Thursday, April 30, 2020


Kwazulu Natal Business Recovery Plan

Webinars: 27 April - 01 May 2020

Brought to you by Honourable MEC Nomusa Dube-Ncube

Good Morning, I wish to remind members of the media and public at large that as we approach Level 4 we are having a national conversation on how to reshape our economy. You can be part of  Webinars taking place today. To watch on YouTube click and follow discussions scheduled as follows:-

30 April 2020 - 8:30 - 10:00

30 April 2020 - 10:30 - 12:30

30 April 2020 - 14:00 - 16:00

30 April 2020 - 16:30 - 18:30

1 May 2020 - 8:30 - 10:30

1 May 2020 - 11:00 - 13:00

1 May 2020 - 14:00 - 16:00

1 May 2020 - 16:30 - 18:30



SAFTAs14 celebrate SA Talent, despite social distancing challenges

Dineo Ranaka brought fun and humour as awards were hosted on social media during the nationwide lockdown

Johannesburg, 29 April 2020: In an unprecedented fashion, the  South African Film & Television Awards (SAFTAs) ceremony was held on social media platform, across Twitter, Facebook and YouTube in an effort to celebrate and honour the South African film and television industry during the nationwide lockdown.  Hosted by the seasoned Radio and TV personality, Dineo Ranaka, the awards were a sign of the times and what lies ahead, as social distancing remains the norm.

The big winners for this year’s SAFTAs were Tshedza Pictures, scooping 17 awards in total. South Africa’s official Oscars entry for 2019, Knuckle City bagged six wins having had a successful international festival run. South Africa’s Best Television Presenter Award voted for by the public was Hectic on 3’s Entle Bizana, with the Most Popular TV Soap/Telenovela awarded to Imbewu.

Making another appearance as a sponsor, for two years in a row, local short & long-term insurer Kunene Makopo Risk Solutions (KMRS) sponsored the “Best Actor in a Telenovela” & “Best Actress in a Telenovela” categories with cash prizes to the tune of R50 000. Commenting on their involvement in celebrating South African Talent, Thapelo Mokoena and Siyanda Kunene, KMRS, Imbewu StokVest  said: “We were more than happy to come on board in supporting South African Talent for the second year in a row. Our business seeks to support its clients at every avenue of their journey. Our local talent needs our support now more than ever. It’s a challenging time for the industry and this was our opportunity to say we appreciate their efforts in entertaining South Africans.  We congratulate Sindi Dlathu and Roberto Kyle for their wins at this year’s SAFTAs.”

“It is an incredibly bittersweet moment to congratulate all the SAFTAs 14 winners whilst they could not experience a full celebration of their hard work. We thank the industry for understanding and supporting the NFVF in the difficult decisions that had to be made during this crisis and the NFVF is fully committed to ensuring that the industry gets as much support as it needs during a time where livelihoods are heavily impacted. We are grateful to Kunene Makopo Risk Solutions whose cash prize comes at a much needed time, and we look forward to partnering with them again in 2021. We have a lot of sponsors who started the journey with us who, due to financial constraints were forced to pull out their sponsorships and we extend our heartfelt thanks to them and look forward to renewing partnerships in 2021.” said NFVF CEO Makhosazana Khanyile

Follow us on all social media platforms for regular updates.

SAFTAs: Twitter: @saftas1 / @saftassa on Facebook & Instagram
NFVF: Twitter, Facebook & Instagram: @nfvfsa

To access digital press office, 

Wednesday, April 29, 2020

DELAY: SAFTAs14 on SAFTAs Social Media Platforms

Please note the SAFTAs will be starting at 20:00 instead of 17:00 due to Technical glitches.

Keep engaged to find out the reason behind the glitch.

Tuesday, April 28, 2020


Tuesday, 28 April 2020 

The Portfolio Committee on Small Business Development together with the Select Committee on Trade and Industry, Economic Development, Small Business, Tourism, Employment and Labour will this afternoon be briefed on the financial support interventions to mitigate the impact of the Covid-19 pandemic on small businesses.

The interventions were announced by Minister Khumbudzo Ntshavheni recently and they are Growth Resilience Facility, Small Medium and Micro Enterprise (SMME) Debt Relief Scheme and Spaza Support Relief Scheme

The presentation of the Department of Small Business Development will focus on the number of applications received per each category and approvals as well as how department is handling influx of applications.

Details of the meeting are as follows:
Date:  Tuesday, 28 April 2020
Time:  16:00-18:00

To observe the meeting:

Members of the public may get involved and follow committee sittings live on Parliament TV (DStv Channel 408), via live stream on Parliament YouTube channel and Twitter page on the links below. You may subscribe to the Parliament YouTube channel to receive instant notification of live feeds.



For media enquiries, please contact Media Officer:
Name: Mr Justice Molafo
Tel: 021 403 8444
Cell: 081 424 7481



SAFTAs14 Winners to be announced

Social distancing style - #LoveSATalent

Johannesburg, 25 April 2020: On the 16th of March the National Film and Video Foundation (NFVF) announced the cancellation of the the South African Film & Television Awards (SAFTAs) originally scheduled for the 27th and 28th of March, based at the time on the National State of Disaster as announced by the President of the Republic. Since that time, the NFVF has been hard at work consulting with different stakeholders with regard to how best to deliver this year’s award show. 

Hosted by Dineo Ranaka, SAFTAs 14 winners will be announced on Twitter on the 29th of April 2020 at 17:00 in line with the countrywide lockdown and social distancing requirements. “It has been an incredibly difficult decision to make for all concerned with the running of these awards. As the NFVF we extend our sincere gratitude to the nominees and creative industry at large for their understanding and patience as we sought to find solutions. Whilst the celebrations for all our winners will be muted this year, it does not take away from all our deserving winners. We consulted widely to find the best possible way of presenting the awards that would still adhear to the lockdown regulations and not put any lives in danger of contracting this deadly virus”.  commented Makhosazana Khanyile, NFVF CEO 

To access digital press office, visit

Follow us on all social media platforms for regular updates.

Twitter: @saftas1 and @saftassa on Facebook & Instagram

Twitter, Facebook & Instagram: @nfvfsa


About SAFTAs

The South African Film & Television Awards (SAFTAs) were established by industry representatives and the National Film & Video Foundation (NFVF), as an event that honours, celebrates and promotes the creativity, quality & excellence of the South African film & television talent. They also serve to encourage the development of new talent, fostering a generation of filmmakers united in the collective mission of telling authentic South African stories.

About NFVF

The National Film and Video Foundation (NFVF) is an agency of the Department of Arts and Culture that was created to ensure the equitable growth of South Africa's film and video industry. The NFVF does this by providing funding for the development, production, marketing and distribution of films and also the training and development of filmmakers. In addition, the NFVF commissions research and produces industry statistics that provide both the public and stakeholders with valuable insights into the South African film industry.

For further information:

Neo Moretlwe
Communications Officer, National Film and Video Foundation
Tel: +27 11 483 0880 ext: 207

Friday, April 24, 2020


The M-Net/MultiChoice COVID-19 R80 million fund was established specifically to support all its current running productions. To access this support, each producer is asked to speak to their specific Commissioning Editor as urgently as possible to resolve on a case-by-case basis. The governing principle for current running productions is the consideration of what deliverables were due in April, what was actually delivered and what is required to ensure that salaries are able to be paid at April month-end.

In the case of productions where work had commence but nothing has been delivered as yet, producers are encouraged to reach out to the Commissioning Editors

The IPO and SASFED will continue engaging with all broadcasters to identify support that may be extended beyond end-April, given the inevitability of restrictions remaining in place for the sector beyond the partial lifting of lockdown.



Thursday, April 23, 2020


JOIN US!! SAGA SACIA UASA are part of a panel discussion / webinar with industry professionals.

We will be discussing whether freelancers qualify for any of the COVID-19 relief measures?

Wednesday, April 22, 2020



with Janet McKenzie and colleagues from Baker McKenzie, experts in commercial and contract law:

Janet is a partner and head of the Technology, Media and Telecommunications industry group for the Johannesburg office. She has extensive expertise in the Telecommunication and Information technology sector, as well as the Media, Broadcasting and Entertainment industry.

Friday 24 April at 2-4pm via Zoom (see Zoom link details below)

Please send any questions you may have regarding issues such as force majeur, contracting with financiers and broadcasters, postponement vs cancellation of productions, media workers as essential services etc to by Thursday 23 April at 2pm.

To join a Zoom meeting from a Laptop / Mobile Phone please click here:

Meeting ID:                                                         925 1592 8088
Password:                                                           267249

Join by Telephone

Mobile Phone one-tap:                                       US:

Dial:                                                                    South Africa:
                +27 87 550 3946
                +27 87 551 7702
                0 800 008 728 (Toll Free)
                0 800 064 584 (Toll Free)

Meeting ID:                                                         925 1592 8088
Password:                                                           267249

Monday, April 20, 2020

Weekly Wrap-Up Film and Media Promotion

Dear Film and Media Stakeholders,

As we enter round two of the lockdown, we hope that ‘business unusual’ is starting to feel somewhat like the new normal. Despite the challenges that face us on a private and public level, remember that we are a resilient people supported by a resilient province, and we look forward commencing the journey to recovery with you soon.

With the extension of the lockdown, various amendments have been announced, please be sure to familiarise yourself with the below frequently asked questions:

  • Do I need to update my CIPC Essential Service Certificate, and how do I it? See the answer here.
  • What is listed as an essential service during the extended lockdown? See the answer here.
  • What is listed as an essential good during the extended lockdown? See the answer here.

Since the launch of the Covid-19 Content Centre we have received 1 400 emails and we continue to assist the majority of queries in real-time. If you’re still trying to figure out which support is available to your business, consult the COVID-19 Support Finer here.

Please do not hesitate to contact our virtual team of sectoral and communication specialists on for assistance.

Navigating risk as future lockdowns loom

Jeremy Roberts, a partner and head of broadcasting & content distribution at UK legal firm Sheridans,  explores the potential threats posed by further Covid-19 restrictions once lockdown is over and provides a five-point plan to keep shows on track.

From what we currently know of Covid-19, even after the pandemic ebbs and the current lockdown is lifted, there is a high chance of future flare-ups of the virus, leading to further restrictions.

As a result, each new production will face a new ‘known unknown’ risk – the chance of another lockdown, meaning potential absences of onscreen talent, cost overruns and delayed delivery.

Laying off production risk

To appreciate the potential scale of the problem, look at the production model for high-end drama.
Buyers – broadcasters, VOD platforms and distributors – commit to paying large fees in return for the future delivery of programmes. By and large, those fees are fixed. Buyers don’t pay more if the programme ends up costing more to make. The producer bears the risk of cost overruns.

However, the producer has various ways of laying off that risk: experienced production managers create the budgets, those budgets contain contingencies for unforeseen costs, many productions have completion bonds – a guarantee by a third party to step in to complete and deliver the programme – and, of course, all productions are covered by insurance.

These protections are so robust that banks compete amongst themselves to provide the low interest loans that most producers of high-budget scripted content need to finance their production costs.

The impact of Covid-19

Those banks will not lend unless producers can demonstrate that they can produce and deliver the show, come what may. In the face of future shutdowns, they can’t. Similarly, buyers will be loath to commit to paying large fees if there is a significant chance the production will be shut down, delayed and almost certainly go over-budget.

In normal times, we would look to insurers, but they are now excluding this and other pandemics. Some coverage will doubtless re-emerge – perhaps covering limited shooting blocks, or cast and crew carrying a form of ‘immunity certificate’ – but it will almost certainly not offer full protection.

The existing government measures will probably extend to any future shutdown too, but they fall some way short of underwriting all additional costs caused by any future restrictions.

Producers and buyers want to line up productions ready to go as soon as the current restrictions are lifted, but the route to greenlight looks harder than ever.

The way forward

We have reviewed the issue with various stakeholders, and here is what we will be advising our clients:

  • The soft close: Producers, buyers and financiers should use the current hiatus to agree all of the transaction agreements as much as possible, leaving the unknowns like dates and insurances to be dropped in once the situation clears. The default position is that sufficient insurance cover to satisfy the lending bank will be required for full closing. At the moment, it is far from guaranteed that will become available. If the stakeholders want to remove that uncertainty now they will have to manage and allocate the risk amongst themselves.

  • Shutdown contingency plan: Approval of detailed contingency plans quantifying the anticipated costs for restrictions of different lengths and at different stages of production should be a new condition precedent to full closing. Producers will have to plan in advance how they will mitigate the costs of future shutdowns for each new production. Those costs fall into two buckets: extra interest on the loans and the extra costs for on-camera talent, crew, staff and suppliers. Interest rates are so low that the extra interest payments can be covered by a small increase in the contingency. The other costs are harder to mitigate. Producers will have to negotiate the ability to suspend production in all their agreements with cast, crew and suppliers with as little outlay as possible. In practice, this will be hard for the main cast who may be scheduled to appear in other productions after the shoot dates.

  • Sharing risk: Even with the best planning, producers will not be able to get the shutdown costs to zero. Producers will face pressure to underwrite the costs. They shouldn’t – at least, not on their own. If another lockdown happens and producers are left carrying the cost, many will go under leaving unpaid debts and an industry poorer for their absence. Generally, buyers are in a better position to assume some financial risk, but we should not expect them to bear it all. If we do, they will inevitably be forced to reduce their exposure by ordering fewer shows. That would hurt the sector’s recovery. Producers and buyers will need to find a compromise. For example, they could share the costs equally up to a defined point – thereafter, the buyer could decide whether to fund additional costs themselves or abandon the production.

  • Buyer’s flexibility: In any event, buyers will need to show flexibility, for example, by accepting delayed delivery times and, at worst, changes to essential elements caused by future shutdowns, without penalty to the producer.

  • Cast and crew: Pact, Equity and Bectu – the industry representatives for producers, cast and crew respectively – are working to agree industry-wide terms that will cover future shutdowns. Rightly, Equity and Bectu are fighting hard for their members, but they should bear in mind that, the more robust the protections for cast and crew, the higher the costs of a shutdown. In turn that will mean that fewer shows get made, hurting their members. They should accept more flexibility than they would otherwise like for the greater good.

There are still a huge number of unknowns – such as whether or when people with immunity to Covid-19 will be able to return to work outside of their homes – but producers cannot wait for these questions to be answered.

The best case scenario for the industry as a whole is for producers to use the current shutdown to line themselves up to start production as soon as possible once the current restrictions are lifted. That means agreeing terms with buyers, cast, crew and banks now, leaving as few unknowns as possible to be filled in on full closing.

All the stakeholders need to take a sensible and flexible approach. If they don’t, the damage to the UK TV economy could last months or even years after the current restrictions are lifted. If they come together, they will give themselves and the industry as a whole the best chance to bounce back quickly.

Jeremy Roberts is a partner at UK legal firm Sheridans specialising in all aspects of the TV sector, and is head of the firm’s broadcasting and content distribution practice. His clients include award-winning high-end drama producers, US studios, major broadcast networks, sports media rights owners, and some of the UK’s best known on-camera talent.




The TBF in association with SAGA and the PMA has started a collection drive to supply food vouchers to artists in desperate need. The situation is already urgent, and most artists may not be able to earn an income for up to 3 months after we have defeated the virus. The TBF board feels the current situation justifies special action. 

The TBF will collect the funds with the help of the PMA and SAGA, and only funds collected for COVID 19 will be used to buy vouchers – artists will have to complete a request form and if approved a voucher that can be redeemed to buy food will be sent straight to their phone.


We can only buy vouchers with your help. there is no amount too small – use the account details below and ensure that you mark your donation with the reference ”covid 19” so we know it is intended for artists in need.


ACCOUNT NO 9305 193 377



PLEASE NOTE: The TBF, SAGA and the PMA are registered non-profit organisations that are not aligned to any political party and strive to serve the performing arts sector regardless of race, colour, culture or gender.

Friday, April 17, 2020

INDUSTRY NEWS: Unpacking the Virtual National Arts Festival

National Arts Festival CEO Monica Newton will be joined by her colleagues from the engine room of the Virtual NAF in a Q&A webinar on Tuesday 21 April on the how, what, why and when of this new iteration of the Festival. Rucera Seethal (Artistic Director), Nobesuthu Rayi (Executive Producer), Zikhona Monaheng (Fringe Manager) and Nicci Spalding (Technical Director) will be on hand to answer your questions in a panel discussion facilitated by Ashraf Johaardien, CEO of Business and Arts South Africa (BASA). 

Commonly asked questions will be addressed by the panel before taking questions from a live digital audience. If you have a burning question, please send it to and we'll add it to the pile. If we don't get to it in the live event, we'll email you directly. Active participation is limited to the first 100 people to register but there is unlimited capacity for you to watch the event as it happens.      


What is the end game for the arts?

'In the weeks since lockdown, there has been a marked proliferation of artistic content online. Much of the content, for better or worse, is free and uncurated. The rush reflects the persistence of vitality, an urgency to be productive and to maintain relevance in the flood of content available. We need to reassess where we place value in the arts, and how we acknowledge this value.' – Rucera Seethal, Artistic Director of the National Arts Festival 


Standard Bank Home Studio Live

Standard Bank Arts is presenting a weekly live performance series featuring Standard Bank Young Artist Award winners. The lockdown sessions kicked off last night with bassist, composer and producer Shane Cooper (Standard Bank Young Artist for Jazz in 2013). You can catch pianist and unique vocalist Thandi Ntuli (SBYA 2018) on Thursday 23 April and one of South Africa's premier jazz double bass and electric bass players Benjamin Jephta (SBYA 2017) on Thursday 7 May. 

Wednesday, April 15, 2020

Art + Activism Against Repression During the Covid-19 Crisis


The Centre for Applied Human Rights (CAHR), through a grant from the Open Society Foundations, has set up a fund – Arctivists – to support activists and artists across the world responding to the outbreak of Covid-19 and its implications for human rights defenders, activism, and shrinking civic and political space. Paired activists and artists are able to apply for up to £3,000; it is envisaged that most grants will be for between £1,000 and £2,000.


The outbreak of Covid-19 has put a strain on governments around the world and is adversely affecting particularly vulnerable communities, activists and human rights defenders, including by further shrinking existing civic and political spaces. For example, in response to the Covid-19 emergency, the Hungarian Parliament recently granted PM Viktor Orban the power to rule by decree, in a country that has already witnessed considerable restrictions on democratic spaces; in Colombia, shifting governmental priorities in the wake of the Covid-19 emergency have left rural and indigenous communities unprotected, thus facilitating the targeting of their leaders by illegal armed groups; Chinese activists who denounced the government’s approach to tackling the pandemic have been incarcerated for subversion; Algerian civil society organisations have denounced a government clampdown on anti-regime protesters taking place while the world is distracted by the pandemic. These are only some of the challenges that have resulted from the emergency framework adopted by several governments in response to the spread of Covid-19.

At the same time, the emergency has bred new responses, and forms of both local and global solidarity, that either build on existing, positive official or unofficial responses to the virus or compensate for a lack thereof. For example, media activists in Brazil, PerĂº, South Sudan and elsewhere are sharing public health information in their communities, in the form of comics, videos or cartoons; civil society organisations across Latin America are encouraging human rights workers to participate in therapeutic sessions where they can share their feelings through art, whether in the form of artefacts, stories or music.

Against this backdrop, and the obstacles to accessing reliable information regarding how responses to the virus are affecting civil society, synergies between activists and artists are more important than ever. For example, art in all its forms amplifies activism and facilitates conveyance of key messages and information, which may compensate for the lack or manipulation of official narratives. Where civic spaces have shrunk, art can provide an alternative venue for activists to broaden their movements and support their work despite curtailed democratic spaces. The imaginative spaces that art offers can bypass traditional barriers that governments may erect in an attempt to stymie civil society activism, for example, by conveying ambiguous or subtle messages. We recognise that the many activists are artists, and vice-versa – as such we will be flexible in how we apply these categories.


CAHR recognises that collaborative endeavours between activists and artists have the potential to provide innovative responses to the current Covid-19 emergency, whether in a reactive, therapeutic or imaginative form. We seek applications from activists and artists to address one or more of the following three objectives:

1) Document, monitor and analyse events in real time.
2) Reflect on wellbeing, both your own and that of your communities/ organisations.
3) Go beyond a reactive response to imagine new, alternative futures. This future-oriented work could assess how crisis and disruption open up new possibilities for creativity and innovation, as well as for regressive and repressive measures, and/or build on positive responses to the virus itself (local and global forms of solidarity).

Expected outputs

Activists could write a diary, make a weekly podcast, write a blog, etc. Artists could work in their chosen media, to respond to the activist's contribution and/or to wider developments in their country/region. We are open to innovative suggestions on the nature of the collaboration between activists and artists.

Project proposals

Activists and artists should apply by presenting a single collaborative project proposal that does not exceed two pages in length and includes the following:

1) A brief profile/bio of the artist(s) and activist(s) involved.
2) A brief description of the project/programme of work, highlighting in particular how it responds to the Covid-19 emergency and its links to activism and civic/political space; which of the 3 objectives set out above it responds to; any safety, security and ethical concerns, and how these will be addressed; whether it builds on existing initiatives or is a new collaboration, and through which media/methodologies it will be carried out.
3) The main beneficiaries and audiences of the project/programme of work and why the methodology/medium is appropriate for the local context.
4) Details of additional sources of funding or contributions.
5) The envisioned output(s) of the project/programme of work, for both the activist(s) and artist(s).
6) The amount of funding you are applying for, and a brief justification for the specific amount requested in the form of a basic budget and justification of resources (subsistence/salary costs can be included). It is envisaged that most grants will be for between £1,000 and £2,000. Additional justification will be required for larger awards, up to £3,000, for example, that the application involves groups of activists and/or artists.
7) One appendix featuring examples of artistic work can be included in the application. The appendix can be additional to the 2-page application.

While applications need to be in English, activist and artist outputs which are in part or completely in local languages are welcomed.

Criteria for assessment

1) Clear description of the link between Covid-19, and responses to the virus, on the one hand, and threats to activism and civic/political space on the other, affecting either the artists/activists making the application and/or their country.
2) Evidence of a strong working relationship between the artist(s) and activist(s).
3) Feasibility and relevance of the project in challenging and difficult circumstances (including consideration of safety, security and ethics).
4) Evidence of innovation and creativity – notwithstanding point 3) above, we are willing to take risks with this fund to support work that is provocative and challenging.


The activist(s) and artist(s) are expected to provide a timeline for outputs in their application, between now and 31 December 2020. The artist(s) and activist(s) are also expected to submit a short joint report (2 pages) detailing the activities undertaken as well as all expenses incurred, by 31 January 2021. All inquiries and submissions should be directed to Piergiuseppe Parisi ( and Pippa Cooper (


There is no fixed deadline for proposals – applications will be considered on a rolling basis over the coming months. We will endeavour to get back to applicants within 2 weeks. Successful proposals will be selected by a panel that will include CAHR staff and associates from a variety of backgrounds.


Copyright for the outputs remains the sole and exclusive property of the artist and the activist. Terms of reference/contracts will provide CAHR with the limited right to reproduce, publicly display, distribute and otherwise use the expected outputs in relation to CAHR’s work, and as an example of work commissioned through the Open Society Foundations’ grant. Copyright will be addressed in terms of reference/contracts developed with successful applicants.

Confidentiality and ethics

CAHR will discuss anonymity, confidentiality and other ethical issues with artists and activists as they arise in relation to specific projects.


Galbraith Rushby & Labournet Webinar - TERS and Employer Labour Concerns

14 April 2020

Dear Client and/or business owner

We would like to invite you and anyone who you think could benefit, to join us for a free webinar to be held on Wednesday 15 April 2020 at 16.00pm on COVID-19 impact on employers and options around payroll. 

Following on from our popular webinars over the last three weeks, Ryan Anderson from Labournet will be giving an hour long presentation on the various relief options you have and will be answer questions raised by our delegate in more details.  The topics we will cover are the following:

  • Implications of COVID-19 on your payroll, 
  • Salary reductions / short time,
  • Unpaid leave 
  • Temporary Employer / Employee Relief Scheme (TERS)
  • COVID-19 UIF benefits 
  • Retrenchments 
  • What happens after lock down, back to normal rules etc 

Ryan is an experienced labour consultant, focusing on all HR and Labour related matters.

We look forward to having you join us.  There is no charge for the webinar so please invite everyone who could be affected. Click on the link below to register:

About Ryan Anderson
Ryan has been with Labournet for the last 6 years and has headed up the Cape Town Industrial Relations department for the last 3 years.  He has a masters degree in industrial psychology and various other specialized labour law studies.   

Tuesday, April 14, 2020

INDUSTRY NEWS: The MultiChoice Talent Factory portal hosts DOLBY Webinars!


14 April 2020 – The MultiChoice Talent Factory (MTF) in partnership with the Dolby Institute is excited to launch yet another online learning channel, Dolby Audio Webinars. The series of webinars covers a range of topics such Sound for video editors, Setting-Up a 5.1 Session & Mix environment, Dolby Atmos Content Creation and other sound engineering topics.

The first of 8 webinars will go live every Thursday, starting on the 16th April 2020 from 13:00 – 14:00 CAT. The first session focuses on Script Analysis & Planning for 5.1 Productions and is one of four webinars geared towards all content creators whilst the other four webinars are more technical and tailormade for mix engineers, video editors and system integrators.  

In filmmaking, sound is often overlooked yet it’s an important component of filmmaking. The Dolby Institute develops educational programming to help creatives advance in the art of storytelling, whether they’re making a film, mixing the sound for a sporting event, or designing the next-generation music experiences.

As the leading video entertainment provider on the continent, MultiChoice recognizes the importance of understanding sound in order to tell authentic African stories. This partnership with Dolby will benefit storytellers across the continent and support the growth of the homegrown entertainment industry. 

Below are details of upcoming webinars:

Script Analysis and Planning for 5.1 Production

All Creatives
16 April 2020 at 13:00 CAT

Location Recording

All Creatives
23 April 2020 
at 13:00 CAT
Sound for Video Editors
Video Editor & Mix Engineers

30 April 2020 
at 13:00 CAT
Setting up a 5.1 Session & Mix Environment

Mix Engineer
7 May 2020 
at 13:00 CAT
Mixing for Creatives (Foley, fx, music)

All Creatives
14 May 2020 
at 13:00 CAT
Mix and Deliverables

Mix engineer
21 May 2020
at 13:00 CAT
Dolby Atmos Overview (All creatives)

All Creatives
28 May 2020 
at 13:00 CAT
Dolby Atmos Content Creation (Content Creation Team)

Mix engineer, System integrators 
4 June 2020 
at 13:00 CAT

NOTE: The recorded webinar series will be made available on the portal the day after, so log on to to keep learning. 


Excited by this new online learning channel? Join the social media conversation and tell us which webinar piques your interest.

Join the MTF social media conversation on the hashtag: 
#MultiChoiceTalentFactory #MTFxDOLBY #DOLBYWebinars #IgnitingAfricasCreativeIndustries and follow us on:
  • Instagram: @multichoicetalentfactory
  • Twitter: @MCTalentFactory
  • Facebook: @multichoiceafricatalentfactory

Have you registered on the MultiChoice Talent Factory portal? Join over 26 000 creatives who are expanding their network and showcasing their talent!  The portal is a pan-African, film and television digital marketplace for information about all aspects of this creative industry. #SignUp2MTF

If you have any questions about the MultiChoice Talent Factory, please contact us on 

About the MultiChoice Talent Factory:

The African continent is steeped in a rich and diverse history of living passionately through language, art, music, and colourful storytelling. As the continent continues to change rapidly, the entertainment industry has become ever more relevant. MultiChoice Africa has identified an opportunity in this fast-changing environment—one that will have a lasting impact on the industry as a whole. The MultiChoice Talent Factory (MTF) is a multi-tiered training programme (Academies, Masterclasses & Portal) designed by MultiChoice Africa to focus on positively impacting the technical and professional value chain in the film and television industry across the continent. As a business born and bred in Africa, we have a long-term commitment to making a socioeconomic difference in the countries in which we operate. As such, this initiative helps to play a positive role in growing Africa’s creative industries. MTF is a shared-value initiative that provides a platform for the creative industries to develop their talent and engage with one another through their shared passions. Through the MTF Academies (every year, the academies select 60 talented individuals from across 13 countries to participate in a 12-month academic and practical immersion programme including both theory and hands-on experience in cinematography, editing, audio production and storytelling) we are building a pipeline of good local content for our channels whilst the Masterclasses focus on developing technical skills of established creatives in cinematography, audio and storytelling to improve the quality of local productions and are conducted by leading African and international industry experts. The MTF Portal is the golden thread that brings talent and opportunities together on one platform. It is a Pan-African, film and television digital marketplace that offers open, cost-free access to film creatives across the continent to showcase their talent, access opportunities, stay up to date with industry news and expand their industry network. Through this initiative, MultiChoice Africa’s demonstrates its commitment to enriching lives by developing the art of inspired local storytelling and story making, while simultaneously growing a legacy of local content on our DStv, GOtv and Showmax platforms and ultimately continue showcasing Africa’s rich cultural heritage and diversity. More information available on

About the Dolby Institute

Launched at the 2013 Sundance Film Festival, the Dolby Institute has the mission to educate and inspire emerging filmmakers and content creators to think creatively about sound and image to enhance their stories. Since its inception, the Institute has brought together emerging artists and award-winning veterans and masters of the craft to offer concrete tools and advice on ways to make stories more vibrant with sound and images. Dolby Institute Director Glenn Kiser, the former head of Skywalker Sound, has been working at film festivals, universities, and film schools – wherever filmmakers gather.

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