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									COMMERCIAL PRODUCERS ASSOCIATION “TRAINING & TRANSFORMING THE COMMERCIAL FILM INDUSTRY” Report July 2004 By Peter Carr (CPA Exco member) Introduction The CPA entered into a transformation charter in August 2002. The Executive Committee at this point, formed a dedicated executive sub-committee to strategise and implement practical training and transformation methods. The philosophy of the CPA is to work towards getting people jobs and not just providing training courses. Our objective is to train within a workplace environment in the industry, creating income generating opportunities to historically disadvantaged persons. History Whilst the film and entertainment industry has never been one to discriminate against disadvantaged people, it has also not actively transformed at a rate relative to its‟ significant growth during the last ten years. It was transparent that the film industry comprised of supremely white owned film companies and the skilled workforce at large was not actively encouraging historically disadvantaged people into skilled areas of industry. Very importantly, the CPA in all its‟ initiatives wants to ensure that all forms of training are founded upon coaching professionalism and quality. Our industry attracts international business largely because we are good at what we do and we must ensure that professionalism prevails in all aspects of such development programs. If we do not take this logical approach, we will in the long term fail to encourage business and by failing in that respect we will fail to create jobs. Until about ten years ago, the commercial film industry had been mostly supported by the local television advertising business. It was only in the 90‟s that the enormous rush of foreign business flowed into South Africa. Within a matter of a few years the industry grew very quickly to meet the demand and in time and to this day, it is predominantly servicing foreign business. Due to the fast growth, nobody considered training and certainly not racial integration. People simply did not have the time for it. One needs to realize that the film business has reputedly developed most of its skilled workforce from people with little or no film education backgrounds. Most of the workforce comprises of those that started from the bottom and moved upwards with demand into elective areas of the industry. Even those that may have had a film school qualification, most still had to enter professional industry at a junior assistant level. Because the industry has always, mainly comprised of freelance technicians and independent contractors, owners of film businesses expected individuals, without discriminating, to determine their own growth opportunities. Film companies are generally made up of a small employment roster incorporating only highly skilled permanent production staff. People entering business has always happened within the freelance sector on a daily hire basis. Film companies would generally win a production, phone a crew agent and book the best people for the job giving little consideration to development.


This has made the process of training very difficult for us. I effect, we need the people we employ to do the training, which is hard to co-ordinate and regulate when the employment contracts are on such a short term and irregular basis. It is clear therefore that historically disadvantaged persons did not have the means to take these opportunities alone without the help of businesses and key specialist technicians. Representative crew agents were also not doing enough to coax the progression of semiskilled freelancers into skilled areas of industry without the demand coming from the senior employers and even clients. Mentorship Whilst other industry associations are calling for training courses and training courses only, we know that this training methodology will not necessarily create employment opportunities. Anyone qualifying on any given training course to be a production manager for example will not convince a producer to hire that person in that key position. The person needs to have experience in the “field”. The CPA decided on adopting a practical approach combining MENTORSHIP with THEORY and a MONITORING SYSTEM for each individual we train. Mentorship is proven to be the only way forward if we want to create employment in this industry. Familiarity and reputation is how freelance persons and independent contractors sustain their employment and we therefore need to create working environments whereby “freelance” trainees can gain these vital needs. Supply To begin with, we decided to generate an immediate supply chain of entry level trainees into industry with long term goals in mind. In 2003, forty six trainee runners, with little or no previous skills were provided a one week theory course sponsored by the CPA and run in both Johannesburg and Cape Town. For six months each trainee is required to endure practical on-set training by all CPA members. The individuals were supplied with log books to be assessed by production managers after every shoot day and once the individual has attended thirty shoot days, they will be qualified to enjoy freelance employment endorsed by the CPA. They were provided a good foundation and exposure to various film companies to attain a recognized reputation and familiarity that we envisage will provide them further freelance or permanent employment. Once these individuals decide on a specific direction they feel suited to progressing in the film industry, hopefully within a year of completing this course, the CPA will design programs to advance their skills on elective areas of industry. Admittedly, this pilot program has only been reasonably successful. Johannesburg has been more successful in Cape Town for reasons that the JHB industry is consistently active whereas the Cape is seasonal. The course was also slowed drastically by the sudden slump in production by some 40% towards the end of 2003. The results are however quite positive considering and at this point in time the database shows that eleven trainees completed their logbooks / thirty days on set each (total workday opportunities afforded = 330). Eighteen candidates are still actively progressing on the course, part- time whilst they are studying or in other fields of business. Six candidates left the course but found positions in other fields within the industry. The remaining eleven candidates dropped out of the course for various reasons. In essence it shows that more than half the trainees have been provided the opportunity and found employment in the film industry due to this program.


Scarce skills Our secondary stage was to identify immediate areas of skills shortages within industry. What we have to understand is that there is little point in training in areas where there is little demand. Firstly this would not be productive to industry and it certainly will not help an individual attain employment. Our primary area of concern was the lack of senior producer skills and a general shortage of production persons in the commercial industry. We applied to the MAPPP SETA for discretionary funding to employ a training provider and identify twenty semi-skilled production trainees. The course was designed by Peter Carr, a senior, executive member of the CPA together with Consulting Dynamix, SAQA accredited training specialists, nominated by the CPA. The MAPPP SETA approved of our training philosophy and granted funding to the value of R840,000 for a twelve month mentorship program. This comprised of an initial theoretical course on film production and thereafter the trainees were individually placed permanently into seventeen production offices of our CPA member company‟s as a trainee production coordinator for the period. One person was placed in an advertising agency under the mentorship of an agency radio and TV producer. An important part of the process was to train the mentors on how to train the trainees in the workplace and provide regular assessment in line with the SGB unit standards to ensure proper training skills were being mentored. Consulting Dynamix are contracted to monitor the individuals progress on a weekly basis. A process of lectures on all aspects of production is provided by industry specialists on average every two weeks throughout the training period. This course has been extremely successful particularly considering the slump in production over the last year. At this point in time, five candidates are continuing with the course for not having completed certain criteria; six candidates have been permanently employed by their mentors (CPA members); three have achieved other positions in the film industry; two have entered into other learnership programs in the film industry (post-production); three left the course for either personal or affordability reasons and one was excused for nonparticipation /attendance. Two of the trainees have recently been sponsored by the CPA to attend a four day camera assistant course. Thirteen of the trainees will be accredited by the CPA to enter the industry as production coordinators. Three have already been accredited as Production Managers and have guaranteed permanent positions with member companies. Two trainees will be accredited as Production secretaries. On a senior production level, the CPA executive committee appointed two historically disadvantaged production managers to shadow two of its‟ Executive Committee members on all CPA affairs and executive affairs within their respective production companies. This is ongoing. The CPA Influence The Executive Committee of the CPA has introduced a practice by which two semi-skilled HDI production managers will continuously shadow their respective executive members on all CPA executive issues. The CPA has been sure to involve many of its larger suppliers to participate in our training programs. Every trainee will have endured basic experience within each sector of the supply chain. We have also been sure to advise all industry to support our practice, including advertising agencies and their clients. We have been on hand to encourage, influence, advise and support other organizations in training the industry, including: 1. The provision of a training course to the Johannesburg Metropolitan Police Department and the Gauteng Film Office (GFO) whereby twenty traffic cadets will be provided to support the film and entertainment industry;

2. The VUKA awards whereby our members provide mentorship to newcomer directors and production teams from historically disadvantaged backgrounds. Last year, our members mentored and sponsored five commercials directed by previously disadvantaged persons in the newcomer category. One entrant went on to win the overall best PSA (Sunu Gunera). We act as an advisory to the Multichoice VUKA committee and recently, we proposed an idea whereby one hundred historically disadvantaged new entrants will be sponsored by the Department of Labour to perform in key crew roles in a separate category to be introduced into the VUKA awards. This has been accepted and is progressing. 3. The Association of Communications and Advertising (ACA) who have been actively campaigned by the CPA to support existing historically disadvantaged film directors. This has been a remarkably successful campaign. At the present time, we are happy to note that there are now twelve active, black film directors working professionally in the commercial industry. 4. The Independent Producers Organisation (IPO) who share a common teaching method because we share a common freelance workforce. 5. The MAPPP SETA, where we hold a seat on the Film and Electronic Media Chamber. Future training initiatives We are well aware that there already exist many semi-skilled historically disadvantaged people in our industry. One of our future objectives is to identify those people operating stagnantly in various elective positions and to promote and encourage their further advancement. At the point when the trainee runners have shown movement potential, we will provide advanced learning to progress their positions. It is at this point that we will introduce yet another entry level runners program to fill the gaps and ensure that we keep feeding future players into the industry. And so the process will continue and in time, we shall start to see previously disadvantaged people beginning to find themselves in key positions in our film industry. It is not a short term methodology. It is a practical way of succeeding the future of our business and the loyal, passionate people we are going to encourage our business. Our next steps will be to combine our efforts within the SETA FEM CHAMBER on a more structured format with all industry partners. The CPA will continue to apply for discretionary SETA funding to ensure mentorship continues by its‟ members. Immediately, the CPA would like to progress with placements of HDI‟s with senior key crew mentors (Grips / A.D‟s / Editors etc.) and apply a similar assessment and monitoring program that has been successfully achieved to date. At this point in time, the CPA is probably the only industry organization to have implemented a truly active & practical training concept that properly creates employment within the realms of the film industry. It has been slow in getting the industry accustomed to the process and the practice but we are proud of what we have achieved in a short period of time with the help of our members who have provided for hundreds of entrants and thousands of opportunities to those that were previously less fortunate than others. PETER CARR


COMMERCIAL PRODUCERS ASSOCIATION OF SOUTH AFRICA TRAINING REPORT 2005 Introduction Education, training and the up-skilling of individuals in our industry has become the “buzz word” in 2005! But what are the implications, what is the strategy and how is it applied within your organization? The CPA was one of the first to recognize the training opportunities available particularly in light of the development of the SAQA (South African Qualifications Authority)/NQF (National Qualifications Framework). As far back as 2003 the Training Representative Peter Carr initiated an Entry Level Runners Course. This was followed by a CPA Production Managers Course and the CPA Technical Skills Programme in 2004/5. The CPA continues to drive a realistic and concerned empowerment training initiative to ensure that the industry draws in valuable and skilled individuals. And where are we headed in 2006? Report Back As mentioned previously, 3 courses have been run by Consulting Dynamix (CD) as consultants on Education and Training to the CPA. However, it must be noted that the CPA are also joint venture partners with CD in the Department of Labour MultiChoice VUKA! 2005 Film Skills Programme. More on this later.

CPA Entry Level Runners course
The first course was run in 2003 and was designed to meet the needs of government and bring PDI‟s into the industry. It was dubbed the “CPA Entry Level Runners course” and involved 28 individuals in Johannesburg and 25 in Cape Town. The premise on which the course was based was that Crewing Agents would forward the names of people they would like to send on the course, CD would provide the theoretical training and then the CPA members would place the trainees on set to further their workplace experience and support their entrance into the industry. The Crewing Agents submitted a few members for CT but otherwise it was left to CD to find potential learners. The selection process was thoroughly researched by CD and it was found that internationally, even when psychometric testing was completed, selection of suitable candidates for any job could only be 19% successful! With these horrific figures in mind a panel including Peter Carr made the selection and the learners proceeded. The training took place at CD in Jhb and Velocity in CT and proved to be most successful in that the learners were, by enlarge, keen and committed. The challenge however, arose when there was a breakdown in communication between the CPA members, agents and the trainees, with few trainee positions being offered. Certain Production Houses were most supportive in the process (eg Picture Tree, Velocity, Egg) that no shoot took place without a trainee and ensured that real learning took place. The CPA funded the execution of this course and now other funding was forthcoming. Three issues must be raised here, as they were significant in later Education and Training decision making:

 If a course is seen to be run to discharge a duty, the support it requires is not

forthcoming. Stakeholders need to understand the purpose behind the initiative; what follows is genuine concern and support. The integrity of the Training therefore becomes unquestionable and faithfully serves the purpose for which it was intended. The meaning of this becomes much clearer when considering how your involvement in training impacts on your BEE compliance! Training with good intention results in the creation of a sensible, educated and professional workforce from which to draw.


 This attitude of „duty‟ also resulted and our haste to begin the course resulted in

the incorrect selection of candidates, resulting in few succeeding on entering the industry.  It cannot be left to Crewing Agents and Production Houses for a course to succeed. If the Training Consultant is involved in the administration of the course to the extent that promises made by venture partners are met, the course„s purpose are fully realized with little or no inconvenience on the partner (Production House). The bottom line is that the expertise in Education and Training resides with the Consultant and in this way the scope and purpose of the course is met. In other words where expertise outside that of the “day job workers” exists it should be utilized to ensure the effectiveness of the training programme.  All stakeholders, partners and learners involved in the course did so in a most committed way but without a realistic budget, the best intentions come to naught! The participants on this programme were: CT Bokamano, Jean Claude Carelse, Neil Dake, Xolile Darries, Zulphur Davis, Brenda Dininzulu, Zanethemba Farm, Isaac Flower, Taryn Friedman, Hazel Giose, Vaughan Jezile, Sifiso Jimba, Zama Lesolle, Lubabalo Litholi, Malibongwe Magobiyane, Simphiwe Mdidimba, Mbulelo Mvoko, Mfundo Onderson, Kurt Ontong, Carla Oyiya, Nomvuyo Saman, Janice Singeni, Thabo Sithole, Noma Strydom, Brent Tyilo, Malibongwe JHB Hlongwane, Charles Jibilika, Nick Kapp, Ronald Khalanyane, Mathaba Lehoko, Molemo Lesunyane, Charles Machogo, Douglas Maesela, Tumelo Makhanya, Zonke Makosholo, Pheelo Mhlawuli, Lorna Mkhwanazi, Muzi Montsho, Papi Mpya, Hendi Mthimkulu, Nimrod Nazo, Thembile Ndibaza, Bongani Nedoboni, Bulelani Ntuli, Louis Nurock, Abigail Paneng, Vincent Rapapdi, Lebo Siwela, Marvin Thompson, Brian Tjekane, Walter Tshabalala, Monti Zangu, Zandile

CPA Production Manager’s Course
A considerable turnaround occurred when the CPA Production Manager’s Course was run in 2003/4. Significant funding was obtained by Peter Carr (supported by relevant SAQA motivated training material/proposal from CD) from the MAPPP-SETA. This enabled the placement of trainees in a workplace (Production House) under the mentorship of an experienced Production Manager/Producer and the success of this was palpable. The trainee was paid from the budget and true and honest training remained the solitary onus on the Production House. The situation of a lone trainee in a Production House under the control of one designated trained mentor (a Mentorship programme was run by CD to establish the guidelines for the mentor) who made certain that a variety of training exposure was experienced, ensured that this course was a confirmed success.

There was an 80% employment of unemployed learners after the course, testimony to the fact that we are on the right path with our training methods. The underpinning knowledge given during the initial workshops forms a solid base from which both the learner and the mentor can operate and the practical exploration of the theory is built thereon in the Production House. The learners were constantly monitored by CD and site visits were executed. The assessment following the training obtained the following results:     9 2 3 4 learners learners learners learners achieved achieved achieved achieved Senior Production Co-ordinator Competency Production Co-ordinator Competency Production Co-ordinator Competency Production Secretary Competency

The course was designed around existing registered SAQA Unit Standards and therefore the learners were able to achieve credits on the NQF. The issues that should be noted following this course are: Workplace training under a committed mentor WORKS and results in an employee skilled in your methods, ready to function on the level expected. You participate in the creation of the type of employee you want and at the same time the learner has achieved authentic training. No one day wonders! Training programmes under the leadership of accredited training providers with specific goals and methods in place, results in valid and reliable results. Production House commitment is the KEY to achievement in any of our programmes. We CAN up skill entry level learners to the point of higher learning. If learners enter as „green recruits,‟ but with an intelligence and understanding of the creative and logistic process, they can go further than mere entry level. Once again, the TRAINING needs to be valid and true and is dependent on the participation of the Production Houses.

 10 learners participated in Jhb under the wing of the following Production
Companies; and

 8 learners participated in CT under the wing of the following Production Companies.
The participants on this programme were: Learner Name JHB Mabeba, Johnny Madisakwane, Palesa Makosholo, Pheello Maloka, Lesego Maphanga, Mathews Mhlana, Onaka Phiri, Tshogofatso Pule, Kamela Senye, Boitumelo Tywabi, Sabelo Learner Name CT Dingwayo, Anita Dube, Micheal Henry, Bronwyn Momple, Ronelle Moses, Wayne Mtuzula, Nosipho Tshabalala, Chaba Williams, Weeam Production Company JHB Picture Tree Velocity Africa Fresh Eye Film Fetish Activator Films Grey Worldwide Freshwater Frieze Films African Motion Pictures Terraplane Digital Production Company CT Passing Trains & Groundglass Velocity Cape Town Reel Africa McKenzie Rudolph Akiedah Mohammed, CPA Office, Moonlighting & Orange Films Reeleyes Peter Gird Productions Gatehouse


CPA Technical Skills Programme
The above course addressed the Production arena‟s needs within our industry and the next course was created by Peter Carr to address the Technical labour aspects of our industry. It is the CPA Technical Skills Programme and is current in its execution. It once again reflects on our ability to train learners if they are not fully absorbed by the Production Houses. At this stage the course relies solely on the input of Heads of Department working in our industry and their ability to take learners with them on set. However it remains that as involved and dedicated as they may be, training does not take place if the Production Houses are not engaged in the process. The theory and knowledge components of the course have been executed. There is a minimal amount of funding available for payment of the learner but the need now arises for the trainee to learn under the guidance of a Head of Department within one of the following departments: 7 learners in Jhb want to train in  Unit/Locations  Lighting  Camera  AD  Art department  Post Production, and 5 learners in CT want to train in  Wardrobe  Camera  AD Funding was once again obtained from MAPPP-SETA by Peter Carr for this programme but a financial commitment is required from Production Houses in terms of catering and time spent by the HoD for real and meaningful coaching. The suggestion has been made that Production Houses are made more fully aware of the goals and commitment required to make the course work and together with Bobby Amm this development will follow. The participants on this programme are: Learner Name JHB Gandini, Norman Fitzgerald, Sipho Mahlabe, Caroline Mkhonza, Ellen Nhlapo, Vusi Olifant, Thabiso Tladi, Itumeleng Learner Name CT Jim, Siyabonga Litholi, Malibongwe Nazo, Thembile Stamper, Phumla Sunduza, Ayanda Department Lighting Post Production AD Art Department Unit/Locations AD AD Department Camera AD Camera Wardrobe Camera


CPA Training Report 2005/2006 The Department of Labour MultiChoice VUKA! 2005 Film Skills Programme Following ongoing discussion between Peter Carr (CPA), Heather Setzen (Consulting Dynamix) and the VUKA organizers at MultiChoice the CPA obtained a firm commitment that the Association and members participating in the production of VUKAs would obtain recognition for their efforts. As a result of the positive response at these meetings the goahead was given to approach Production Companies to mentor the 7 groups making VUKA! PSA‟s for the 2005 competition. The course was funded by the Department of Labour and Consulting Dynamix was appointed by them to design, administer, train and monitor the program. With a clear understanding of the current climate in Commercial Production, Consulting Dynamix designed the implementation in such a way as to ensure the minimum amount of disruption to the Production Companies, by employing the services of an experienced mentor and many facilitators. The learners were given a solid foundation during the workshop period wherein they all had to participate in the Production Process module and were then able to choose 2 specialties from the following list:

      

AD Art Department Camera Continuity Grips Script Writing and Post Production

Additional information workshops were given in the following departments to enhance the learners experience of the total production picture:

  

Directing Lighting Sound

It was made clear to the learners that specialization in these areas either required a previous qualification at this level or real and engaging previous experience. Compulsory self management and business workshops were given to ensure that the learners understood their role in the industry. The learners then entered a period of pre-, production and post to make their submissions. The completed PSAs were then entered into the VUKA competition and SAQA assessments have since been held to ascertain their competencies. There were 68 learners on the programme which was NOT designed to be entry level but rather to ensure that the learners are sufficiently skilled to enter the department of choice as a trainee. This course only took place in Jhb and the following CPA members were involved in mentoring groups:

     

Fresh Eye Freshwater Picture Tree Suburban Films Terraplane Velocity x 2


The participants on this programme were: PRODUCTION TEAMS TEAM 1 1. Nosiphiwo Ntshokoma 2. Alexander Motswiri 3. Merylene Ledimo 4. Psycology Hlongwane 5. Tolo Pule 6. Obakeng Thulare 7. Reginald Mukwevho 8. Michael Sithe 9. Kelebogile Mongatane 10. Michael Sithe 11. Glenda Khoza TEAM 2 1. Nonkululeko Zwane 2. Zacharia Mashongwane 3. Thibedi Kganyago 4. Anver Sarlie 5. Tshidiso Ntholi 6. Ntombozuko Matiwana 7. Pinky Sealanyane 8. Lebogang Mabuela 9. 10. Mamsy Chokwe 11. Thibedi Kganyago TEAM 3 1. Edward Nenzhelele 2. Edwin Seleke 3. Liphumile Goduka 4. Thabiso Tsotetsi 5. Liphumile Goduka 6. Aubrey Kgaswane 7. Ezekiel Mahopo 8. Lerato Motsoadira 9. Kagiso Seale 10. Phakamile Ntombela 11. Terrence Thipe TEAM 4 1. Kgalalelo Modise 2. Mbali Thwala 3. Sipho Nkambule 4. Mthokozisi Shabangu 5. Sipho Nkambule 6. Kgosietsile Matlapeng 7. Kenneth Ramoitheki 8. Bonolo Diutlwileng 9. Lindiwe Ndlovu 10. Mmatebang Masibi 11. Kelebogile Sebokolodi Script Writer Director Producer AD Cameraman Grip Gaffer Art Directing Sound Recordist Continuity Unit Locations Manager & Post

Script Writer Director Producer AD Cameraman Grips Gaffer Art Director Sound Recordist Continuity Unit Locations Manager & Post

Script Writer Director Producer AD Cameraman Grip Gaffer Art Directing Sound Recordist Continuity Unit Locations Manger & Post

Script Writer Director Producer AD Cameraman Grip Gaffer Art Directing Sound Recordist Continuity Unit Locations Manager & Post

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TEAM 5 1. Bonakele Kubheka 2. Teboho Siphoro 3. Matthews Phala 4. Walker Sondezi 5. Lebogang Tsele 6. Matthews Phala 7. Samuel Letsiki 8. Rosina Mmusi 9. Lawrence Gxekwa 10. Kagiso Selele TEAM 6 1. Sandile Sethi 2. Floyd Vilankulu 3. Sandile Sethi 4. Jones Moremi 5. Siyabonga Bikwane 6. Clement Mosala 7. Obakeng Kgope 8. Onkgopole Modise 9. Mbali Ntshangase 10. Siboniso Mabaso 11. Onkgopotse Mahlanya TEAM 7 1. Madoda Ngobeni 2. Smartie Olifant 3. Mzwandile Mazibuko 4. Harry Khumalo 5. Mzwandile Mazibuko 6. Lehlohonolo Mokoena 7. Matshidiso Ramatapa 8. Dimakatso Ngobeni 9. Edward Mokone 10. Prince Marule

Script Writer Director Producer AD Cameraman Grip Gaffer Art Directing Continuity Unit Locations Manager & Post

Script Writer Director Producer AD Cameraman Grip Gaffer Art Directing Sound Recordist Continuity Unit Locations Manager & Post

Script Writer Director Producer AD Cameraman Grip Gaffer Art Directing Sound Recordist Unit Locations Manager & Post

The CPA thanks all who have been concerned with the training, for their commitment to this initiative. We are pleased to report that every group successfully completed and entered their VUKA commercial and, although none were successful in winning major awards on the night, the training program was heralded a great success. In November 2005, the learners attended the VUKA Awards ceremony at the Bass Line in Newtown where they were presented with their certificates. The CPA and its members were recognized for their contribution to facilitating this training and their assistance & participation in the success of the VUKAs. Key Issues The Future As can be ascertained from the report above, the CPA has been sincerely engaged in the skilling of PDI‟s and their aspirations to enter the main stream industry. However, it has become evident that it is time to move on up the ladder and locate and train learners at a higher level. It seems that entry level has been exhausted and there is a sufficient pool from which to choose and use! The learners have been encouraged to join agencies and go and work.

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However it must be noted that on all the CPA and Consulting Dynamix‟s programs, the intention is to create employment; as such the majority of the learners achieve a permanent placement within the workplace thereafter. Testimony to this is the M-Net Local Production Internship and the SAGE [South African Guild of Editors] Scarce Skills program run for Editing Assistants in Post Production Facilities in 2004. 80% of all these learners achieved employment in their workplaces/other similar workplaces.) Relevant Training There are many concerns around the issue of „relevance‟ and it is important that we begin to discuss and understand which training is truly „relevant‟ within our industry. In order to „comply‟ and put on a good face, many Producers are beginning to engage in „training‟. How do Producers distinguish between different types of training programs and institutions? The following is a guideline that illustrates what should be in place for a training program to have genuine relevance in the Education and Training sphere as it exists internationally and in South Africa today:


First and foremost the Provider (Person/Institution in charge of training program) should be Accredited by the MAPPP-SETA or a recognized Government body like the Department of Labour. They will then have an Accreditation Number. This guards against training by unqualified and unrecognized “what else can I do but go into training?” providers! The Lead training Provider (in charge of training) must ensure that training is provided by Practicing Experts and not old timers who need to be kept occupied. Research and knowledge of current international trends in both training and in the area of expertise is essential for accurate skills transference to be addressed and realized. The Provider should design the program according to the SAQA and NQF requirements and it must accommodate the needs of the recognized Employers within industry so that employment opportunities genuinely exist; employment is the ultimate aim of the training and this is an a expected result. Working towards credits on the NQF simultaneously guarantees that the learner has the potential to amass credits towards a qualification. The Training Provider should address all related issues around training including Train the Trainer so that the role of the workplace mentor is fully understood from the start and training expectations are met. This furnishes the mentor/coach with the tools to execute his responsibility effectively.

 



Financial Implications – Accessing money for training Previously we have been extremely fortunate to be able to secure funding from the MAPPP-SETA but this funding is not guaranteed so what other avenues are available? The CPA in consultation with Consulting Dynamix has continued to submit training plans to the MAPPP-SETA in an attempt to secure funding. It was the intention of the Association to submit an application for the budget to execute an up skilling programme, to train those we have already trained to a higher degree of proficiency so that PDI‟s become available on the more advanced levels of Production. Unfortunately our application for R400,000.00 to facilitate a technicians course for level 5 learners was declined by the MAPPP-SETA earlier this year due to the fact that the qualification has not yet been registered. After several letters of complaint from the CPA, the SETA has reconsidered their decision and we are pleased to be able to report that this training will go ahead early in 2007.
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An alternative method to source funding may be to access Skills Development Levy (SDL) via a Workplace Skills Plan (WSP). A Skills Development Facilitator (SDF) could successfully complete this plan and it is recommended that in the forthcoming year the CPA examine the possibility of a collective work place skills plan for its members. This will enable production companies to reclaim up to 60% of the Skills Development Levy (SDL) paid over to SARS. The 2007 Technicians Training Program In 2005/2006 the CPA and Consulting Dynamix ran a level 4 technicians course. Of the four training programs run to date by the CPA this was probably the least successful. The main failing was that the trainees relied exclusively on Heads of Department to place them on commercials and were often rejected by production companies who did not have sufficient understanding of the course‟s objectives. It became very clear to us that to run a successful mentorship program for film technicians we need the full commitment of Heads of Department and Production Companies and that the process must be more vigorously communicated and organized. In canvassing members, we understand that there is a demand for well trained technicians and it is our belief that this is where the CPA should place its focus in contrast to the established film schools which tend to emphasise training in production, directing & scriptwriting. For this reason, we would like to improve upon previous efforts by running a level 5 training course for technicians in 2007. This time we will ask production companies to mentor trainees and co-opt the HOD‟s with whom they work regularly to coach them in their respective departments. We believe that with the commitment of all the players we can successfully build up trainee technicians already working within our industry. Once again we will be asking for the assistance and support of our members and hope that every CPA member will commit to making this project worthwhile. Although this program is still in the planning stages we will be sending out information shortly to ensure that we are well prepared for the start of the program in January 2007.

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