetrates blacks. It’s a great stock – we
have a situation where we have a lot of battle scenes, where we are using multiple
cameras, I felt that this is by far the best stock to handle it. We have high contrast
situations with a lot of black skin tones. Any other stock you can work around but
I felt that I needed the best and this is the reason I chose Kodak stock which was
supplied by Media Film Service.
We are shooting between six and eight thousand feet a day, and because we are
shooting 3-perf we are getting about 25% more per foot. The processing and dailies
transferring are being done in Toronto as part of the co-production deal, and has
nothing to do with the facilities in South Africa. It does however mean that we only
see the dailies about three days after the shoot and this is via internet streaming,
which is not ideal, but I have worked on projects like this before, and since I know
the stock well and I can rely on it totally and I know my exposures, I am completely
confident the results will be good. It takes another couple of days for the DVD’s to
arrive, and these I need to confirm the quality is good. All the post production will
be in Toronto including the digital intermediate.
Pudding Telecine Services, best described as offering ‘Creative
grading solutions’ has further increased its faith in film
origination through the recent purchase of a second Rank Cintel
C-Reality HD film scanner together
with a Baselight HD grading system,
thereby firmly entrenching itself as
one of the foremost transfer houses in
South Africa. Colourist and co-owner
Craig Simonetti remains convinced that film
is still the premiere origination format, and the
purchase of a second C-Reality emphasises
this.
“I would only advise shooting on another format if there are budget problems
Simonetti observes. The majority of our work is commercials, and about 80%
of these are shot on film. We have recently completed the transfers of a
commercial for South African Tourism shot on Kodak VISION2 250D 5205 and
VISION2 200T 5217 and a commercial for Vodacom shot on Kodak VISION2
250D 5205. The results are outstanding.
I have been in this business for almost 20 years and I can say with confidence
that my preference is for Kodak stock. Kodak appear to keep ahead of the
best digital technology origination formats through continual development
and the introduction of new stocks. I am keenly awaiting my first job on the
new Vision3, and am equally excited about the opportunities that this second
Telecine will bring in terms of our ability to now handle long format work as
well as commercials“.
AGENTS:
MEDIA FILM
SERVICE
MEDIA EQUIPMENT
RENTALS MAURITIUS
PANAVISION CINEGATE SOUTHERN
TAKE 2 FILMS
LIGHTING
JHB
T: +27 11 258 5000
F: +27 11 258 5091
E: geoff@mediafilmservice .com
KZN
T: +27 31 569 3000
F: +27 31 569 3067
E: billy@mediafilmservice.com
MA
T: +230 206 333
E: richards@mediafilmservice.com
JHB
T: +27 11 314 1748
F: +27 11 314 1749
E: james.barth@panavision.za.com
CPT
T: +27 21 556 6474
F: +27 21 556 6477
E: info@cinegate.co.za
JHB
T: +27 11 887 9351
F: +27 11 887 9382
E: johnharrison@southernlighting.co.za
KZN
T: +27 83 295 7905
F: +27 31 569 3067
E: bruce@southernlighting.co.za
CPT
T +27 21 410 1540
F: +27 86 5248502
E: leighann@take2films.co.za
CPT
T +27 21 511 3300
F: +27 21 511 3395
E: antony@mediafilmservice.com
CPT
T: +27 21 555 1780
F: +27 21 555 1828
E: tony.eddy@panavision.za.com
CPT
T: +27 83 553 2708
E: patrickkwaan@absamail.co.za