Trevor Versfeld

Libra has been in operation for more than 30 years – what in your opinion is the value of all these years experience and how do you ensure that you stay current and innovative?

Libra Vision continually invests in new equipment and technology for its production team to work with. This inspires our editors, graphic artists and camera teams to push the boundaries and production values, ensuring that Libra Vision remains competitive.

Econoheat TVC[See post to watch Flash video]

To produce a quality video or ad what are the key success criteria?

It all starts with the creative team and a great script. Thereafter choosing a professional production team and facility with a suitable show reel would normally result in a good product. In my mind it is important that the creative team, scriptwriter and director work together.

It is expensive to produce a top quality video or ad and because of this many brands don’t even consider adding it to their marketing mix. Do you cater for smaller budgets and offer affordable options for the smaller brands and budgets?

Libra Vision works at all levels of production. When it comes to camera work we use the same production team, whether you are filming a commercial or producing a low budget training video. The production values and equipment used for the production is where the budget becomes an issue. High end equipment normally requires more crew to operate and expensive accessories. A film camera package would cost about R25000 a day to run as opposed to a digital Ex 3 Sony HD camera R4500.  This also applies to Post Production work. Edit suites range from R3500 per hour to R750 per hour, once again it depends on what work required in the edit suite. These comparisons apply to lighting, locations, direction etc. Trendy modern edgy programming involving graphics is definitely more expensive than a conventional straight forward cut and paste programme. At the end of the day it’s up to the client to decide what will suite his or her budget

Sabastian Caminada in the editing studio

YouTube is one of the most visited website in South Africa; this and the increase in online social media with its image and video sharing indicate that people want to receive information audio-visually. Platforms like YouTube, Facebook and Twitter tolerate amateur quality because of this fact and as a result many individuals and companies regard themselves as scriptwriters, cameramen, directors, editors and producers. Are you often asked to defend your costs and minimum production standards because of this and if so, how?

Low video quality and poor production values are two different things. The work we have produced for internet use often adopts the same production standards used for professional programming or commercials. There is no substitute for professionalism when it comes to using experienced scriptwriters, directors and editors.

I&J corporate video[See post to watch Flash video]

What has been your most rewarding production project and why?

During the last three years running up to the world cup 2010 we worked on a campaign for Engen called African welcome. It consisted of a series of programmes to be produced for their pump attendants using disciplines of what is required to make a good team. The Dream, Support, Pride, Respect and Enthuse were some of the titles of the individual programmes which had a great effect in uniting the Engen pump attendant teams which can be clearly seen when attending their road shows.

Richard Pickett in the sound studio

Most of your staff has been with Libra for a long time; they are exceptionally loyal and committed; they seem to make Libra their career; what is your secret?

”We are Family” is the reason. Growth in Libra Vision is unrestricted; you can start as a camera assistant and become an editor if you wish. It is up to the individuals to motivate themselves. Training happens on the job.

Explain your working relationship with Power of 9 and which project of ours you most enjoyed working on and why?

Libra Vision has been a supplier for Power of 9 for more than 6 years now predominantly working for their client Quest. The work we have produced for Quest has been very creative, young, and funky and entertaining which inspires enthusiasm within the production team.

Catherine Herbst – managing director

Although I am the antithesis of a hoarder and Shakers would be well pleased by my almost religious abhorrence of wasted storage on useless and emotionally burdened knickknacks and what-nots; I accept that we all need the annual housekeeping ritual of spring cleaning to press the refresh button on our lives.

And whilst I know there is nothing fresh about using the onset of spring as a metaphor for anything from a new diet to a new career, I am going to fall knowingly into the cliché trap and use this rather desperate analogy to tell you why your brand needs as much good housekeeping as your home does.

Once upon a time a brand was born, deemed the fairest in the land, it was revered and kept safely in a proverbial tower guarded by a purposeful and vigilant CI manual and its keepers. A CI manual which now alas, after many wanton princes and evildoers have come searching, lies like Sleeping Beauty, ignorant of the plagiarism that has beset its once pure fairytale.

(OK, maybe that’s a bit melodramatic but this is fun so tolerate my literary indulgence.)

Channel your Cinderella, for who in this vast kingdom is more accustomed to the duties of sweeping away dust and cobwebs, washing clear the windows and putting up with bitchy naysayers than she is. Her irritating positive attitude and seemingly duck back resilience to the thankless monotony of housekeeping is exactly what you will need to tackle the task of spring cleaning your brand.

No. 1: Put on the apron and roll up your sleeves. Dependent on when last you braved the marketing archives, audited your active communication tools and lined up your troops for inspection, this could take anything from a 1 September breeze to a month long exercise.

No. 2: Do a good job and accept that as brand manager, the responsibility for the situation you are faced with is yours alone or at very least in part. Don’t opt for the easy fixes, go all out to put that just cleaned freshness into your brand.

No. 3: Empower your CI manual. If you haven’t got one – shame on you! If you do and it is an ignored relic of days with bigger budgets, blow off the dust and give it its life back. Better yet; take this opportunity to ensure it is as comprehensive as it needs to be.

No. 4: Don’t expect recognition or appreciation. It’s your job.

No. 5: Dream big! While on your hands and knees surrounded by the crumpled surplus of campaigns gone by and the threatening depression of just how off the path your brand has strayed; look into the future and imagine the possibilities for your brand. Challenge yourself to do the same housekeeping exercise in your mind; sweep away the traditional and safe approaches you have lazily begun to rely on, wash clean the defeatist surrender of budget restraints and the economic hangover and polish your creativity and courage. And don’t sit waiting for a prince with blow-dried hair in tight pants to come knocking; gate crash the ball!

Catherine Herbst – managing director

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Self Portrait

Kevin was born and raised in Johannesburg in the early 80s. He matriculated in 1999 from Sir Pierre Van Ryneveld High School and was soon bitten by the travel bug.  Kevin spent a few years doing volunteer work in Brazil, studying in England and exploring Europe, USA, New Zealand and Australia. By 2006 he was back home and with a promising career of photography already established, bought his first home and studio. In 2007 Kevin held his first exhibition which showcased a collection of black and whites at the Salvation Café.

Reeva - from "The white female in 2010, through the lens of Kevin Mark Pass"

When did you take that first shot and think “WOW, this is what I  should be doing”?

It was a  combination of things really, but one of the major factors was visiting my cousin in Australia – allow me to explain – I used to buy a black and white  roll of film and click what I saw at weddings, then my gift to the bride and  groom would simply to give them the roll of film and be done with it (never  having seen what I had taken) This is what had happened with my cousin. A few years after his wedding I went to visit him and the house was literally wall  to wall with enlargements of the photos I had taken. None from the actual  wedding photographer. I was quite floored by that and my brain started to tick  over that it might be something to consider.

Do you have a favorite lens… If so what is it?

An old fixed 85mm – simply magic (I don’t use it nearly enough anymore)  but practically, I guess my 80-200/2,8 is the one I shoot with most of the time.

What is the least favourite part of your  job?

All the alone time. More than half my working hours  is spent at the computer; emailing, scheduling, quoting, invoicing, writing cd’s, selecting, backing-up and of course Photoshopping. Anyone want to sponsor me CS5?

Cindy Nell - from "The white female in 2010, through the lens of Kevin Mark Pass"

Would you give a brief walk through your work flow?

After finishing a shoot I start downloading the memory card into an (insanely) organised folder system before I’ve even walked the customer to the door. From there the shoot goes through two or three passes of selection to get to the best images (unless it’s commercial work in which case the magazine or advertising agency who will choose for themselves). Then I load them into Photoshop and try breathe life into the images – if it isn’t shouting and grabbing attention already.

Are you a self taught photographer or did you have a  mentor/formal training that showed you the ropes?

I’m self-taught (unless a couple afternoons with 2 or 3  photographers 10 years ago counts).

Kerryn - from "The white female in 2010, through the lens of Kevin Mark Pass"

How do you decide on locations & subjects?

It really is spur of the moment. I mostly only choose styling and makeup once I’ve seen the model, and choose location  once I’ve seen the model in makeup and correct clothing, then only choose  light and pose once the model is on location. Having said that, the biggest factor in choosing the location is the light. I shoot mostly natural light.

If it was feasible these days, would you shoot on film or stick  to digital?

I don’t think I could go back – I would love to  think I could (I’m sure I could ) but I’m too far involved in the flow and process of digital. Plus the cameras have caught up I’m sure.

Have you had any cringe moments, any major fluff  ups?

I fell down a couple stairs (trying to be cool of course) and broke the fall with my face and a 12 hour old camera just minutes before starting the biggest shoot of my life (at the time). It’s a good thing Nikon makes strong cameras and my guardian angels were attentive. Minutes later I started the shoot and all was fine – but in mid air I do  remember thinking some very dark dismal thoughts.

Candice - Bijoux Guesthouse, Bloubergstrand

How important is Photoshop in your work and what do you think is  a healthy balance, is it cheating?

I think I have a good  balance. Some of my work needs a Photoshop “scrub” but more than half it could go on display straight out of the camera – like my latest  shot: Vogue inspired shot of Candice last week in Cape Town. There are no colour or effects used – simply hiding a doorway which took 2 minutes. Surely that’s not cheating? (Note: I didn’t put a smiley face on the end of this  answer)

One question I think most people are talking about is the  current lobbying (not in SA) for all photoshopped images to be identified by  an icon or clause. What are your thoughts on this?

Hmmm… nah…  or wait! Not the Photoshopping I do (which is very self righteous to say -  but I’ll expand). I simply remove a zit, lessen a wrinkle, sharpen an eye, nullify an annoying object in the background, brighten or desaturate. However, when people start messing with the shape of the models faces/eyes/nose/jaw/waistline etc, then yes, I think I do agree. I  have my own problems with that type of Photoshop plastic surgery too; my clients (or people who wanted to hire me and didn’t like my stand on that idea) can attest to that. My theory is this: if you want a model to look a certain way then hire one that does. Simple as that!

Everyone with Photoshop thinks they are a great photographer, help me dispel this horrible myth.

With pleasure. A great photographer (which I hope and pray to be one day) is someone who is masterful  in his/her understanding and manipulation of light. He/she has deep understanding of his/her genre, be it people, building or still lifes, and has passionately studied that subject, this is how the best angles and timing come naturally to them. None of these  things I believe can be taught. (I’d like to be quoted on that one day)

In general, during a session, how many pics would you say you  take to find “the perfect one”?

10? That’s a thumb suck. Sometimes it’s more, sometimes less. I guess it depends on the models  professionalism.

How do you keep your eye fresh and mind inspired?

I truly believe that I am only as good as my  last photo, and I really want to be remembered as good, so I can never be  sure as which click will be my final one here on earth, so I drive myself to try make it the best one I am able.

Shinnai - from "The white female in 2010, through the lens of Kevin Mark Pass"

Is being a fashion photographer as glamorous as people think?

No, not even close! But I still like  it

Where has you career travels taken you?

All over  the world. But I won’t rest until it takes me to Europe to shoot someone famous and for a substantial publication such as Vogue or for a perfume campaign or something.

How important is it for a photographer to be able to work with  the model, the stylist, the lighting etc to make the photograph  perfect?

It’s almost everything if you want to have  a perfect photo. If mediocre is your thing, then treat the model badly and make the makeup and styling someone else’s concern. Couple that with average lighting and  that’s what you’ll have – a whole bunch of average.

Tayla from "The white female in 2010, through the lens of Kevin Mark Pass"

What would be your dream shoot?

Vogue or  Guess or a big perfume campaign

Where to next?

I don’t get  too far ahead of myself. I am going to keep doing what I do, try to increase  my understanding of light and people, try to build up a better inventory of equipment and studio. I guess I’ll just keep concentrating on whoever is in front of my camera right now (obviously that’s  no-one at this second coz I’m typing here at my computer  but you know what I  mean).

Leandra - Bijoux Guesthouse, Bloubergstrand

Connect with Kevin

Facebook: www.facebook.com/KevinMarkPass

Website: www.kevinmarkpass.com

Email: me@kevinmarkpass.com

If you enjoyed this interview and Kevin’s stunning pictures please share this artcile with your friends.

Daryl Glass – Creative Director

The site is due to go live Friday 7 september. Watch this space!

The blog:

Because Isotherm is eco-friendly, the blog will focus on green building and green living.

As Fiona, we asked Monique Boucher to channel her inner TV show host:

Wikus Ferreira was in 007 heaven as Botha, Johan Botha:

Wikus at Big Leap Studios

Yours truly took the concept of help lines to whole new level as Amy.

Catherine in studio at Big Leap Studios

I also provided the feminine vocal touch in support of Edward, Tiger and our very own James Bond.
Craig Ormond of Bigleap Music & Post sound studios patiently honed our raw talent and did all the other voices in the series of Quest’s animated videos.

Edward:

Even if only in our own minds, we see the credits roll and we are warmed by the imagined spotlight of our short-lived fame.
With thanks to our creative partners, Lung Animation and Bigleap, we believe in Sally Field-style that you’ll like us, you’ll really, really like us!

Catherine Herbst – managing director

Developing and building a brand is no shy investment of intellect, time and money. Breaking down a brand doesn’t demand the same amount of brain power (quite the opposite actually), doesn’t take long (sometimes a few seconds will do) but it costs more than you can imagine.

Why then do so many organisations neglect the most important aspect of branding; the internalisation of the brand strategy; turning brand values into brand behaviours?

Let me prove my case:

Exhibit 1:

While driving home from work in peak hour traffic; the kind that makes watching grass grow look like a high impact action movie, I noticed in my review mirror a Mercedes Benz weaving manically like Beyonce before the Grammies. As it darted in and out of our plebeian safe following distances, my attention was drawn to what was emblazoned upon it; a well designed and carefully applied logo. Even in reverse the logo made complete sense; it was bold and its message clear; very clever, and no doubt very expensive. As the branded Merc rushed passed me in the emergency lane, I managed to read the website address proudly displayed across the width of its tinted rear window. It then swerved in front of a truck and onto greatness.

Now if this logo read something like – Never-too-late Couriers or Super Hero on Call, I would have been impressed. But alas, it was far from and the driver did a sterling job of turning this logo into road kill.

Exhibit 2:

With the well-toned bodies and fancy footwork presented in the recent SWC, I took my 1^st step to a 6 pack, by registering for sessions with a personal trainer at one of SA’s top fitness centres (not the holy one).

With the visual of the future-me embedded in my mind’s eye, I navigated the turnstiles and…. to my disgust I was pushed aside by hungry, KFC carrying, name badge wearing receptionists. OK, pep talk time, “don’t turn back, they are admin staff, not the actual fitness / training staff, forgive them their junk food fetish’.

Then, I was introduced to the man who was to motivate me, mould me and make me the man in my mind. It couldn’t be; he brought Crunchies rather than crunches to mind, plump rather than pump, push over rather than push up.

Closing argument:

The best brand strategy and materials mean very little if the people who represent it every day do not understand and live its values. There is little point in allocating budget to the development of a brand if you are allowing its custodians to act in direct opposition to it.

Fur balls:

“Finding out that John Connolly (favourite author) was in SA but not coming to Cape Town. Sad to discover he’s insane!” – Catherine

“The Boks’ poor form” – Wikus

“Uruguay! Sadness all around!” – Sanja

“The crazy Cape Town weather” – Thembi

“Getting over football fever” – Daryl

Purrfects:

“Cape Town’s fan walk and going to the Argentina vs Germany quarter final with my son!” – Catherine

“Creating my own font!” – Wikus

“I’m enjoying gym. Wow! ” – Monique

“Bafana scoring the very first goal of the World Cup! ” – Sanja

“Watching WC final with my child at the V & A Waterfront.” – Thembi

“The amazing vibe in South Africa over the last month or two” – Daryl

Thembi Baleni

Tweet

For continuity and recall, we used the same illustrated look and feel in both the website and print advertisement.

Visit the site at www.filippoberio.co.za

Content pages – Recipes:

Content pages – About Olive Oil:

The full kitchen counter illustration:

Illustration detail:

Watch this space to see how we made the packaging come alive!

Daryl Glass – creative director

Filippo Berio brings good food and lovers of good food together; it introduces people to the tastes of myriad food products. On its own it is of little value; its role is to enhance and complement.

Our concept is ‘Fall In Love With Food’. In the advert we depict the ingredients rising from the bland salad to form a vibrant and colourful ‘person’ who embraces her olive oil lover in a passionate dance. Filippo Berio’s passion for food is captured in the flowing movement of both the dance and the oil and in the love affair between the two.

We got the idea started with this rough sketch that shows a stream of Filippo Berio Olive Oil engaging with his salad ingredient lover:

We felt that the oil was not ‘human’ enough and commissioned illustrator Ralf Broemer to bring the drama and passion of our idea to life.

The final illustration:

It’s all in the detail:

We then created a custom font that complemented the campaign:

To complete the advert we asked Chaz Williams to light up a 1L Filippo Berio Olive Oil bottle and shoot it on black to go with our moody and dramatic illustration:

The final advert:

See how we made the website come alive!

Daryl Glass – creative director