Dowbload Part 3 - size: 2.7mb - Screen Africa

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Audience Ratings July 2009 This monthly feature selects prominent local productions and ranks them in terms of audience ratings (ARs). Selected foreign programmes are shown only for comparison. ARs are weighted over the period of transmission and the number of transmissions during the calendar month. Data is supplied by the South African Advertising Research Foundation and processed by Interactive Market Systems (South Africa) (Pty) Ltd. The cream of the local productions the top five programmes SABC1 Rank Programme Date Genre AR 1 Generations 22/07/2009 Soap 27.02 2 Jika Ma Jika 22/07/2009 Musi 20.09 3 Laduma Soccer Build- Up 23/07/2009 Spor 19.14 4 Montana 14/07/2009 Dram 19.08 5 Mtunzini.Com 02/07/2009 Dram 18.80 SABC2 Rank Programme Date Genre AR 1 Muvhango 14/07/2009 Dram 13.37 2 Moferefere Lenyalong 12/07/2009 Sitc 12.13 3 7De Laan 20/07/2009 Soap 11.19 4 Gospel Time 19/07/2009 Reli 8.96 5 Nuus 14/07/2009 News 8.94 SABC3 Rank Programme Date Genre AR 1 Days Of Our Lives 21/07/2009 Soap 7.89 2 Hulk 18/07/2009 Movi 7.72 3 Music 09/07/2009 Musi 7.38 4 Michael Jackson:Moonwalker 05/07/2009 Musi 7.32 5 Filler:Harry Potter & The Half Blood Pr 13/07/2009 Docu 7.07 M-Net Rank Programme Date Genre AR 1 Iron Man 05/07/2009 Movi 1.40 2 Hancock 26/07/2009 Movi 1.38 3 Carte Blanche 12/07/2009 Maga 1.31 4 Wanted. 19/07/2009 Movi 1.27 5 The Incredible Hulk 12/07/2009 Movi 1.26 e.tv Rank Programme Date Genre AR 1 Scandal 02/07/2009 Dram 12.27 2 Rhythm City 14/07/2009 Dram 12.12 3 International Raw 12/07/2009 Spor 11.47 4 The Hot Chick 04/07/2009 Movi 10.98 5 The Rundown 12/07/2009 Movi 10.05 We feature the top five shows viewed for each of the channels. Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how often it is transmitted – D=Daily, W=Weekly, S (followed by a number) indicates a series of that number of episodes. Television Universe estimated at 5.232 million households. One ratings point of all viewers represents about 145 590 viewers.Key to genres: Actu: Actuality, Docu: Documentary, Dram: Drama, Educ: Education, Maga: Magazine, Musi: Music, News: News, Quiz: Game Show, Real: Real life, Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth Entertainment, Name Genre Start Time Day/s Frequency Channel July 2009 AR June 2009 AR 3rd Degree Maga 21:30 Tue W e 3.79 5.30 7de Laan soap 18:30 M-F S5 2 9.99 9.53 50/50 Maga 19:30 Mon W 2 4.74 4.59 Binnelanders Dram 18:00 M-F S5 M 0.89 1.11 Carte Blanche Maga 19:00 Sun W M 1.21 1.24 Egoli-Place of Gold soap 18:30 M-F S5 M 0.75 0.90 Fokus Actu 18:30 Sun W 2 5.68 6.16 Generations soap 20:00 M-F S5 1 22.95 22.85 Gospel Gold Musi 09:00 Sun W 2 5.39 4.94 Isidingo:The Need soap 18:30 M-F S5 3 4.20 3.96 Jam Alley Vari 18:30 Fri W 1 8.27 10.09 Morning Live Maga 06:00 M-F S5 2 1.87 2.22 Muvhango Dram 21:00 M-T S4 2 8.44 7.93 News at Seven news 19:00 Daily D e 5.84 5.59 News at Seven on 3 news 19:00 Daily D 3 3.61 3.38 Pasella Maga 19:30 W W 2 6.07 5.65 Rhythm City soap 18:30 M-F S5 e 9.36 10.38 Scandal Dram 19:30 M-T S4 e 8.36 8.83 Selimathunzi Vari 18:00 Sat W 1 10.40 9.45 Special Assignment Docu 20:30 Tue W 3 2.92 3.48 Top Billing Maga 19:30 Thu W 2 4.11 3.78 Zola 7 Maga 20:30 T W 1 12.61 12.43 Top foreign shows Days of Our Lives soap 17:10 M-F S5 1 6.77 7.10 WWE Wrestling Smackdown Spor 20:30 W W e 9.19 9.35 The Bold and the Beautiful Soap 18:00 M-F S5 1 12.30 11.35 The above represents a selection of programmes only, and is calculated on the total calendar month’s weighted average of the total audience over all age groups. If you want a particular programme included, please e-mail Enid Venter at enid@ihjohannesburg.co.za. The purpose of the schedule is to show the types of programmes South African audiences view, and to what extent. 46 SCREENAFRICA – October 2009
CONTINUED FROM PAGE 1 Piracy hits District 9 “Consequently, all the English subtitles in the film are obscured by Russian subtitles.” The camcording was traced by the international organisation, the Motion Picture Association (MPA), of which SAFACT is a member. Says Lennox: “The MPA has dedicated resources for analysing camcordings. There are always watermarks on any original pirate version. Just by way of comparison, in the case of X-Men Origins: Wolverine, the piracy was due to a studio leak and not a camcording.” In Johannesburg pirates keep popping up in the same places despite the fact that SAFACT always moves them on. The Johannesburg Metropolitan Police Department (JMPD) is, according to Lennox, doing a great job in assisting the fight against piracy. “The real challenge is to stop camcorders in cinemas,” comments Lennox. “Our low tech solution would be to have cinema staff walking up and down the aisle looking for camcorders. That’s what we did with Mr Bones 2 and it was very effective. The film wasn’t pirated until the second day of DVD release.” SAFACT believes that it is vital that anyone involved in the making of a feature film be sensitised to piracy. “Filmmakers and their crews need to be committed to avoiding piracy and must manage the risk. So we would advise no distribution on screeners and having the film on 35mm for all screenings, even classification screenings. No digital copies should be sent to film festivals and the master must be protected at all times. If anyone is making a film they are welcome to give us a call and we can advise them on anti-piracy measures that won’t impact on the budget,” concludes Lennox. The organisation receives between 50 and 60 tip-offs a month on Crime Line (ie. 32211), via faxes and through its website (www.safact.co.za). Refinery – business as usual Charl van der Merwe are going into our busiest trading period for the year and we have seen a slow upturn, but an upturn nevertheless for the next two months at least. “We as management believe in this business, and we made a decision that if there is one party who really understands this business, and knows the risks, it is the management. Hence the reason for our negotiations and discussion with the current owners of the Refinery.” Van der Merwe said it was important for the industry to understand that the Refinery Kenya/SA sci-fi film collaboration of my heart. Her interpretation of Asha and the story was painfully tender and through it new, undiscovered layers of the film came alive.” She explains the origins of the film’s idea: “The film was inspired by a conversation I had with a friend about living in a world where we bought bottled air, only to find out that oxygen bars have been created and exist in some places in the world.” On the film’s message she said, “Pumzi is about a world in the future where there is no water. Some have called it an environmental short film, others sci-fi. I think it is a cautionary tale about where we are headed. When I got back to Kenya after directing Pumzi, I found that the drought in Kenya has made Pumzi a more tangible reality than is comfortable. She added, “Creating a futuristic Africa lends itself to a touch of sci-fi. The main character is also a scientist of sorts; she works as a curator at the Natural Virtual History Museum. She runs tests and experiments that create life where she thought there was none. “Sci-fi is definitely not a first in Africa, although it is not a genre used often. More than the genre, I am confident in the story of the film. The journey of Asha as she discovers life; the rebellion of Asha when she chooses to follow what she has discovered. I am confident that the story has heart, softness and courage. That is what appeals to me more than the way it is made.” Pumzi was shot in Cape Town in what the writer/director described as “some of the most scenic and beautiful locations”. She said that the internal shots were primarily shot at The Good Hope Centre while the exteriors were shot in the Atlantis dunes, the producer’s swimming pool and a parking garage. Kahiu’s passion for film started at 16 when she began to intern in entertainment companies in Kenya and internationally. This included working as a production intern at Pinewood Studios, London; a production assistant in Alexandria Productions, Virginia; and as a director’s intern at Paramount Studios, Hollywood, during the production of Italian Job directed by F Gary Gray. After attending UCLA’s Master programme in film directing, Kahiu’s professional debut was directing a behind-the-scenes documentary, The Spark that Unites (2006) for the film Catch-A- Fire (Universal Films/ Working Title) directed by Phillip Noyce. Kahiu honed her filmmaking skills with her first Kenyan film Ras Star (2007), a short film based on a teenage artist trying to make it into a talent show despite all odds. The film was produced for M-Net. In 2008, Kahiu completed her first feature film, From a Whisper, based on the real life events surrounding the 7 August, twin bombings of US Embassies in Nairobi and Dar es Salaam in 1998. The film recently won awards at Nigeria’s Africa Movie Academy Awards including Best Director and Best Picture. It also won the Golden Dhow award for Best East African Picture at Zanzibar International Film Festival 2009 and is still doing the festival route internationally. M-Net has again commissioned Wanuri to direct a documentary, this time about the life of Nobel peace Prize laureate Wangari Maathai, entitled For Our Land (2009) as part of the flagship series The Great Africans. and Waterfront Studios are completely separate entities and the Refinery management was only concerned with extricating the Refinery from MFP Holdings. “It is unfortunate that there has been such a long delay in making an announcement regarding the future of the Refinery, as this may have created a negative perception of exactly what is transpiring,” said Van der Merwe. “Furthermore, it’s important for the industry to understand that as management, we were neither directors nor shareholders of the Refinery, and in keeping with good corporate governance we could therefore not disclose information of a sensitive nature. “Unfortunately this conundrum did not work in our favour and has no doubt caused harm to the reputation of the Refinery. On the positive side however and in terms of the legal structure and ownership we should be able to make an announcement within the next week or so. But for now it is business as usual.” Int’l drama films in JHB London based production company, is working locally with Out of Africa Entertainment. Strike Back, which is a 6 x 60-minute drama series, is a story of deception, redemption and revenge, all played out in the interlinked lives of two former soldiers; Major Hugh Collinson and discharged veteran John Porter. Their paths last crossed seven years ago. Now, amidst a new hostage crisis in the Middle East, their lives are about to collide again. Shooting format is 35mm, processing is at The Film Lab, and the dailies transfers are at The Refinery. Stock and equipment is from Media Film Service. DOP is Steve Lawes and the A camera operator is local boy Harmon Cusack, who is enthusiastic about shooting 35mm for a drama series. “Film is still the best capture medium. Its large exposure range is unbeatable,” he says. “On Strike Back we are using two 35mm 3 perf. cameras most of the time. Our format is 16:9 and using the 3 perf. we are able to get 25% more value out of our stock. “Originally this production was going to be shot on HD,” concludes Cusack. “But with the challenges associated with this shoot, 35mm was the preferred choice. Steve Lawes, our DOP, agrees that HD would have been difficult given the logistics of this production.” The series is due for flighting in early 2010. October 2009 – SCREENAFRICA 47
Page 1 and 2: Shoot Casting - great opportunity J
Page 3 and 4: Making Magic PUPPETMASTER - Rod Cam
Page 5 and 6: N R CR A SCREENAFRICA Y INDUSTRY N
Page 7 and 8: P R O D U C T I O N U P D A T E S I
Page 9: P R O D U C T I O N U P D A T E S D
Page 13 and 14: A N SCREENAFRICA N I V E R S A R Y

Dowbload Part 3 - size: 2.7mb - Screen Africa

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