Disciplines

Description

Every film starts with a concept, and a scriptwriter brings that concept to life on paper. In first year, student crews come up with brief concepts collaboratively to ensure that each student gets an opportunity to express their conceptual creativity. The writer in the crew will take this concept and produce a script out of it. Once the first draft is completed the writer presents it for feedback to lecturers and peers. The script is continuously developed up until the final draft is required. The essential process of presenting and developing scripts is a constant throughout the writing student’s studies at AFDA.

In first year, students learn how to create, develop, and work with characters; dialogue; and settings / environments, as well as how to structure a script and different types of script formats. Students will become familiar with a scriptwriting software for writing fictional scripts, as well as how to create a factual script on a different software. In the writer’s ideation document, which they produce each term, they will write about the title, genre, logline, tagline, three act synopsis, and world of the story of the script. Each term writers are provided parameters such as genre, theme, structure, number of characters and script length to work within. Each term these parameters evolve alongside with what the student learns.

Towards the end of second year, students who wish to major in screenwriting transfer into the BA Creative Writing. Writing majors are advised to pick a Creative Writing discipline for their sub-major in order to specialise in writing. Students who wish to sub-major in screenwriting and major in a different film discipline remain in the BA Motion Picture Medium. From here onwards, writing majors and sub-majors can create concepts individually. Writing students then present their concepts, along with a first draft script, to the directing and producing students to pick for production.

After having gotten familiar with conventional script requirements throughout first and second year, writing students are provided with the opportunity to create an experimental script which can break free of the standard parameters. Experimental scripts are presented to directors and producers at the end of second year. Should the elements that the student experiments with prove successful, they are encouraged incorporate those elements into their graduation script.

Students embark on creating their graduation script in third year. These scripts are presented at the experimental festival to directing and writing students for picking and to examiners and an audience for feedback. Third year concepts and scripts are not just presented to fellow students and lecturers for feedback, but also to industry professionals.

Third year writing students undertake writing a script which they present at the end of the year graduation festival. This script can be picked not just by directing and producing students for their Honours year, but also by professional production companies for commercial purposes.

Students who complete the BA in Motion Picture have the opportunity to advance their skills and produce more film work by taking part in the one-year Honours degree in Motion Picture degree offered at AFDA. If the student completes an Honours degree and wishes to ‘Master’ the art of screenwriting, there is an opportunity to do that too! The MFA (Master in Fine Arts) is a part-time two year degree offered at AFDA to students who have completed an Honours degree.

Screenwriting alumni

AFDA prides itself for being an incubator for storytellers whose stories travel far and wide. AFDA’s list of writing alumni include: Dean Blumberg, Lwazi Mvusi, Alastair Orr, Travis Taute, and Rene Van Rooyen.

Dean has written and directed several award-winning short films and, after multiple festival wins, became one of South Africa’s most awarded filmmakers. Dean’s breakthrough commercial, Nando’s ‘Last Dictator Standing’ was a worldwide viral sensation. Also to his credit are campaigns for Santam, starring Sir Ben Kingsley; First for Women Insurance; and an SA Tourism commercial, ‘Reconsider’.

Lwazi has written for a number of South African sitcoms and dramas along with writing the Netflix film, Seriously Single (2020). In 2018, she wrote and directed her first feature film, Farewell Ella Bella. The film premiered at the Zanzibar International Film Festival and Durban International Film Festival. It boasts an all-female production team and is the first feature film to emerge from The Emerging Black Filmmakers Transformation Fund (EBFTF) initiative.

Rene has more than ten years of experience in directing and writing content for various drama, lifestyle, and documentary series for; MZANSI, SABC, kykNET, and MNET, as well as directing several short films, including the Silwerskerm film festival award-winner Nantes. She is also the co-founder of Red Letter Day Pictures.

Alastair currently works for The First Order as an in-house writer and director. His most recent work includes his film Triggered (2020). His first film, The Unforgiving (2010), was distributed worldwide and was one of the top sellers on Red Box in the US in 2012. Following this, he directed, wrote, and produced Rancid, a zombie film. Rancid was released theatrically around the world under various names in different territories.

Travis’ most recent work includes writing for the series, Blood and Water. Along with fellow alumna Nosipho Dumiso, he co-founded Gambit Films in 2009. In 2014, Travis and colleague Nosipho submitted their co-directed short film, Nommer 37, to the Silverskerm Film Festival. They won Best Directors while also being nominated in every other category. He’s also a story producer on the popular local soap drama, Suidooster, which has already aired over 10 000 hours on broadcast television.

Description

All departments at AFDA are equally important when it comes to producing entertainment products. However, it can be argued that without the producing department, no production would ever get off the ground. From the initial concept through to acquiring the rights, selecting and appointing key crew and cast for a production, the producer is the person responsible for delivering the product to the audience or client as promised. Students learn to master the producer’s three main areas of accountability: to identify and acquire valuable entertainment assets; to raise the finance required to bring the project to fruition on schedule and within budget; and to market and distribute the product to generate a profitable return on investment.

In order to develop competency in every skill the student is taught throughout their studies, they apply what they are taught to either the production they work on during the term or a piece of work they are provided with for the sake of the task.

Students embark on their producing journey in the first year by learning how to create a crew list and how to structure a producing file. Students are also shown how to break down a script and create a script breakdown sheet, which is used by the entire crew to ensure they know what is required for the shoot. Students become familiar with how to create a production schedule, which contains vital information regarding production logistics. Towards the end of the year, students assimilate themselves with the knowledge required to create film contracts. These contracts cover Location Release, Cast Release, and Crew Release Agreements.

Students begin their second year of producing studies by learning how to make a call sheet. Call sheets are used to ensure that everything, and everybody, is in order when the shoot starts. Students are then taught how to do budgeting for a production. For budgeting, the producer has to communicate with every department to ensure their production needs are covered.

Towards the end of second year, and onwards, students only participate in the disciplines which they intend on majoring and sub-majoring in. Discipline competencies become more specialised, complex, and individualised. Students who major in Producing are advised to sub-major in Screenwriting. Generally speaking, the starting point for most productions is the script. If the producer understands the script from its inception, they understand exactly what is required to bring it to life.

Students who complete the BA in Motion Picture have the opportunity to advance their skills and produce more film work by taking part in the one-year Honours degree in Motion Picture degree offered at AFDA. If the student completes an Honours degree and wishes to ‘Master’ the art of Producing, there is an opportunity to do that too! The MFA (Master in Fine Arts) is a part-time two year degree offered at AFDA to students who have completed an Honours degree.

Producing alumni

Some of AFDA’s noteworthy producing alumni include: Danie Bester, Jozua Malherbe, Cait Pansergrouw, Henk Pretorius, Elias Ribeirio, Lineo Sekeleone, Adam Thal, and Michelle Wheatley.

Elias’ most recent work includes This Is Not a Burial It’s a Resurrection (2019), which received a Metascore of 91/100 and 100% on Rotten Tomatoes. He also produced the film Inxeba (The Wound) (2017), which has won over 26 awards on an international and local scale. He founded Urcucu Media in 2011 and to top it all off, he is the creative director of REALNESS, an African Screenwriters Residency where five screen-writers are invited to attend a six-week residency to develop a new draft of their original feature screenplays.

Danie has produced 25 feature films in the past ten years and is regarded by many as a key person in the renewal of the South African film industry. Danie’s film, Bakgat! was the first Afrikaans teenage comedy and its success spawned Bakgat! 2 and Bakgat! 3. In 2004, Danie established The Film Factory, one of the country’s most acclaimed feature film production houses and a hub of innovation and excellence.

Lineo is a SAFTA nominated producer and director with 20 productions under her belt. She has produced numerous films including the award-winning Home Sweet Home (produced for M-Net and DSTV). She also has experience in commercials, documentaries, music videos, and corporate videos. She was also the producer for Redemption, which was the winner of 3 SAFTA Awards.

Cait is a multitalented producer and casting director whose work spans from feature films and short films to micro-budget music videos and multi-million rand commercials. Her latest feature film, This Is Not A Burial, It’s A Resurrection recently premiered at the 76th Venice International Film Festival. She is a SAFTA-winner with work that has travelled to Sundance, Berlinale, Venice and Durban to name a few. In addition to her aforementioned achievements, she was the casting director and producer for the award-winning film, Inxeba (The Wound).

Adam founded The Star Film Company. In his tenure, his work has managed to pick up numerous trophies and awards from festivals around the world. Together with fellow alumni, Tristan Holmes, they have done amazing work for companies such as Diagio, Coca Cola, Visa, Absa Bank, South African Breweries, McDonalds, Vodacom and many more. With years of industry experience and an amazing work ethic, Star Films is now considered one of the leaders in the production industry of Southern Africa.

Description

In Cinematography the student learns how to hone their visual imagination and equip themselves with all the technical skills required to capture their vision through the lens. In order for the student to do this, they must become a rare blend of an artist and a technician. Students learn how work with industry standard cameras in total darkness. How to set up a camera shot in a car and mount a rig that carries millions of rands worth of camera equipment safely through a hectic chase scene. How to imitate moonlight on a windy night with a 10 kilowatt tungsten light and a gobo stand.

At AFDA students acquire and develop skills by applying what they’re taught in class into their term projects or through material given to the student for the sake of the exercise.

In first year, students become familiar with the basic principles for lighting the shot, composing the shot, cinematic continuity, recording the image, and operating the camera.

In second year, students develop an understanding of lighting and compositional design for narrative amplification and character revaluation; light quality and colour balance; lens selection and operation for compositional requirements; cut and action matching; matching the light; lens mounting and setting; camera operation for compositional control and narrative amplification; camera mounts and movement devices to meet narrative specification; and setting up and securing camera mounts.
Recently added to the discipline of cinematography at AFDA is the use of virtual reality equipment and software. Students are taught how to use Virtual reality equipment and have opportunities to create Virtual Reality projects.

Towards the end of second year and onwards, students only participate in the disciplines which they intend majoring and sub-majoring in. Discipline competencies become more specialised, complex, and individualised. Students who wish to major in cinematography are advised to sub major in data & grading.

Students who complete the BA in Motion Picture have the opportunity to advance their skills and produce more film work by taking part in the one-year Honours degree in Motion Picture degree offered at AFDA.

If the student completes an Honours degree and wishes to ‘Master’ the art of Cinematography, there is an opportunity to do that too! The MFA (Master in Fine Arts) is a part-time two year degree offered at AFDA to students who have completed an Honours degree.

Cinematography alumni

AFDA has quite the list of successful Cinematography alumni. Included on this list are Brendan Barnes, Adam Bentel, Trevor Calverley, Natalie Haarhoff, Rob Malpage, Tom Marais, Rory O’ Grady, Zeno Petersen, Marius Van Graan, and Fabian Vettige.

Adam has worked in the commercial industry with big brands and clients such as Nike, New Balance, Trivago, KFC, FNB and Superbalist, to name a few. Adam has an impressive filmography, including Blood and Glory (2016), Far From The Castle (2019), Sy Klink Soos Lente (2016), Vaselinetjie (2017).

Natalie went into the professional industry as a camera loader and focus puller on features, commercials and television series. Now, Natalie has directed on no less than eight dramas, she has been the cinematographer on at least 7 television drama series, 4 feature films, and more than 20 long-form documentaries. Many of these productions garnered local and international awards, including a SAFTA for Best Cinematographer on a Drama Series, a BAFTA for Best Feature Documentary and a Silver Award at the SASC Visual Spectrum Awards for Cinematography.
Rob shot the groundbreaking, award-winning series Yizo Yizo. Since then he’s grown in demand, and developed an unmatched expressive style rooted in arresting visual motifs and a deep understanding of performance, composition, music and editing. His very varied reel has won him multiple accolades at Cannes Lions, D&AD Awards, LIA, Visible Spectrum Awards and The Loeries. He was worked for clients such as Woolworths, Discovery, Peugeot, McDonalds, Honda, Isuzu and Barclays, to name a few. Since making the transition into directing he has already won awards at Cannes Lions, D&AD and the Loeries. Rob is versatile in both visual artistry and storytelling.

Fabian has worked for numerous local and international brands including Cristiano Ronaldo’s CR7, Hyundai, Standard Bank, Spotify, Lotus, Cadbury’s, SAB, Viceroy, Coca Cola, Superbalist, Metropolitan, Investec, Hunters, and Samsung. He has won multiple awards, including Best Cinematography at Ciclope Africa 2019, Craft Certificate for Cinematography Loeries 2019, Best Cinematography 48h Project 2019 and Best Cinematography at The Indie Film Fest South. He also recently founded his production company, Africa’s Very Own, which has received much attention in the local industry.

Description

Data management / wrangling and picture grading are generally separate departments on professional productions but, at the same time, they go hand in hand. Footage captured on set by the cinematography and sound departments go straight to the data wrangling department who process and store the data. After processing and storing the data, the grading department applies a general grade to all the footage. The graded footage is then returned to the data department who compresses the data and make it available to the other postproduction departments to work on. Once the first cut is assembled, the grader applies their grade to the cut for viewing. This process can be repeated multiple times before a final cut.

At AFDA students acquire and develop skills by applying what they’re taught into their term projects or material given to the student for the sake of the exercise.

In first year, students are introduced to data & grading by being familiarised with digital workflow and the correct procedures for wrangling data. Along with that, they are introduced to a colour grading software. The software the students work with is chosen based on what’s on what’s being used in the industry, in order to prepare students for the world of film. Students also demonstrate their ability to import files onto a timeline and to balance the colour of footage. Students learn how to use the tools, and follow the procedures, necessary to create a secondary grade of footage. Towards the end of first year, students learn how to colour grade separate sections of a single frame.

Should a student continue with Data & grading into the second year of their studies, they commence the year by exhibiting their newly acquired skills in an advanced grade. This grade has further isolation focus on frames, and students ensure that colour and contrast are consistent throughout scenes. Students are expected to demonstrate an understanding of proper node structure management by doing both primary correction and secondary grading on the prescribed node layout.

Towards the end of second year and onwards, students only participate in the disciplines which they are going to major and sub-major in. Competencies that the student must complete become more complex and individualised. Students who choose to major in Data & Grading are advised to sub-major in Cinematography, in order to further their understanding as to how what is shot on the camera translates to what is seen on the screen.

Students who complete the BA in Motion Picture have the opportunity to advance their skills and produce more film work by taking part in the one-year Honours degree in Motion Picture degree offered at AFDA. If the student completes an Honours degree and wishes to ‘Master’ the art of Data Management and Grading, there is an opportunity to do that too! The MFA (Master in Fine Arts) is a part-time two year degree offered at AFDA to students who have completed an Honours degree.

You may be familiar with the quality of AFDA’s D&G department if you’ve watched the 2020 Oscar winner for Best Documentary Feature My Octopus Teacher, which was graded by AFDA alumni Kyle Stroebel.

Description

Editing lies at the heart of the filmmaking process. Through the visual montage you create, you articulate the director’s vision, magically weaving the narrative together from a confusing array of takes and scenes. At AFDA, students develop skills which gradually enable them to continuously challenge the boundaries of narrative structure and the mind’s capacity to create meaning through the treatment of visual significance.

AFDA students acquire and develop skills by applying what they’re taught in class into their term projects or material given to the student for the sake of the exercise.

In first year, students become familiar with a basic editing software and demonstrate an understanding of to how to set up a project, and complete a basic edit in the software (the software students use can vary from year to year, based on what is being used in the industry). Students also learn how to make use of multilayered editing by adding titles to their editing sequences. Students are asked to demonstrate their understanding of the relationship between video and audio. Students will also be able to demonstrate the impact this has on the rhythm and pace by applying technical skills. Towards the end of first year, students learn how to create dialogue scenes which makes use of resizing each sequential shot. Along with this, students demonstrate their ability to place cuts on the beats of an audio track provided to them.

In second year, students become familiar with different cut types and illustrate their understanding by replicating cuts provided to them. Later on in the year, students further their understanding of continuity editing and demonstrate their ability to maintain continuity by combining images and clips together in a way that flows according to the specifications provided.

Recently added to the discipline of Editing at AFDA is the use of virtual reality equipment and software. Students are taught how to use Virtual reality equipment and software and have opportunities to create Virtual Reality projects.

Towards the end of second year and onwards, students only participate in disciplines which they intend on majoring or sub-majoring in. The skills that students learn, develop and demonstrate become more complex and individualised. Students who choose to major in Editing are advised to sub-major in sound design or VFX as these departments often go hand-in-hand.

Students who complete the BA in Motion Picture have the opportunity to advance their skills and produce more film work by taking part in the one-year Honours degree in Motion Picture degree offered at AFDA. If the student completes an Honours degree and wishes to ‘Master’ the art of Editing, there is an opportunity to do that too! The MFA (Master in Fine Arts) is a part-time two year degree offered at AFDA to students who have completed an Honours degree.

Editing alumni

AFDA has a long list of notable alumni who now edit on major productions. Included on this list are Simon Besley, Stephen Du Plessis, Henk Ekermans, Melanie Jankes-golden, Candice Odgers, and C.A Van Aswegen.

In 2013, Stephen founded 2+3 Post Productions, a Postproduction Facility based in Cape Town. His company has gone from strength to strength, working with brands such as Adidas, Tusker, VW, Toyota, Vodacom, Absolut, Redbull and many more. Stephen was even part of the team that managed to pick up a SAMA (South African Music Awards) in 2015 for Best Music Video. In 2017, Stephen got a Merit for Editing Craft at The One Show Awards.

Candice has spent nearly a decade working with the prestigious Wildlife Filmmakers and National Geographic Explorers in Residence – Dereck and Beverly Joubert. She now finds herself as Senior Editor and Head of Postproduction with credits in Editing, Sound Editing, and Colouring across over 18 films.

Melanie’s impressive filmography includes editing credits for Trackers (2019), Shuga (2019), The Girl From St. Agnes (2019), Happiness Is a Four-letter Word (2016), The Last Doorman (Short) (2014), Nothing for Mahala (2013) and Shotgun Garfunkel (2013) to name a few. Her clientele include Vodacom, Jet Brand, KFC, Isibaya, Disprin, Dstv, Glen Tea, Minervas Lilies and Grandpa.

C.A Van Aswegen’s recent work includes editing credits on the films Fiela Se Kind (2019), Ellen: Die Storie Van Ellen Pakkies (2018) and Vaselinetjie (2017). In 2016 he received an African Movie Academy Award for Best Editing – Hear Me Move. His other accolades include five SAFTA nominations (2011-2016). Aswegen’s filmography includes his work on Noem My Skollie, Sy Klink Soos Lente, Vir Altyd, The Jakes Are Missing, Ballade Vir ‘n Enkeling and Fatherland. He is the co-founder and owner of The Film Factory and FiX Post Production.

Description

Although it may in some instances be an advantage, you require no formal musical training, ability to sing or play a musical instrument to take Media Music Production as a discipline at AFDA. You will be trained to compose musical scores and source tracks for Motion Picture and Television. In addition, you will have the opportunity to produce and cut your own music.

At AFDA, students acquire and develop skills by applying what they’re taught in class into either their term projects or through resources given to the student for the sake of the exercise.

Students embark on their MMP journey in first year by learning how to source samples and compile them in a music-making software. Students demonstrate what they’ve learnt by creating a short piece of music and presenting the piece to peers and lecturers. Students then go on to compose a longer piece of music with fewer perimeters. Students are also provided with the opportunity to experiment with new and different music making software. During the course of first year, students are introduced to basic music theory. The theory includes staff, note & rest values, pitches, and various musical articulations. Students demonstrate an understanding of the learnt theory by applying it to their future media music pieces. Towards the end of their first year of studies, students are introduced to generating digital Western staff notation. Students later create a transcription of an excerpt of music using transcription software.

Students start of second year by being introduced to genre-based music styles. In order to become familiar with these different styles, students are provided access to a library specifically for genre-based music. Students also practice spotting, which is a collaborative and explorative session with the director to discover placement of music to picture.

Towards the end of second year and onwards, students only participate in the disciplines which they intend on majoring and sub-majoring in. Discipline competencies become more specialised, complex, and individualised. Students who intend on majoring in Music Media Production are advised to sub-major in Sound Design.

Students who complete the BA in Motion Picture have the opportunity to advance their skills and produce more film work by taking part in the one-year Honours degree in Motion Picture degree offered at AFDA. If the student completes an Honours degree and wishes to ‘Master’ the art of Music Production, there is an opportunity to do that too! The MFA (Master in Fine Arts) is a part-time two year degree offered at AFDA to students who have completed an Honours degree.

Description

In a film or a professional film crew, the Visual Effects department often has the most diverse set of tasks. Tasks range from creating a computer-generated explosion to using a green screen to make a title and credit sequence, which is a necessity for any film. At AFDA you will learn to provide the final layer of work that makes a dramatic effects sequence a visible reality on the screen.

At AFDA students acquire and develop skills by applying what they learn in class into their term projects or material given to the student for the sake of the exercise.

Students begin their VFX journey with an introduction to composing fundamentals in an image-editing software (the software students use in any given year can vary based on what, at the time, is being used in the industry). With these skills, and a prescribed layout, the student creates a movie poster. Later in the year, students use digital visual effects software to create a short title sequence, and demonstrate their ability to mask by layering video files and incorporating different layers in a single sequence, as well as to track motion in the digital visual effects software.

Students begin their second year journey by becoming familiar with animation design software. Once familiar with the software, students illustrate their understanding of animation by creating an animation which conforms to real world physics. Student also learn how to, and later demonstrate their ability to, animate movement on an animated character.

Towards the end of second year and onwards, students only participate in the disciplines which they intend to major and sub-major in. From here onwards, the Visual Effects discipline becomes more specialised and individualised. Students who wish to major in Visual Effects are advised to sub-major in Editing, as the visual effects artist needs to understand how their frames will be incorporated into an overall sequence.

Students who complete the BA in Motion Picture have the opportunity to advance their skills and produce more film work by taking part in the one-year Honours degree in Motion Picture degree offered at AFDA. If the student completes an Honours degree and wishes to ‘Master’ the art of Visual Effects, there is an opportunity to do that too! The MFA (Master in Fine Arts) is a part-time two year degree offered at AFDA to students who have completed an Honours degree.

Visual Effects alumni

AFDA’s visual effects department has produced many quality artists. A notable alumni you may not know that you are familiar with is Richard Thwaites. Richard has worked on titles such as The Hunger Games (Part 1-3), Watchmen, Hotel Mumbai, The Legend of Tarzan, Game of Thrones, The Wolverine, X-Men: Days of Future Past, The Great Gatsby, Harry Potter And The Deathly Hallows (Part 1 and 2), Where the Wild Things Are and X-Men Origins: Wolverine, to name but a few.

Description

In a film or a professional film crew, the Visual Effects department often has the most diverse set of tasks. Tasks range from creating a computer-generated explosion to using a green screen to make a title and credit sequence, which is a necessity for any film. At AFDA you will learn to provide the final layer of work that makes a dramatic effects sequence a visible reality on the screen.

At AFDA students acquire and develop skills by applying what they learn in class into their term projects or material given to the student for the sake of the exercise.

Students begin their VFX journey with an introduction to composing fundamentals in an image-editing software (the software students use in any given year can vary based on what, at the time, is being used in the industry). With these skills, and a prescribed layout, the student creates a movie poster. Later in the year, students use digital visual effects software to create a short title sequence, and demonstrate their ability to mask by layering video files and incorporating different layers in a single sequence, as well as to track motion in the digital visual effects software.

Students begin their second year journey by becoming familiar with animation design software. Once familiar with the software, students illustrate their understanding of animation by creating an animation which conforms to real world physics. Student also learn how to, and later demonstrate their ability to, animate movement on an animated character.

Towards the end of second year and onwards, students only participate in the disciplines which they intend to major and sub-major in. From here onwards, the Visual Effects discipline becomes more specialised and individualised. Students who wish to major in Visual Effects are advised to sub-major in Editing, as the visual effects artist needs to understand how their frames will be incorporated into an overall sequence.

Students who complete the BA in Motion Picture have the opportunity to advance their skills and produce more film work by taking part in the one-year Honours degree in Motion Picture degree offered at AFDA. If the student completes an Honours degree and wishes to ‘Master’ the art of Visual Effects, there is an opportunity to do that too! The MFA (Master in Fine Arts) is a part-time two year degree offered at AFDA to students who have completed an Honours degree.

Visual Effects alumni

AFDA’s visual effects department has produced many quality artists. A notable alumni you may not know that you are familiar with is Richard Thwaites. Richard has worked on titles such as The Hunger Games (Part 1-3), Watchmen, Hotel Mumbai, The Legend of Tarzan, Game of Thrones, The Wolverine, X-Men: Days of Future Past, The Great Gatsby, Harry Potter And The Deathly Hallows (Part 1 and 2), Where the Wild Things Are and X-Men Origins: Wolverine, to name but a few.

Description

In Character Design and Styling, students develop their eye for aesthetic and their understanding of character aesthetic in a film narrative. Students learn how to find the inner beauty and compelling qualities of characters in the way they look. How to imitate the effects of a bomb blast on a character’s face five seconds after the shrapnel has torn their cheek away, and five months after the scars heal. How to create an outfit for a seventeenth century Zulu warrior or an alien visitor from the future. Students learn how to analyse the narrative and define the visual form of the character’s appearance, as well as the practical arts of costume design, pattern-making, costume manufacturing, hair styling, makeup, special effects makeup and styling.

At AFDA students acquire and develop skills by applying what they’re taught into their term projects or through resources given to the student for the sake of the exercise.

Character Design and Styling consists of three main components: costume, make-up, and styling. Styling is where the character is envisioned. Once the character is envisioned, make-up and styling are applied to create the envisioned character out of the actor they are working with.

Students embark on their Character Design journey in first year by learning and demonstrating how to style a character and create a character board from a brief which they extract out of a script. They then photograph their character and present it along with their character board to their tutor. In Character Design, students work in close physical contact with a lot of people, so it is important that the student understands the impact of Health And Safety conditions and is able to demonstrate their ability to ensure sanitary conditions. Students will complete a face chart according to a brief and demonstrate their ability to create a basic make-up look while following OHS standards. In first year, students will also become familiar with Special Effects (SFX). Once the student has acquired a general understanding of SFX, they complete a SFX look on an actor.

In second year, students become familiar with the importance of a character’s Vital Statistics through reviewing theory. Once familiar with Vital Statistics, the student demonstrates their ability to create a Vital Statistic analysis. Students will demonstrate their understanding of character styling and their ability to style a character based on what was learnt previously. This includes marking up and breaking down a script, creating a character board; face chart and SFX chart, and Vital Statistics realisation.

Towards the end of second year and onwards, students only participate in the disciplines which they intend on majoring and sub-majoring in. Discipline competencies become more specialised, complex, and individualised. Students who major in Character Design and Styling are advised to sub-major in Production Design.

Students who complete the BA in Motion Picture have the opportunity to advance their skills and produce more film work by taking part in the one-year Honours degree in Motion Picture degree offered at AFDA. If the student completes an Honours degree and wishes to ‘Master’ the art of Character Design, there is an opportunity to do that too! The MFA (Master in Fine Arts) is a part-time two-year degree offered at AFDA to students who have completed an Honours degree.

Character Design & Styling alumni

Some notable alumni who studied Character Design at AFDA include Zureta Schulz, Martha Sibanyoni and Trevor Stuurman.

Zureta got nominated at the Primetime Emmy’s for outstanding design in a TV series. She’s worked in the costume department on The Jungle Book, Game of Thrones, The Avengers 2, Beauty and the Beast and many more films and TV series.

Martha’s accolades include 2013 Golden Horn – The South African Film and Television Awards: Best Costume Design of a TV Drama: High Rollers, 2012 Best Art Direction in a TV Comedy: Gauteng Maboneng, 2010 Best Art Direction in a TV Drama: A Place Called Home, 2007 Best Art Direction in a TV Comedy: Nomzamo and 2006 Best Wardrobe in a TV Comedy: Pure Monate Show.

Trevor graduated with an Honours degree in Motion Picture Medium, majoring in Costume, Make-up, and Styling (Now called Character Design). He has since become a photographer who has worked with and documented the lives of Barack Obama, the Carters (Jay-Z and Beyonce) and Naomi Campbell. In 2012 he won the Elle Style Reporter title and he recently co-directed the documentary Ubuhle Besintu which follows the journey of knitwear designer Laduma Ngxokolo.