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Report July 2004
By Peter Carr (CPA Exco member)


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.


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 semi-
skilled freelancers into skilled areas of industry without the demand coming from the senior
employers and even clients.


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.


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

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 non-
participation /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

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

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.





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
     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                          JHB
Bokamano, Jean Claude       Hlongwane, Charles
Carelse, Neil               Jibilika, Nick
Dake, Xolile                Kapp, Ronald
Darries, Zulphur            Khalanyane, Mathaba
Davis, Brenda               Lehoko, Molemo
Dininzulu, Zanethemba       Lesunyane, Charles
Farm, Isaac                 Machogo, Douglas
Flower, Taryn               Maesela, Tumelo
Friedman, Hazel             Makhanya, Zonke
Giose, Vaughan              Makosholo, Pheelo
Jezile, Sifiso              Mhlawuli, Lorna
Jimba, Zama                 Mkhwanazi, Muzi
Lesolle, Lubabalo           Montsho, Papi
Litholi, Malibongwe         Mpya, Hendi
Magobiyane, Simphiwe        Mthimkulu, Nimrod
Mdidimba, Mbulelo           Nazo, Thembile
Mvoko, Mfundo               Ndibaza, Bongani
Onderson, Kurt              Nedoboni, Bulelani
Ontong, Carla               Ntuli, Louis
Oyiya, Nomvuyo              Nurock, Abigail
Saman, Janice               Paneng, Vincent
Singeni, Thabo              Rapapdi, Lebo
Sithole, Noma               Siwela, Marvin
Strydom, Brent              Thompson, Brian
Tyilo, Malibongwe           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   learners   achieved   Senior Production Co-ordinator Competency
       2   learners   achieved   Production Co-ordinator Competency
       3   learners   achieved   Production Co-ordinator Competency
       4   learners   achieved   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                  Production Company JHB
Mabeba, Johnny                    Picture Tree
Madisakwane, Palesa               Velocity Africa
Makosholo, Pheello                Fresh Eye
Maloka, Lesego                    Film Fetish
Maphanga, Mathews                 Activator Films
Mhlana, Onaka                     Grey Worldwide
Phiri, Tshogofatso                Freshwater
Pule, Kamela                      Frieze Films
Senye, Boitumelo                  African Motion Pictures
Tywabi, Sabelo                    Terraplane Digital
Learner Name CT                   Production Company CT
Dingwayo, Anita                   Passing Trains & Groundglass
Dube, Micheal                     Velocity Cape Town
Henry, Bronwyn                    Reel Africa
Momple, Ronelle                   McKenzie Rudolph
Moses, Wayne                      Akiedah Mohammed, CPA Office, Moonlighting & Orange Films
Mtuzula, Nosipho                  Reeleyes
Tshabalala, Chaba                 Peter Gird Productions
Williams, Weeam                   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          Department
Gandini, Norman           Lighting
Fitzgerald, Sipho         Post Production
Mahlabe, Caroline         AD
Mkhonza, Ellen            Art Department
Nhlapo, Vusi              Unit/Locations
Olifant, Thabiso          AD
Tladi, Itumeleng          AD

Learner Name CT           Department
Jim, Siyabonga            Camera
Litholi, Malibongwe       AD
Nazo, Thembile            Camera
Stamper, Phumla           Wardrobe
Sunduza, Ayanda           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 go-
ahead 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

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:


1.  Nosiphiwo Ntshokoma           Script Writer
2.  Alexander Motswiri            Director
3.  Merylene Ledimo               Producer
4.  Psycology Hlongwane           AD
5.  Tolo Pule                     Cameraman
6.  Obakeng Thulare               Grip
7.  Reginald Mukwevho             Gaffer
8.  Michael Sithe                 Art Directing
9.  Kelebogile Mongatane          Sound Recordist
10. Michael Sithe                 Continuity
11. Glenda Khoza                  Unit Locations Manager & Post

1.  Nonkululeko Zwane            Script Writer
2.  Zacharia Mashongwane         Director
3.  Thibedi Kganyago             Producer
4.  Anver Sarlie                 AD
5.  Tshidiso Ntholi              Cameraman
6.  Ntombozuko Matiwana          Grips
7.  Pinky Sealanyane             Gaffer
8.  Lebogang Mabuela             Art Director
9.                               Sound Recordist
10. Mamsy Chokwe                 Continuity
11. Thibedi Kganyago             Unit Locations Manager & Post

1.  Edward Nenzhelele             Script Writer
2.  Edwin Seleke                  Director
3.  Liphumile Goduka              Producer
4.  Thabiso Tsotetsi              AD
5.  Liphumile Goduka              Cameraman
6.  Aubrey Kgaswane               Grip
7.  Ezekiel Mahopo                Gaffer
8.  Lerato Motsoadira             Art Directing
9.  Kagiso Seale                  Sound Recordist
10. Phakamile Ntombela            Continuity
11. Terrence Thipe                Unit Locations Manger & Post

1.  Kgalalelo Modise           Script Writer
2.  Mbali Thwala               Director
3.  Sipho Nkambule             Producer
4.  Mthokozisi Shabangu        AD
5.  Sipho Nkambule             Cameraman
6.  Kgosietsile Matlapeng      Grip
7.  Kenneth Ramoitheki         Gaffer
8.  Bonolo Diutlwileng         Art Directing
9.  Lindiwe Ndlovu             Sound Recordist
10. Mmatebang Masibi           Continuity
11. Kelebogile Sebokolodi      Unit Locations Manager & Post

                                            - 10 -
1.  Bonakele Kubheka             Script Writer
2.  Teboho Siphoro               Director
3.  Matthews Phala               Producer
4.  Walker Sondezi               AD
5.  Lebogang Tsele               Cameraman
6.  Matthews Phala               Grip
7.  Samuel Letsiki               Gaffer
8.  Rosina Mmusi                 Art Directing
9.  Lawrence Gxekwa              Continuity
10. Kagiso Selele                Unit Locations Manager & Post

1.  Sandile Sethi                 Script Writer
2.  Floyd Vilankulu               Director
3.  Sandile Sethi                 Producer
4.  Jones Moremi                  AD
5.  Siyabonga Bikwane             Cameraman
6.  Clement Mosala                Grip
7.  Obakeng Kgope                 Gaffer
8.  Onkgopole Modise              Art Directing
9.  Mbali Ntshangase              Sound Recordist
10. Siboniso Mabaso               Continuity
11. Onkgopotse Mahlanya           Unit Locations Manager & Post

1.  Madoda Ngobeni               Script Writer
2.  Smartie Olifant              Director
3.  Mzwandile Mazibuko           Producer
4.  Harry Khumalo                AD
5.  Mzwandile Mazibuko           Cameraman
6.  Lehlohonolo Mokoena          Grip
7.  Matshidiso Ramatapa          Gaffer
8.  Dimakatso Ngobeni            Art Directing
9.  Edward Mokone                Sound Recordist
10. Prince Marule                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.

                                              - 11 -
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

     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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