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New South African production of the world's most successful reality television program Survivor SA

New South African production of the world's most successful reality television program Survivor SA


Survivor SA has returned to the seventh season as interviewers brave the troublesome Samoan weather and deepen their wits towards one another in the Tribal Council. Display Africa discussed with Afroansan exhibition producers and Visual Impression technical service suppliers what has turn out to be the "best-ever" batch of South African screens this season.

"THE TIME TO RETURN THE BIGGEST SHOW FROM THE COUNTRY" or working for a earlier production firm, Endemol SA We are true fans of the show, and when it came to mild that we had the alternative to purchase the format licenses, we have been on the lookout for it, which was an extended course of however [we were granted them] after which redirected the exhibition. We informed them we thought it was time to revive the largest exhibition in the nation. "

Basson explains that the first reboot of the show – season six, which was shot in the Philippines -" went very well, and we believe it is because we are in a situation, where the fans produce the show We were compared very favorably with the big international versions of the show – and I think the South African audience really sat down and took notice. From the point of view of storytelling, from the visual point of view, the values ​​and scale of the production – just behind this success and this momentum, we proclaimed the seventh season. It's been a journey of passion, and it's all because of the fact that we really love the program. "


In fact, the scale and shape of the Survivor South Africa show provides more than a justifiable share. technical challenges – and, as Basson explains, resulting from programming considerations, this version of the exhibition proved notably demanding.

“You’re working backwards from the broadcaster's premiere, asking your self: when is the window of alternative firing at us? We didn't have much translation time, so we had to discover a vacation spot that had native expertise. If the nation understands Survivor and knows what the exhibition brings to the nation, it’s a a lot quicker process. And with what we need to make the display visually totally different from the sixth season – Samoa matches in, however that meant we had a film at a time when the weather in the South Pacific may be very unpredictable. "

Stefan Nell, Visible Influence's technical and lighting supervisor for Survivor Season 7, explains the firm's in depth position in production:" We provided all cameras, technology, control room, lighting, data and mail equipment for this year's Survivor series in Samoa. The only technical departments we didn't provide were healthy, as Rian Engelen of Core Media in the US did. We have sent seventeen tons of equipment to Samoa, and – thanks to our broadcast supplier Pioneer Freight – everything arrived and returned on schedule and in good order. "

He supplies comprehensive air pollution production:" We used 16 Sony PMW 400 cameras, as well as several other cameras and accessories, including Go Pros, Sony FS7, underwater cases, drones and VR Rig. This was followed by a huge selection of Canon HJ series lenses between the HJ11 and HJ40 lenses, and various FS7 lenses. This year we also had two series of flyaway series for visual and technical control. Like last season, we used CCU control for all the challenges and the Tribal Council, but the main difference this year was that we had a permanent MCR built in the Tribal Council and then a mobile suite for daily challenges. Both systems crossed the fiber, allowing us to cover long distances and also provide complete services from camera management to combos. This year, we were also the lighting provider for Survivor and used our fiber infrastructure to control all DMX lights on the MCR control panel, giving us unprecedented visual control not only of the camera but also of lighting – so I make a circle for me. "

To Marius van Straaten, who was the liaison between Afroans and Visual Influence during production," Survivor's most interesting technical aspect this year was that we decided to use LED lighting with DMX control. over the fiber. The lights used are the latest and greatest in lighting technology and the results are obvious. We had a mix of ARRI Sky panels – all sizes S120, S60 and S30 – Digital Sputnik DS6s and DS1s, and then a selection of The Light Velvet LED panels including 4 × 1, 2 × 1 and 1 × 1 panels that are waterproof. "

Nell shares this enthusiasm for the lighting of the exhibition, saying," This decision uses mainly 'movie LEDs' to save us power because they run much more efficiently than HMIs or tungsten equivalents. , and also the fact that these lights are RGBW gave us complete color and white control. One of my favorite comments from our clients was that it didn't look like other survivors, it looked more like a movie I took as a huge compliment and justification for using this quality of lighting on a television program. "

Nell confirms that one of the largest challenges dealing with the group to date is the harsh climate on" Island of Secrets, "shares the following story collection:" My biggest excitement was one night, after the Tribal Council, a storm. It was 1am on a birthday and I was cherry-picking then the wind rose and the rain fell so heavily, the picking arm swung in the wind and I only managed to let go of the last lap when the security officer called it dangerous and told me to come down. It's the beginning of a birthday I will never forget! "


Despite these difficult circumstances, the Visible Impression workforce displayed the "mental strength and skill" wanted to capture the island's operations – and as Basson says from a spectator's level of view, "You actually grow to be a character this season.

Actually, it’s this "reality" – the unwritten, incomprehensible and spontaneous nature of the program – that both Bass and collection producer Darren Lindsay acknowledge as true lasting quality: the cause individuals are excited about the present yr after yr. to another.

"With Survivor, the format is fantastic because it's about social relationships," Lindsay says. “Whereas the recreation has pillars that present parts of trigger and impact, the rest is totally forgotten. We don't understand how these individuals react – and since the movie is nearly 24/7 for them, the expertise is exhausting and there’s nowhere to cover it. All the things you see comes from the interaction of the island's social dynamics. “

They provide us some insight into the actions behind the scenes to ensure what we witness on the island is as authentic as attainable. 19659002] "Casting is paramount," in response to Basson. “That’s the basis for the success of the type – it’s a must to discover alchemies of totally different individuals and personalities to convey the show to life. Casting is one of the non-negotiable points and we are placing so much of effort and assets into the process. “

The result’s an fascinating combine of arduous science – including in-depth professional psychological assessments – and, as Lindsay develops, a viewer-centered mannequin with a robust digital camera aspect in the casting process.

“The whole process began in eight steps. Every little thing was digital at first, but we did it for the followers – to ensure individuals actually needed to be on the show. After the revelations have been chopped, the artistic and content staff truly made house visits with these individuals around the country to see how reliable and natural they have been in speaking. This went hand in hand with thorough analysis to ensure that potential rivals have been both mentally and medically fit. The program places individuals in excessive demanding circumstances. As producers, we’ve a duty to ensure individuals endure it whereas making spontaneous, compelling television. "

Basson and Lindsay continue to portray the numerous tasks that the group undertakes in the identify of authenticity – comparable to' The intricate dance of chaperones and travel coordinators to make sure that rivals solely see each other for the first time in boats as they strategy the island" – and explain that they feel the "obligation" to "hold innovating whereas holding true to the spirit of the type."

Basson states: "For the native production landscape, Survivor is a very costly television program. But as compared – if we take a look at the international variations of the exhibition – we don't have almost the similar finances. And but our challenge is to be even higher than what they have to offer. firmly that finances is not any excuse and that forces us to be progressive, to be passionate and to work so exhausting that we proceed to carry the rod. ”


Stefan Nell – Chief of Engineering and Lighting

Roedolph Louw – Chief Engineer

Thomas van Greuning – Engineer

Present for Moloanto – VR and Junior Engineer

James Macintosh – DIT

Riaan van der Merwe – DIT