SA Promo Magazine feature

Issue 29 October 2009.

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Zambezia Read-throughs

A talented team of local performers came together to read through the script for Zambezia in preparation for the recording of the scratch track which will be used to create a rough animatic of the entire film. The experience of the performers and the spontaneity that the group dynamic brought has already brought new depth and humour to the film and even taken us in some new and surprising directions with characters that came alive through the reading.

Nik Rabinowitz and Zolani Mahola returned after working together with us previously on the Khumba promo. They were joined by director of Nik's shows and actor/comedian in his own right Brent Palmer, as well as established theatre and film actors Tshamano Sebe and Sizwe Msutu. The recordings took place at Media Village in Kalk Bay, and even though characters may be replaced by different performers once a full casting has taken place, they will form the basis of all future performances as well as timing of the animatic.
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Opening new doors

We have moved into our new space! An exciting time for the whole team, and the start of a many new things at Triggerfish...

You can now find us at The Barn, Dreyersdal Farm.
Dreyersdal Farm Road, Bergvliet, 7945
Tel : (021) 713 4008
Fax: (021) 412 2872

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Stop-motion workshop series

Triggerfish will be there, presenting some insight into the history and world of stop-frame, as well as guiding students through the process of creating a short stop-motion piece. 

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Khumba presentation at UCT

The story of Khumba addresses themes of identity and diversity in South Africa and the writers have kindly been invited to give a presentation around these issues at UCT's Intercultural and Diversity Studies (iNCUDISA). 

So please join us if you are interested in hearing more, and are free on Wednesday September 9th from 1 to 1:50 pm (see Facebook event here) 

Find out more about iNCUDISA here or join the Facebook group here.

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R17m IDC investment in animation

As published in Screen Africa magazine August 2009
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Wait and see for 3D

While digital 3D technology is gaining popularity with local cinema audiences, further applications will only materialise once demand grows. This is according to Mike Buckland, technical producer at local animation studio, Triggerfish. by Lezette Engelbrecht

“It's very early days for the 3D industry in general,” says Buckland, adding that demand will only pick up once people become aware of 3D again. “It's a technology that raises its head every so often and then goes again.” Films were initially offered in 3D in the 1950s, but some viewers found the experience uncomfortable, as processing the 3D images could cause headaches, eye strain and nausea. In a recent report on 3D technology, Stephen Prentice, VP and fellow at Gartner, explains that modern equivalents of the cardboard red and green 3D glasses use high-speed LCD shutters or polarised light to send different images to each eye. Each image appears from a different perspective, creating the stereoscopic vision the brain translates into a 3D effect. According to Vidya S Nath, senior analyst for digital media at Frost & Sullivan, modern 3D technology breaks several barriers to true virtual reality and recreates an almost “live on-site experience”. “For instance, in an ideal situation, a viewer watching a football game will get transported to the actual field and watch the ball being kicked around him,” she explains. Learning curve Mark Harris, Nu Metro content and marketing executive, says film studios are committing billions to the production of 3D films worldwide. “At this stage, there are no fewer than thirty 3D movies scheduled for release over the next three years. The new generation of digital 3D has been hailed as the most vital and exciting development in cinema since the advent of colour film.” Both DreamWorks and Pixar have stated that all future animation releases will be in 3D, with films such as Toy Story 3, Rapunzel, A Christmas Carol, and James Cameron's sci-fi fantasy, Avatar, set for 3D release. Ster-Kinekor acquisitions and scheduling executive, Paul Burton, says the company has seen between four and 13 times uplift with a 3D film, compared to a 2D version. There are currently five Ster-Kinekor 3D-equipped theatres, in centres in Johannesburg, Pretoria, Durban and Cape Town, with plans for additional screens, adds Burton. According to Harris, digital conversion worldwide has generally been slow-moving in the cinema industry for the past few years due to costs. “However, 3D has recently become a catalyst for exhibitors to convert to this new technology. As with all new technology, there is always a price tag.” Harris adds there are already advances in SA, with Nu Metro planning to add more 3D screens. “By the end of the year, Nu Metro would have installed a further five 3D screens at two new cinema complexes, taking the 3D screen count to 14 screens over nine complexes,” he says. The two new cinema complexes will be located at Emperors Palace in Johannesburg and Galleria in Durban. Reel to real According to Nath, the move to 3D is still in early stages, with complex technical and production requirements providing a challenge. “There are a limited number of cameras, especially digital 3D cameras, for producing content. Large screen projects require specialised editing, and products for the same are not evolved optimally. Secondly, technical expertise to handle equipment for 3D production is limited.” Buckland says the biggest consideration in using 3D is that there is double the amount of data. “This has a considerable impact on storage and processing power as you need twice as many machines to render frames and store data.” He adds that the challenge is financial rather than technical. “There are stereographic experts who can advise us and initial tests indicate it is definitely achievable technically. It just means that one has to be more careful with cutting corners – everything has to be that much more precise.” Besides the financial implications of double the rendering, there are also cinematographic elements to consider, according to Buckland. These include the framing of shots and editing between different depths of field. “Filmmakers are still learning the best way to present images and push the boundaries.” Tracey-Lee Troskie, from 3D animation and graphics company, DXF Extreme Effects, says local studios aren't behind in terms of getting hardware or commercial software used for high-end 3D. “Where we do lack is the knowledge to apply all of these tools and the big problem comes in getting sufficient funds for huge projects. Overseas, they have a lot of R&D teams to develop new tools and push boundaries. This is where we lack.” But Buckland says the tools are evolving. “As more studios produce in 3D, we'll develop better workflows, improve the way of doing things and it will become easier. It's uncharted territory, so there are lots of new techniques for storytelling and we're still figuring out how to give the audience a better experience.” While 3D offers more immersive viewing, Buckland stresses that it doesn't necessarily offer value for every film. “Personally, I think 3D is a tool for telling a story. In some films it really serves the story, but it's not for every movie.” http://www.itweb.co.za

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New Triggerfish Production Facilities

For the past 2 years, Triggerfish studios have been located on the picturesque location of Dreyersdal Farm just 20 minutes from the heart of Cape Town city centre.

The new location - The Barn is on the left (The Long House is in the background) 

With the massive expansion of the team taking place on the production of Zambezia, a new space was required. We were sad at the thought of leaving the farm, but thankfully have managed to secure the ideal space on the same premises!The 100-year old Barn House is currently being renovated and kitted out to suit all our production needs.

The mezzanine floor being installed.

Dreyersdal Farm is a quiet spot, against the traffic, close to shops and what's more - the nearby lake which is teeming with bird-life provides the perfect inspiration for Zambezia :)
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Careers Indaba in Khayelitsha

Unemployment in SA is high, but the animation sector is a growing industry in this country and one which could provide employment for wide range of people with varying skills.

Anthony recently gave a talk on the various opportunities for work in animation at a careers indaba organised by iKamvaYouth . iKamvaYouth is a non-profit organization focused on the empowerment of youth through education, e-literacy training and career guidance. They have a number of extremely successful programmes with branches in CT, Durban and JHB and Triggerfish hopes to continue working with them to grow an awareness of animation within the Khayalitsha community in which they are based.

"Due to the social and cultural history of our country, the SA animation scene is predominantly a white male industry, " says Anthony. "Addressing this need for transformation within the local animation industry is high on our agenda."


Triggerfish has a long history in industry development. Stuart started the Animation SA website (the representative industry body), Anthony continues to maintain the site and is a vice-chair on the board. The monthly animationXchange networking events were first held in the Triggerfish offices and Anthony continues to run them. There is also a permanent, rotational internship programme that runs in the studio which allows recent graduates the chance to further their training in a supportive environment. Triggerfish is also one of the partners of the Animation Industry Development Initiative (AIDI) organised by the Cape Film Commission and Animation SA which has the ambitious aim to provide 10000 jobs in the animation sector by 2020.

For further information: http://www.ikamvayouth.org/ Pin It

Lights, camera, animation

Blockbuster animated films with an African theme like The Lion King and Madagascar have reaped rich rewards for Hollywood studios.

Now it is South Africa’s chance to shine.

Although not the first to be produced here, Zambezia will be the biggest animated film created in SA.

Cape Town-based Triggerfish Animation Studios, which has three full feature animated films in the pipeline, is already in pre-production on Zambezia, the first film of the three.

Last week, the Industrial Development Corporation, when announcing its financial results, confirmed that it has approved a R17- million investment in the film.

Triggerfish director Anthony Silverston said the pilot was produced in 2006 and it has been a long slog since then to perfect the script and to secure funding.

Both issues are at an advanced stage and Triggerfish is recruiting production staff for the film.

While Zambezia cannot compete with Hollywood budgets, Silverston said, in local terms, the creators were working with a comfortable budget financed largely by the IDC but also by US investor Wonderful Works, US finance group 120db Film Finances, Triggerfish itself and the National Film and Video Foundation.

Silverston said while it was not the first full-length animated film from SA (Lion of Judah has been completed, but not released), it would be the biggest, and pre-sales have already been extremely positive.

Zambezia, which will be directed by local writer and director Wayne Thornley, is a coming-of-age adventure about a falcon from the plains of Zimbabwe who travels to the big city, where he is tested to the limits when he has to protect Zambezia against a horde of aggressors.

While the scriptwriters are from SA, including Thornley, Silverston, Raffaella Delle Donne and Andrew Cook, they have been consulting with Kiel Murray from Pixar and an experienced UK Film Council script editor.

There is a lot of local talent on which to draw. Silverston said there has been a huge response to the call for applications. “We were excited by the level of talent,” he said.

The film is in pre-production where design, storyboards, characters and environment are being finalised and it will take 18 months to finish, with a 2011 release planned.

Since 1996, Triggerfish has been doing animation for commercials including the Royco Potato Bake potato head ad, and the Plascon Woodcare ad, and has done a lot of work for Takalani Sesame.

Silverston said the creators wanted the film to be authentic and wanted to use local voice talent, but American audiences struggle to understand the accent, so it may have to be dubbed for some international audiences.

Music also plays an important part, and will be a mixture between traditional and contemporary African music.

 The Lion of Judah, the first CG local full-length animated film, was produced by Sunrise Productions and animated by Character Matters, both local, but was largely funded and is owned by an international investor.

by Marcia Klein

www.thetimes.co.za

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Top creative team for Zambezia Pre-Production

Two of SA's finest artists in the animation field, Lindsay van Blerk and Allan Cameron were recently appointed to oversee pre-production of Zambezia. 

Triggerfish producer Mike Buckland with Allan Cameron and Lindsay van Blerk

Lindsay van Blerk, one of SA's most experienced animation directors was appointed as storyboard supervisor and in just one month, has already completed a first pass of the film together with his storyboard team.

Lindsay is well-known to Triggerfish, having founded Xyzoo in 1991, working with original Triggerfish founder, Jacquie Trowell. Starting in 1983 at Klaybow Films, Lindsay has produced, directed animated and designed over 60 commercials as well as five award-winning films including “The Velveteen Rabbit”, winner of the Booklist USA Editors Choice 2004, amongst others. Most recently, Lindsay has been developing new projects and supervising storyboard on TV series at Clockwork Zoo. 

Allan Cameron, another top veteran in the SA animation industry has joined the team as Production Designer, relocating from Johannesburg for the project. Allan has a wealth of illustration experience and is no stranger to 3D either, having worked as a designer/director in CG since 1994. He has worked on at least 60 commercials, various pilots for a range of projects, working internationally at studios such as The Works, and locally at Luma and VideoLab. For the last few years, Allan has been at Anamazing Workshop, working as series director, and designing story, characters, sets, storyboarding for their APTI project as well as  handling art direction and direction on a feature film project of “Liewe Heksie”.

“The creative department is working extremely well together,” says director Wayne Thornley. “I welcome the best idea in the room and here we have a constant flow of ideas between the artists. It is an exciting and fun environment to be in – and a pleasure to witness such creative minds as Allan and Lindsay collaborating to create something special and unexpected”.

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Zambezia recruitment

We’ve had an overwhelming response to our call for applications for the various positions for Zambezia. Our new HR consultant, Cathy Bradley is helping us structure recruiting and training and we will be contacting all applicants as soon as we can. We have been encouraged by the level of experience and talent of the applicants, and are busy drawing up a short list. Thanks for your patience! And to all of you still wanting to join us on this exciting project, fill out your details here:  http://www.triggerfish.co.za/jobs/

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