Upload
others
View
7
Download
0
Embed Size (px)
Citation preview
THEPRODUCTIONOFTVCOMMERCIALSANDSTILLSPHOTOGRAPHYINCAPETOWNAnoverviewoftheimpactsandconstraintsofthecommercialproductionsectorontheCapeTowneconomy.
MartinCuff,August4th2011
CommercialProducersAssociation SAASPPOBox413005 POBox51649Craighall Waterfront2024 8002Tel:27116736809 Tel:27214471075Cell:27826830575 Cel:27824033661Fax:27866748321 Fax:27866569656E‐mail:[email protected] E‐mail:[email protected]:www.cpasa.tv Web:www.saasp.co.za
Disclaimer:Thisdocumentwasassembledfromvariouspublicationsandwebsitesbetween2005and2011.Itisintendedforgeneralresearchpurposesonly.Whilsteveryeffortwasmadetoensuretheinformationhereinwascorrectattimeofcompilation,wemakenowarrantiesofanykindregardingthecompleteness,accuracy,reliabilityorsuitabilityoftheinformation.Anyrelianceyouplaceonsuchisatyourownrisk,andwewillnotbeliableforanylossordamagewhatsoeverarisingoutof,orinconnectionwiththeuseofthisinformation.Thefollowingdocumentswereusedasreferencematerialsforthisdocument:
• DACSTCulturalIndustriesGrowthStrategy(1998)• DepartmentofTrade&IndustrySectorDevelopmentStrategyforFilmandTelevision(June
2005);• WesternCapeProvincialGovernmentMicroEconomicDevelopmentStrategy(MEDS)Reportfor
theFilmSector(April2005)• CommercialProducersAssociationIndustrySurvey(2005‐2011)• SouthAfricanAssociationofStillsProducersAnnualSurvey(2005/6,2009‐11)• CapeFilmCommissionStrategicEconomicAnalysis(2006)• GautengFilmCommissionEconomicreview(2007)• TheDurban&KZNFilmIndustryReview(2008)• EasternCapeDevelopmentCorporationFilmSectorReview(2009)
THEPRODUCTIONOFTVCOMMERCIALSANDSTILLSPHOTOGRAPHYINCAPETOWN
SUMMARY:
• StillsandTVCommercialsmakeup57.7%ofthetheturnoverofproductionintheWesternCape
• ThecombinedvalueofStills&TVCommercialProductionintheprovinceisR1.53billion.
• EstimatedcontributionofStillsandCommercialstoSouthAfricanGDPisR2.06
billion.• 98.9%oftheproductionsshotintheWesternCapeareStillsandTVCommercials.
• StillsandCommercialsaccountfor16818ProductionDaysannually
• 69.6%ofalljobs/labouriscreatedareintheCommercialsandStillssectors.
• TheCommercialsandStillssectorscreate5957fulltimejobsannually.
• 4560ofthesejobsareinCapeTown.
• StillsandCommercialscontributeto164,293PersonDaysofEmploymentaYear.
1. THESOUTHAFRICANFILMSECTORi) CLASSIFICATIONS&ACTIVITIESStatisticsSouthAfricaclassifiesthefilmandtelevisionindustryunderDivision96:Recreational,CulturalandSportingActivities.InparticulartheFilmIndustryasitisknowninSouthAfricafallsundermajorgroup961:Motionpicture,radio,televisionandotherentertainmentactivities.Thisgroupisfurtherdividedintosubgroupsrelatingtothedifferentprocessesoffilmandtelevisionproductionnamely:
• Motionpictureandvideoproductionanddistribution(StandardIndustryClassification(SIC96111)
• Filmandtaperentingtootherindustries,booking,deliveryandstorage(SIC96112)
• Motionpictureprojectionbycinemas(SIC96121),• Motionpictureprojectionbydrive‐incinemas(SIC96121),• Radioandtelevisionactivities(SIC96130),whichincludestheproductionof
radioandtelevisionprograms.(Note:broadcastingitselffallsunderaseparatesubgroup,(SIC75200).)
Inotherwords,“Film”ismorethanjustfeaturefilm.Thebusinessactivitieswithinthesectorincludeamongstothers:
• Productionoforiginalcontent‐mainlytelevisionprogrammes,commercialsandcorporatevideosbutincludingfeaturefilm;
• FacilitationofProductionofcontent‐commercials,television,photographyandfeaturefilmproductionsthatoriginateoverseasandareprimarilyintendedforinternationaldistribution;
• Provisionoflabour,equipment,servicesandtalentforfilmsectorproductions;
• Provisionoffinancial/legalservicestothefilmindustry;• Distributionandexhibitionoffilmsandtelevisionprogrammes;• Postproductionoperationssuchasediting,filmlab,sound,graphics,etc.• Animation• EducationandTraining
ii) BUSINESSMODELSForpurposesofclarity,theSouthAfricanfilmindustryisactuallymadeupoftwodistinctbusinessmodelsforproductionthatoperatesimultaneouslyinthecountry,namely:
• Commercialmodel(or“ProductiononDemand”)–servicinginternationalclientswithlittleornocreativeinput,butreapingmajoreconomicrewardsforparticipatingcompaniesandthewidercommunity.
• Cultural/Creativemodel–producinglocalworkmainlyforSAbroadcastersor
localdistribution,offeringculturalintegritybutseverelyunder‐resourcedandofferingsignificantlylowercommercialreturns.(Thenationalchallengeofcourseistomovethisspecificsectortoamoreeconomicallyviableandsustainableplatform.)
Thedistinctionbetweenthetwomodelsisessentiallyoneofproductdevelopmentandwhoisresponsibleforit.IntheCreativeModel,participantsmustbeskilledatthecost‐intensivebutnon‐revenuegeneratingactivitiessuchasconceptualisation,financing,andotherpre‐productionelementsinvolvedincreatinganddevelopingone’sownproducts.Incontrast,theCommercialModeldoesnotdevelopitsownproductsbutratheronthemarketingofservicestointernationalstandards.Atastructurallevel,thefilmsectorreliesonbothverticallinkagesbetweenfirmsatdifferentlevelsofthevaluechain(i.e.theavailabilityofcrewandservices)andhorizontallinkagesbetweenfirmsatthesamelevelofthevaluechain,bothtoshareresources,increasebargainingpower,andfacilitatethecreationofindustrystandardsandmarketingcampaigns.Takingthesebusinessmodelsintoconsideration,thefollowingkindsofproductionaretypicallyundertakeninSouthAfricaandaredefinedasfollows:
• LongFormThe term Long Form is typically used in South Africa to describe a variety offilmedproductionactivitiesthatincludeFeatureFilms,MadeforTVMoviesanddirect‐to‐dvd productions. The determining factor of Long Form Production is,(unsurprisingly,) the lengthof the finishedproduct. Thedefinitionofminimumlength varies from 40minutes (Academy ofMotion Picture Arts and Sciencesrule)toabout90minutes(thedefinitioninCambridgeDictionariesOnline).Longform can also be used to describe an episode of a TV series that has beenextended to the length of a feature film. Such "feature length" episodes areusuallyseriespilots,holidayspecialsorseasonfinales.
• TelevisionThecategory“Television”isusedtodescribeabroadrangeofproductionsthatinclude documentaries, game shows, reality television, short films, corporatevideosandevenaerialfootage.
• Commercial
Atelevisioncommercialisaproductionforanadvertisedproduct.IncomparisonwithLongForm,TelevisionCommercialsareusuallyshort–typically60,30,20or10seconds.InSouthAfrica,theindustryusuallydistinguishesbetween:
LocalCommercialLocal Commercials are commercials produced by local advertisersprincipallyforuseonSouthAfricantelevisionServiceCommercialServiceProductionsareforeignproductionsfeaturingadvertisedproductthatareservicedinSouthAfricabyaSouthAfricanproductioncompanybutwithoutthecreateinputsofaSouthAfricandirector.InternationalCommercialDirector‐based commercials are productions filmed in South Africa forworldwide distribution, using the creative inputs of a South Africandirector.
• StillsProduction
StillsProductionsmost typically functionasServiceProductions,where foreignphotographicshootsareserviced inSouthAfricabyaSouthAfricanproductioncompanybutwithout the create inputs of a SouthAfricanphotographer. StillsProductionsproducepostersandbillboards,point‐of‐saleadvertisingmaterials,catalogues,magazinespreads,fashionshootsandproductbrochures.
• NewMediaNewMediadescribesnewmethodsforboththecreationanddisseminationofmaterial. It includes animation, Video Games, Podcasts, Online Broadcasting,Cellphone distribution, Medical Animation and Social Networking. Newmediaproductionswillbecomeincreasingprevalentinthefuture.
iii) INDUSTRYVALUECHAINIrrespectiveofthebusinessmodel,theValueChainofthefilmsectoriscomplex;andisgenerallylaidoutasfollows:
• Concept,FinancingandPre‐Productionreferstotheplanningphaseofa
production.Thisstartsrightatthebeginningoftheprocessandincludesscreenwritingandfilmfinancing.Itinvolvesfindingthelocation,planningandschedulingtheshoots,budgetingandemployingcastingandcrewingagents.(SIC96111/96130)
• Production/DevelopmentandPostProductionincludespre‐andpostproductionaswellasactivitiesrelatedtofilmfinancing.Theseactivitiescangenerallybedescribedastheactivitiesrequiredtoproduceonenegativeprintofthemovie.Productionistheactoffilming,wherethedisparateparts(crew,equipment,talentetc)arebroughttogether.Post‐productionreferstotheeditingprocesswheretheproductionisedited,andspecialeffectsandsoundareadded.(SIC96111/96130)
Theothersideofthevaluechainisdeterminedbywhathappenstothatone“negative”onceitiscompleted,namelyMONETISATION.
• Distributionreferstotheactivitiesaroundbuyingandsellingtheprint.
• PlatformsreferstohowtheFilmispackagedintovariouschannelsorstreamsofdistribution(eg.Cinema,Pay‐per‐View,DVDsales.)(SIC96121/96112)
• Consumptionreferstothemannerandlevelwithwhichaudiences/consumers
takeuptheproductviaitsvariouschannels.(SIC96121/96112)
Themaindifference–andsubsequentimpactontheWesternCapeindustry–isthattheCommercialBusinessmodelisprimarilyconcernedwiththeprovisionofon‐demandservicesfortheProduction/DevelopmentandPost‐Productionlegsofthevaluechain.TheConceptualisation,FinancingandDistributioniscarriedoutelsewhere,mostlyoverseas.InessencethismeansthatwhilsttheparticipantsintheCommercialmodeldonotreaptherewardsofMonetisation,theyalsodonothavetostrugglewiththeConceptualisationandFinancingelements.TheCommercialmodelisthusapurebusinessservicetransaction,withfeespaidtotheCommercialServicecompanyforthedeliveryofacompletedproduct–whichinthiscasehappenstobea“film”or“photograph”.iv) KEYDRIVERSOFTHECOMMERCIALMODELThebusinessmodelofcommercialproductionisProductiononDemand.Itreliesonthecompetitiveabilityofaproducer/locationtoassemblelabour,goods,servicesandproductsinordertoservicethespecificneedsofaproduction.DriversoftheCommercialModelofProductionareasfollows:
• Cost;bottom‐linefinancialfeasibilityofalocationtrumpsvirtuallyallotherissues.
• Cost‐effectivenessissubjecttoavarietyofissuesincludingexchangefluctuations,traveldistances,andavailabilityoflocalhireofskilledcast/crew/equipment/services
• Theavailabilityoflocationsincludingstudios(ifstudio‐based)influences
choices.Pleasenote,theflexibilityofalocationsothatitmight“standin”forsomewhereelseisavaluablecommodity.FewfilmswillbeseekingspecificEasternCapelocations.
• Theeaseofworkinginthatlocationisextremelyimportant.Thisisinturn
influencedbysupportfromalllevelsofGovernmentisanimportantfactor‐particularlyavailabilityofincentives,clearpermitapprovalprocesses.
• Decisionsarefurtherinfluencedbyavarietyofunpredictabledynamicsthatare
outofaMunicipality’scontrol,suchasseasonalweather,star/directorpersonalpreference,orstoryline.
• Themarketisextremelycompetitivewithmoreandmorecountries,regions
andcitiesseekingtoattractfilmproduction.Therearenowmorethan360
officefilmcommissionsandofficesfrommorethan40countriesasmembersoftheAssociationofFilmCommissionersInternational.
• TheUSisthedominantplayer,representinganestimated80%ofEnglish‐
speakingfilmproduction.OtherproductioncentresincludetheUK,France,Germany,IndiaandNigeria.
• Themarketisgrowing–PWCEntertainmentMediaReviewof2008‐2012
estimatesaCAGRof6.6%andavalueof$2.2trilliongloballyby2012.
• Intermsofinternationalproductbeingshotonlocation,thereisadeclineinthenumberoftelevisionseriesbeingcommissionedanddramahasdeclinedinfavourofrealitytelevision.
• TelevisionCommercialandStillsProductionsarehighlymobileandhighvalue
buthavethesamedriversasfeaturefilm–buteventightertimeframesandservicedemands.
Inessence,thedecisiontofilmonlocationshouldbeunderstoodasadifferentialofRiskversusCost.
Cost,particularlyinthecurrenteconomicclimate,isofextremeimportance.Butthecheapestdestinationintheworldwillnotattractcommercialproductionifthereisaperceivedriskofshootinginthatlocation.Thusallservicedestinationsworktoreducebothcostsandriskstocreateanattractiveproductionenvironment.
COST
RISK
DriversforCulturalProductionsincludeLocalContentregulationsfromlocalbroadcasters,theavailabilityoffundingandproductionresources,languageprovisionsandtheresultingproductquality.Howeveroncebudgetsareinplace,thesamerisk‐costfactorsalsoapply.v) LEGISLATIVEREQUIREMENTS
LegislationgoverningtheFilmSectorwithinSouthAfricaincludes:
• TheNationalFilmandVideoFoundation,ActNo73of1997• TheConstitutionofSouthAfrica,Act108of1996• TheNationalYouthPolicyof1997• BlackEconomicEmpowermentAct2004• SkillsDevelopmentAct1998• SkillsDevelopmentLevyAct19999• NationalSkillsDevelopmentStrategy–I,2000‐2005• NationalSkillsDevelopmentStrategy–II,2005‐2010
ThefollowingActsalsoimpactonFilmActivities
• TheLegalDepositsAct54Of1997• TheCopyrightAct98Of1978• TheWhitePaperonLocalGovernmentof1998
Onceproductionisunderway,thesectorwillmusttakecognizanceofarangeoflegislation,mostnotably
• NationalEnvironmentalManagementAct73Of1998• PerformingAnimalsProtectionActNo.24Of1935• NationalKeyPointsAct,1980• TheTrafficActNo.93Of1996• BasicConditionsOfEmploymentAct,No75Of1997• EmploymentEquityAct• SectoralDetermination10:ChildrenInThePerformanceOfAdvertising,Artistic
AndCulturalActivities• UnemploymentInsuranceContributionsAct2002• SkillsDevelopmentLevyAct1999• EnvironmentConservationAct73Of1989
ManyofthesearecoveredbythePermitRequirementssetoutbycitybylaws.Otherswhichmayberelevantonajob‐by‐jobbasisinclude:
• ConservationOfAgriculturalAct43Of1983
• NationalForestAct84Of1998• ForestAct122Of1984• NationalWaterAct54Of1956• WaterAct54Of1956• MountainCatchmentAreasAct63Of1970• Sea‐ShoreAct21`Of1935• MarineLivingResourcesAct18Of1998• SeaFisheriesAct12Of1998• NationalMonumentsAct28Of1969• AnimalProtectionAct71Of1962• SeaBirdsAndSealsProtectionAct46Of1973• IncomeTaxAct1962(FourthSchedule)
Filmprojectsinvariousstagesofproductionalsofallunder:
• FilmPublicationsAct• IntellectualPropertyLawsAmendmentAct• CounterfeitGoodsAct• TRIPSAgreement(WTOcopyrightprotectionstandards)
The challenge to the Film Sector was that few of these laws were developed inconsultation with the film industry. Some of them are in fact completely hostile toproduction,orat thevery least impose impossible requirementsonto theproducer inordertoreceivepermissions.Beyondgovernment legislation, theFilm Industry inSouthAfricahasalsodevelopedaframeworkofvoluntaryrequirementsthatarenotlegislatedbutgoverntheday‐to‐daymanagementofproductions.Theseinclude:
• LocationsCodeofConduct• CrewCodeofConduct• IndependentPerformersAgreement(IPA)• ArtistsReleaseForm• LocationReleaseForm
2. SPECIFICECONOMICINDICATORS–WESTERNCAPE
i) TURNOVER
ThenationalFilmsectoriswortharoundR5.38billioninrevenueperannum.TheWesternCapeisthelargestcontributor,withR2.65billion,annually.Gauteng(R2.43billion)andKZN(R237.6million)aretheotherplayers.TheEasternCape’sshareoftheindustry–aroundR40million‐isaround0.07%ofthenationaltotal.
In2007,StrategicEconomicSolutionscc.conducted“AStrategicEconomicAnalysisoftheCapeTownandWesternCapeFilmIndustry.”Thestartingpointoftheresearchwastodeterminetheoverallsizeoftheindustry,bydeterminingtheaveragecostofeachofthedifferenttypesofproduction.
TheprojectdeterminedthatthetotalturnoveroftheWesternCapefilmindustryisestimatedatR2.65bnforthe2005/6financialyearofwhichabout77percent(R2.03bn)occurredinCapeTown.TheR2.65turnoverisbrokendownasfollows:
• Longform,withaturnoverofR1.12bn,wasthelargestpartoftheindustry.(thiswasmadeupofInsideoflongform,featurefilmsatR934.3mandmade‐for‐TVproductionsR181.3m.)
• CommercialsturnoverwasR0.87bn(thiswasmadeupofServicecommercialswithR631.8m,localcommercialswithR162.5mandR77.9mforinternationalcommercials.)
• StillsProductionturnoverwasR0.66bn.
Thus:StillsandTVCommercialsmakeupR57.7%ofthetheturnoverofproductionintheWesternCape–acombinedvalueofR1.53billion.ii) NUMBEROFPRODUCTIONS
GENRE NUMBEROFPRODUCTIONSLong‐Form 30TVCommercials 600StillsShoots 210098.9%oftheactualjobsproducedintheWesternCapeareStillsandCommercials.Incomparativestudies,thenumberofproductionsinaspecificdestinationisdeterminedbycomparingthenumberofpermitsissuedbythelocalfilmofficewiththe
numberofpermitsissuedbyprivatelocationscompanies,cross‐referencingwiththenumberofjobscontractedbycrewagencies,andfurthersupportedbyfilmprocessingreportsfromlocallaboratories.iii) FACTORCOSTSTheaverageTelevisionCommercialhasabudgetofR1,27million.TheaveragestillsphotographyshootspendsR314000duringitsweek‐longproduction.Thefactorcostsofthevariousgenresofproductionastheyrelatetolocalspendisasfollows:TELEVISIONCOMMERCIALS:ThelargestimpactsofaTVCommercialareCrew,EquipmentandArtDepartment.ThefivelargestexpenditureitemsonaTVCbudgetamountto73.3%ofthetotal.LineItem Budget% AnnualSpend
inW.CapeCrew 26.45% R230,115,000.00Equipment 15.68% R136,416,000.00ArtDepartment 12.48% R108,576,000.00PostProduction 11.03% R95,961,000.00Locations 7.67% R66,729,000.00Talent 6.11% R53,157,000.00VehicleHire 5.70% R49,590,000.00FilmStock 5.67% R49,329,000.00Catering 4.53% R39,411,000.00SetConstruction 2.42% R21,054,000.00Talent 6.11% R53,157,000.00STILLSPHOTOGRAPHICSHOOTS:ThelargestimpactsofaStillsProductionareTalent,CrewandEquipment.Thesethreeitemsamountto56.3%oftheaveragestillsproductionbudget.LineItem Budget% AnnualSpend
inW.CapeTalent 20.7% R136,620,000.00Equipment 16.18% R106,788,000.00Crew 13.6% R89,760,000.00ArtDepartment 6.47% R42,702,000.00Locations 4.85% R32,010,000.00VehicleHire 4.85% R32,010,000.00
SetConstruction 1.62% R10,692,000.00iv) CONTRIBUTIONTOTOURISMINFRASTRUCTURE
Travelandtourismproduct(egflights,accommodation)areperhapsthemostobviousbeneficiariesofthefilmsector.TheCPAreportedanaverageCommercialexpenditureforahotelroomofR701.44pernight.Conservativelyassumingfiveinternationalvisitorspershoot,and3nightsaccommodationtoincorporate1.99dayspercommercial,theCommercialSectorisresponsibleforanestimated10,521bednightsatavalueofR6,312,960onaccommodationintheprovince.SAASPreportedanaverageexpenditureforahotelroomofR723.00pernight.Assuming2internationalclientsperproductionfor7.44nights,thistranslatestoanestimatedR22,592,304onaccommodationintheprovince.AnestimatedcontributiontohotelsintheWesternCapeisthusR28,905,264.00perannum.Pleasealsonote,whenstayingonlocationforaproduction,aProducerprovidescrewwithaperdiemofavariablerate.Thereisalsothelesstangiblebenefitofpotentialfuturetourismactivityastheresultofafilmproduction.StevenR.MillerandAbdulAbdulkadriattheCenterforEconomicAnalysisatMichiganStateUniversity1quoteErnstandYoung’s2009NewMexicoreportthat$2.50isgeneratedinfilmtourismforeverydollarofin‐stateproductionexpenditureandthat1998’sTheAnnalsofTourismResearch,2notedthatlocationswhereasuccessfulfilmhasbeenfilmedgenerallyseea54percentincreaseintourismvisitsoverfouryears.Otherlesstangiblebenefitsincludetheopportunitiesofferedforskillsdevelopmentandeducation,increasedmediainterestgeneratedbyaproduction,theboostitprovidestoculturalprideanditslinkstootherartisticandculturalindustrysectors.
1TheEconomicImpactofMichigan'sMotionPictureProductionIndustryandtheMichiganMotionPictureProductionCredit‐Miller/Abdulkadri(2009)2TheAnnalsofTourismResearch‐Riley/Baker/VanDoren,(1998)
v) ECONOMICMULTIPLIERS/CONTRIBUTIONTOGDPAsnotedbytheAFC3,inmeasuringfilmsectormultipliers,theusualquestionis:“Ifthisfilmprojectinvolvesthespendingof$xmillion,whatwillbethefinalimpactoneconomicactivityandemploymentofthatextraspending.”Nosatisfactorymultiplierhasbeenfoundtobeinternationallyapplicabletothefilmindustry,althoughfiguresaregenerallygivenbetween1.5and2.5.TheSouthAfricanindustrymultiplierisusuallygivenas2.5,althoughtheredoesnotappeartobearecordofhowthisfigurewasoriginallycalculated.TheBoting/StandishreportfortheCFCdeterminedthattheaveragemultipliersforSouthAfricanGDPvaryfrom1.313to1.347.
Using this multiplier, the estimated contribution of Stills and Commercials to SouthAfrican GDP in the 2006 financial year was R2.06 billion. (Long form contribution isR1.49bn)
Thus58%ofthefilmsectorcontributiontoGDPcomesfromtheCommercialandStillsPhotographicsectors.
At the same time the film industry contributed R936m to the Western Cape GrossGeographicProduct(GGP),ofwhichR684miscontributedtotheCapeTownGGP.Theestimate of the contribution to the Western Cape GGP and Cape Town GGP areminimumestimates.
vi) LABOUR
a) JobCreation
TheStrategicEconomicSolutionsreportestimatedthatthefilmindustrycreated6,058full year jobequivalents in theWesternCape;whilea furtherminimum2,501 indirectjobswerealsocreatedintheprovinceasaresultofthemultipliereffect.
Ofthe6,058directjobs,1,841wereinlongform,2,459fromcommercialsand1,758instills.Thus69.6%ofalljobscreatedareintheCommercialsandStillssectors.
3AustralianFilmCommission2006:TheEconomicContributionofaFilmProject:AGuidetoIssuesandPracticeintheUseofMultipliers.
Itisestimatedthatabout4,638(77%)ofthesedirectjobsareinCapeTown.Totaljobsarethesumofthedirectandindirectjobs.Itisestimatedthatintotal8,559fullyearjobequivalentsweresustainedthroughouttheprovince–5957oftheseintheCommercialsandStillssectors.Aminimum6,552areinCapeTown–4560inthecommercials&stillssectors.
Indicator NumberDirectJobs 6058IndirectJobs 2501%Stills/Commercials 69.6%Stills/CommercialsJobs 4217ProvincialFullYearJobEquivalents 8559ProvincialStills/Commercials 5957CapeTownFullYearJobEquivalents
6552
CapeTownStills/Commercials 4560b) PersonDaysJobnumbersarenotoriouslydifficulttocalculateinanindustrythatreliesoncasual/freelancelabourthatisseasonalinstructure.Numbersofpersondaysisanalternative.Theaveragenumberofproductiondaysin2006was1.99dayspercommercial,meaningthatCapeTownhosted1194tvcommercialproductiondays.AccordingtotheCPAreport,theaveragenumberoffreelancecrewforacommercialwas46,suggestingatotalpossibleemploymentof54925persondaysfortheyear.TheSAASP2005/6SurveywasusedtodeterminetheaveragevalueofStillsProductionsasR314000.SAASPestimates7freelancecrewperproductionandanaverageof7.44daysperproduction,indicatinganimpactonCapeTownlabourof109,368persondays. Days Shoots ProductionDaysCommercial 1.99 600 1194Stills 7.44 2100 15624 ProductionDays CrewperDay PersonDaysCommercials 1194 46 54,925Stills 15624 7 109,368
c) Crew&TalentTheCommercialSectorcomprisesofabroadrangeofjobsandskillsthatarespecific(ordirectlytranslatable)tofilmproduction,including:EXECUTIVEPRODUCERPRODUCERCO‐PRODUCERASSOCIATEPRODUCERPRODUCER'SSECRETARYDIRECTOR2NDUNITDIRECTORDIALOGUEDIRECTORDIRECTOR'SSECRETARYCASTACTORSEXTRAS/BACKGROUNDARTISTSSTAND‐INSSTUNTCO‐ORDINATORCHOREOGRAPHERTUTOR/DIALOGUECOACHCASTINGDIRECTORCASTINGSECRETARYCHILDREN'SCO‐ORDINATORGUARDIANPRODUCTIONPRODUCTIONSUPERVISORPRODUCTIONMANAGERASSISTANTPRODUCTIONMANAGERUNITMANAGERLOCATIONMANAGERLOCATIONSCOUT1STASSISTANTDIRECTOR2NDASSISTANTDIRECTOR3RDASSISTANTDIRECTORPRODUCTIONASSISTANTPRODUCTIONTRAINEEPRODUCTIONCO‐ORDINATORPRODUCTIONSECRETARYPRODUCTIONACCOUNTANTBOOKKEEPERLOCALCONTACTTECHNICALADVISORINTERPRETER
SCRIPTSUPERVISOR/CONTINUITYDESIGNPRODUCTIONDESIGNERARTDIRECTOR1STASSISTANTARTDIRECTOR2NDASSISTANTARTDIRECTORPRODUCTIONASSISTANTPRODUCTIONTRAINEEDRAFTERGRAPHICARTISTCONSTRUCTIONCONSTRUCTIONCO‐ORDINATORHEADCARPENTERCARPENTERSCENICPAINTERHEADPAINTERPAINTERSTAND‐BYCARPENTERSTAND‐BYPAINTERSTRIKECREWSETDRESSINGSETDECORATORASSISTANTSETDRESSERSWINGGANGVIDEOTECHNICALCREWTECHNICALSUPERVISORTECHNICALDIRECTORFLOORMANAGERLIGHTINGCONSULTANTLIGHTINGDIRECTORBOARDMANELECTRICIANAUDIOBOOMCAMERAPERSONTONGUEOPERATORDRIVER
VIDEOOPERATORVTROPERATORGRIPSTAGEHANDAUTOCUEOPERATORUTILITYPERSON/GENERALASSISTANTTELEVISIONASSISTANTCAMERADIRECTOROFPHOTOGRAPHYCAMERAOPERATOR1STASSISTANTCAMERAPERSON2NDASSISTANTCAMERAPERSONTRAINEESPECIALEQUIPMENTOPERATORADDITIONALCAMERAOPERATORADDITIONALCAMERA1STASSISTANTADDITIONALCAMERA2NDASSISTANTSTILLPHOTOGRAPHERCAMERASAUDIOFACILITIESVIDEOMACHINESSLOWMOTIONMACHINESSPECIALEQUIPMENTGRAPHICGENERATORVIDEO/TELEPROMPTERSUPPLIESSTEADICAM‐PANAGLIDEGENERATORSELECTRICALGAFFERBESTBOYELECTRICIANRIGGING/STRIKINGGENERATOROPERATOR
GRIPKEYGRIPSECONDGRIPGRIPCRANEGRIPRIGGING/STRIKINGLABORERSTELEPROMPTEROPERATORPRODUCTIONSOUNDMIXER/SOUNDRECORDISTBOOMOPERATORCABLEPERSONPLAYBACKOPERATORPOSTSUPERVISOR/CO‐ORDINATOREDITORASSISTANTEDITORAPPRENTICEEDITORDIALOGUEEDITORSOUNDEFFECTEDITORMUSICEDITORASSISTANTSOUNDEDITORLOOPINGSUPERVISORSTUDIOCONTROLROOM
DIGITAL/OPTICALEFFECTSMACHINESCAMERASVIDEOTAPEMACHINESAUDIOULTIMATTE/IMAGEMATTETELECINEAUTOCUEINTERCOMGRAPHICSGENERATORSPECIALEFFECTSSPECIALEFFECTSSUPERVISORSPECIALEFFECTSASSISTANTSTOCKPROCESSINGPRINTINGFILMTOTAPETRANSFERSTOCKRUSHESSYNCHRONISATIONLABORATORYRAWSTOCKPROCESSINGVIDEOCASSETTES(RUSHES)TAPESELECTIONSPECIALPRINTING
MAGNETICMASTERSTOCK(1/4")MAGNETICTRANSFERSYNCHRONIZATIONEDGECODINGRUSHES/DAILIESSCREENINGCONTINUITY/PRODUCTIONSTILLSEDITINGEDITINGROOMSEDITINGEQUIPMENTPICTUREEDITINGSUPPLIESSOUNDEDITINGSUPPLIESPOSTPRODUCTIONOFFICEEXPENSESPOSTPRODUCTIONLABORATORYORIGINALEFFECTSRECORDINGEFFECTSLIBRARYSUPPLIESSPECIALSOUNDTREATMENTSOUNDTRANSFERSOUNDSLASHES/DUPESPOSTSYNCRECORDING(A.D.R.)
vii) SECTORSUPPLIERSTheCommercialSectorofthefilmindustryhaseconomicimpactacrossarangeofothersectors.SupplierstotheFilmIndustrywhomayearnpartoftheirannualrevenuesfromtheprovisionofgoodsandservicesinclude:PROPSPROPERTYMASTERASSISTANTPROPERTYMASTERPROPERTYBUYERWRANGLINGHEADWRANGLERTRANSPORTATION
CO‐ORDINATORCAPTAINCO‐CAPTAIN/HEADDRIVERDRIVERPRODUCTIONCARSTRUCKS/VANSBUSESMOTORHOMESTALENTCARSSPECIALSUPPORTVEHICLES
PICTUREVEHICLESRENTALSPICTUREVEHICLEPURCHASESPICTUREVEHICLEMODIFICATIONSPICTUREVEHICLEINSURANCE
WARDROBECOSTUMEDESIGNERASSISTANTCOSTUMEDESIGNERHEADWARDROBEASSISTANTWARDROBESEAMSTRESS/TAILORMAKEUP/HAIRMAKEUPARTISTASSISTANTMAKEUPARTISTHAIRSTYLISTHAIRDRESSERASSISTANTHAIRDRESSERSPECIALEFFECTSMAKEUP/HAIRWIGMAKERS/HAIRPIECESMAKEUPRENTALSMAKEUPSUPPLIESHAIRSUPPLIESWIGSSUPPLIESSPECIALEFFECTSPRODUCTIONOFFICEOFFICERENTALSHEAT&LIGHTOFFICEFURNITUREOFFICEEQUIPMENTPHOTOCOPYSTATIONERY/SUPPLIESTELEPHONE/TELEX/POSTAGECOURIERCOMPUTERSERVICESOFFICECRAFTSERVICECLEANINGSECURITYSTUDIO/BACKLOTRENTALSPOWERCARPENTRYSHOPRENTALS
DRESSING/HAIR/MAKEUPROOMSSTUDIOSPECIALEFFECTSEQUIPMENTSITERENTALSPRIVATEHOMERENTALSPRIVATE“STUDIO”RENTALSSITEPOWERCATERINGCRAFTSERVICETABLES/CHAIRS/HALLSGREENROOMFIRSTAIDCREWOUTFITTINGMEDICAL/INSURANCE/VISAPROVISIONPUBLICRELATIONSHOTELSTAXIS/LIMOUSINESEXCESSBAGGAGESHIPPINGCUSTOMS/BROKERAGESERVICESCARPENTRYRENTALSCARPENTRYPURCHASESPAINTINGRENTALSPAINTINGPURCHASESBACKDROPS/MURALSSUPPLIESDRAWINGSUPPLIESDRAWINGEQUIPMENTSTOCKPRINTS/PROCESSINGBLUEPRINTINGGRAPHICS/SIGNS
STUNTSPURCHASES/RENTALSARMAMENTSEQUINEFEED/STABLINGTRANSPORTVETERINARYSERVICESMONITORSDRESSING/MAKEUPROOMSGREENROOMSCARPENTRYSHOPVIDEOREMOTETECHICITIESMOBILEPHONESDIGITAL/OPTICALEFFECTSMACHINESCRANERENTALSSCAFFOLDINGWIRELESSMICROPHONESWALKIE/TALKIESORIGINALEFFECTSRECORDINGEFFECTSLIBRARYSUPPLIESSPECIALSOUNDTREATMENTSOUNDTRANSFERSOUNDSLASHES/DUPESPOSTSYNCRECORDING(A.D.R.)UNITPUBLICITYUNITPUBLICISTPUBLICITY/PRESSEXPENSESPHOTOEQUIPMENTSTILLS/PRINTING/PROCESSINGPROMOTIONWEBDESIGNERS
3. CONSTRAINTSONCOMMERCIAL&STILLSPRODUCTIONINCAPETOWN
i) CONSTRAINTSONCOMMERCIALPRODUCTIONACTIVITYINCAPETOWN
InspiteofthestellareconomiccontributionofStillsandCommercials,theCityofCapeTowncontinuestoconstraintthegrowthanddevelopmentofthesector.Inparticular:• TheCityofCapeTownFilmPermitOfficehasnotbeenfunctioningefficiently;
producershavenocertaintythattheirpermitapplicationshavebeenreceived,logged,actioned,optionedorissued.Thestaffisfrequentlycriticizedforlackingservicevaluesofaccountability,professionalism,integrity,impartiality,transparency,innovationandrespect.NB.WetrustthenewFilmPermitApplicationSystemwillalleviatethisissuesomewhat
• ThenewSystemwillnotsolvetheproblemofCitystaff,linedepartmentsandofficialstreatingfilmproductionasa“nuisance”andanunwelcomeextraburdentotheirday.FilmProductionsofanysizeareessentiallytreatedas“lastpriority”bydepartments.
• CityofCapeTowndepartmentscontinuetomakeunilateraldecisionswithregardtolocationavailability.ThiscauseschaosandheightenstheriskinessofaCapeTownproduction.
• Cityby‐lawsareunfairlyandinequitablyapplied.The“rules”asadheredtobythefilmindustryaredifferenttoallotheractivitiesandeventsinCapeTowni.e.roadclosures,construction,concerts,sportingevents&deliveries.
• TheCitydoesnotlistthelocationsthatareproblemareasand“offlimits”areas–norofferexplanationsoftheunavailability.Withoutthisinformation,productioncompaniesareunabletoplanaheadandfrequentlypresentlocationoptionstotheirclientsthatarenolongeravailable.
• Noworkhasbeendonetobuildorrepairrelationswithlocalcommunities,nortomakeacaseforthefilmindustry;
• Restrictionsonovertimefortrafficofficers(includingretiredofficers)andothercityofficialslimittheviabilityofproduction.
• Therequirementsforconcurrenceand/orconsentbyneighbours&residenceassociationsholdthefilmindustrytoransom.(Certaincouncillorshavebeenknowntoblockfilmingbecausetheirfriends“don’tlikeit.”)
• Therole,function&responsibilityofEnvironmentalControlOfficers(ECO)hasyettobeproperlydefined.Theserolesarethereforeopentoabuse.
ii) PROPOSALSTOALLEVIATECONSTRAINTSONBUSINESSA: CHANGESTODELEGATIONOFAUTHORITYTODECIDEONFILMMATTERS
• RESCINDDELEGATEDAUTHORITYONFILMMATTERS
Authoritytomakedecisionsthataffectfilmindustryactivitiesshouldbeplacedhighwithinthecitystructures–forexamplewithinyouroffice.Delegationofauthorityhasnotworkedwhenpowerhasbeenplacedinthehandsofpeoplewhoarealreadyover‐worked,whodonotseethefilmsectorasapriority(orevenanice‐to‐have)andseenobenefitfrommakinganyeffort.Timeandtimeagaintheyhaveintroducedanti‐filmmanagementprotocolsattheirownwhim,andfranklyrescindingtheirpowertodothisshouldbeapriority.
• CREATELINEDEPARTMENTTEAMCreateinternalteamoflinedepartmentrepresentativestocoordinateandactasgo‐topeopleonallfilmissues.Eachmembertobeavailableoncellphoneandemailoutofofficehours.(seebelowre.overtimeneeds)
• CREATENEWPROCESSFORDEPARTMENTSTOINTRODUCEFILMMANAGEMENTInstead,ifaDepartmentwishestointroducefilmmanagementprotocols,theymustberegisteredtheirproposalwithyouroffice.Viaappropriatechannels,anopportunitymustbegiventotheindustrytocommentonorobjecttotherecommendation–sothatwecanmakesurethedecisionsbeingmadearepracticalandfilm‐friendly.Timeframescanbestrict,sothatreallyproblemareascanbeaddressedquickly.
• CREATENEWPROCESSTOMANAGEINFORMATIONOnceadecisionhasbeenmadetointroduceaparticularsystemorrestrictaccesstoalocation,thisinformationmustbestoredinacentral“BOOKOFDECISIONS”–whichshouldbelogicallycategorisedandavailableontheCFCwebsite.(thiswouldpreventnastysurprises,and
alsopreventtheCTFPOfromthinkingthatonemeetingayearissufficienttocommunicateallthelocationsrestrictions.)
B: CREATEAPPROPRIATEMANAGEMENTPROTOCOLSVIACONSULTATION
• DETERMINESTATUSQUOOFFILMMANAGEMENTPROTOCOLSWithinoneweek,linedepartmentheadstoclarifytherules–asdefinedbytheby‐lawsonly–thataffectfilmintheirrespectivedivisions.Withinoneweek,linedepartmentheadstostipulateinwritingthestatusofareaswithintheirjurisdiction–greenforgood,orangefordifficult,redforoutofbounds.Thesearenotdefinitive,butwillbethestartingpointfordiscussion.
• WITHDRAWALOFTHERIGHTOFDEPARTMENTSTOMAKEUPTHEIROWNRULESI.R.OFILMSECTORCancelallfilmmanagementprotocolsthathavebeenintroducedbylinedepartmentsthatarenotcoveredbyby‐lawswithimmediateeffect.Allotherrules–threecars,threestillsshootsonbeachesetc.–tofallawayimmediately.Allrulesthatareappliedtothefilmsectorprejudicially(eg.Specialpermits/reccesforAtlantisDunes)tofallawayimmediately.LettertotheLineDepartmentsnotifyingthemthattheymaynotunilaterallyrestrictfilmactivityorbanfilmingintheirjurisdictions.
• NEIGHBOURHOODNOTIFICATIONSRemoveallofficialrequirementsforfilmproductionstonotifyneighbours.Iftheproductionanditsparkingislegalandnoaccessesareblocked,itisno‐one’sbusinessbutthehomeownerastowhattheydoontheirproperty.Furthermore,sincetheaverageTVcommercialshootlasts1.99days,itisimpossiblefortheProductionCompanytoknowhowoftenapropertyhasbeenusedforevents,parties,othershootsetc.Neighbourhoodnotificationshouldthereforebetheresponsibilityofthehomeowner,whichthefilmproducerhandlesonthehomeownersbehalf.
• PLANCONSULTATIVEWORKSHOPTOINTRODUCENEW,IMPROVED
MANAGEMENTWorkshopameetingwiththeheadsofalllinedepartmentsandtheiroperativeswiththefilmindustryLocationsCommitteetodeterminemoreappropriateprotocols.
• MANAGEOVERTIME
PursueLegal/HRrequirementstoamendovertimerestrictionssothattheCity’sdepartmentsreflectindustryoperatingnorms.
C: PUBLICSTATEMENTOFFILMFRIENDLINESS
• CREATEUNEQUIVOCALPOSITIONSTATEMENTONFILM‐FRIENDLINESS
Withinnextmonth,theMayor/Premiertoissuestatementsonfilm‐friendlinesstargetedtowardsdifferentstakeholdergroups:Communities/Residents,Business,CouncilWorkers,etc.ThestatementtounequivocallynotetheCity’srecognitionoftheindustryasakeystrategicgrowthsector,andtheneedtocreateadditionallocationcapacity.Importantly,thestatementtobebackedbyaction.
• AGGRESSIVELOCALPRWithinnextthreemonths,TheCapeFilmCommissiontocreateandimplementacomprehensivemarketing&publicrelationsplantocommunicatethecity’spositiontotheresidents,andideallytocreateplatformsofdialogue.
• CONTROLTHECOUNCILLORSAllWardCouncillorstobeinstructedthattheydonothaveauthorityoverprivatebusinessesandthattheircommentsmaybeconsideredonlyasrecommendationsratherthanlaw.
• IMPROVECHANNELINGOFFEESTOAFFECTEDCOMMUNITIESSeekimmediatelegalinputoncreationofamechanismwherebyafeeischargedandpaidtoatrust,whichcanthenbedistributedtoareasmostaffectedbyfilm.The“noringfencing”ruleissomethingthefilmindustryobjectstoasmuchasthepublic.
D: UPGRADEFILMOFFICE
• SCRAP“EACHPERMITWILLBEJUDGEDONMERIT”Eachproductionthatappliesforapermithasalreadyhaditsmeritdeterminedbyafunderwhowishestopayforthatproductiontobecompleted.Theissuethereforeisnot“merit”butwhetherthecitycanaccommodatetheshoot.TheonusshouldthereforebeontheCitytoprovewhyashootshouldnottakeplace,ratherthantheproductioncompanyhavingtoarguewhyitshould.ThisistheprocessinNewMexicoforinstance,wherelinedepartmentshave24hourstoobject,otherwisethepermitisissued.
• IMPROVEOPERATINGENVIRONMENT
Introduceemailsforfilmofficestaffwithimmediateeffect.
Adopttheuseofasinglemapbookforbookingcross‐reference.Justpickone,anyone,andthenuseit.RequestGPScoordinatesonpermitapplications.Justaboutanycellphonewillallowuserstogivethis.
• PROVIDETRAININGNotonlyinpermitissuanceprocessesbutinproblemsolving,customerservice,ergonomicmanagement,timemanagement,crossculturalsensitivityetc.
• INSTRUCTCAPEFILMCOMMISSIONTOHIRELOCATIONCONSULTANT
ProvidewrittenpermissiontotheCFCtouseresourcestohireaprofessionallocationsconsultantfromtheindustry
E: BLANKETPERMITFORMICROSHOOTS
• ALLEVIATEPERMITOFFICEBOTTLENECKSTHROUGHINTRODUCTIONOFBLANKETMICROSHOOTPERMITSPermitsformicroshootsonaper‐jobratherthanper‐locationbasis.CultureofCTFPO/Citytomovefrom“Permission”baseddecisionsto“Notification”basedsupport.(seeAnnexureAforproposedstructure.)
F: ENVIRONMENTALCONTROLOFFICERS
• CLARIFYREQUIREMENTSWithinoneweek,demandthataffecteddepartmentsclarifywhatqualifications/experience/requirementstheyexpectofEnvironmentalControlOfficers.Withinoneweek,departmentstoalsoclarifywhichlocationsrequireECOs,orwhichfilmingcircumstances.HoldameetingbetweenLineDepartments,Locations,ECOAgenciesandtheIndustry’sLocationsCommitteetoagreeonthesuitabilityoftheCity’sproposals.
AnnexureA:ProposedProcessforManagementofMicroshootPermitsinCapeTownRationale
• Anestimated70%ofpermitapplicationsareformicroshoots.• Microshootsoperateassmall,selfcontainedteamsof10people
travellinginaminibusandasmall,1‐tonpanelvanforequipment.• Theirimpactsaresimilartothoseofnewscrews.• Thetypicalstillsmicroshootrunsover8daysandutilisesarange
oflocations,bothprivateandpublic.• Producerstypicallyidentifytherangeoflocationstheyrequirein
advance,andthenapplyforpermitstoguaranteeaccesstothoselocations.
• However,thekeytodeliveryofasuccessfulmicroshootisflexibility;producersneedtobeabletoswitchlocationsondemand‐generallyduetoweatherchanges(whichincludeschangesinwinddirection)
• Atpresent,thiscoreelementofflexibilityisconstrainedbytheCTFPOpermitprocessformicroshoots,whichdemandseachlocationbepre‐bookedaminimumof24hoursinadvance.
• Unfortunately,theCTFPOdoesnothavethecapacitytoadministratethelevelsofflexibilitythatmicroshootsdemand.
• Inspiteofthis,theCityofCapeTownhasclungtothisoutdated“permissions”procedureduetothedemandsof‘governance’.
• SAASParguesthatamoreflexible,innovativeprocessformanagingmicro‐shoots–vianotificationratherthanpermissions‐couldbeintroducedtoimproveStillsOperationandstillretainthegovernance,diligenceandreportingrequiredbytheCity.
ProposalSAASPproposesthefollowing:
• availableONLYformicro‐shoots–amaximumof10peopletravellinginaminibusandasmall,1‐tonpanelvanforequipment.
• ANYLARGERNUMBEROFPEOPLEORVEHICHLESMUSTAPPLYFORADAILYPERMITASNORMAL
• ANYSPECIFICREQUESTEDLOCATIONMUSTAPPLYFORADAILYPERMITASNORMAL
• AllmicroshootsmustapplyforaPERMITPERJOB,notingthedays
onset,andtheproposedrangeoflocations.(thisgivestheCTFPOtheopportunitytoflaganyconflicts)