When Vanessa Sinden turned her back on South Africa’s growing movie industry to work in a barn making cartoons, people thought she was mad.
Three years later, Triggerfish, the fledgling animation company she joined in 2009, turned from minnow to big fish on the continent. It has produced award-winning creations on cheap budgets. All thanks to ingenuity, childhood ambitions and the urge to tell African stories, she says.
“My first job in animation was one of the biggest films this country has ever made. I think I fell with my butt in the butter… we had to figure out how to make a film from scratch, we had no clue,” laughs Sinden.
It is an animation business nurtured in a 193-year-old barn with wooden floors, white-washed walls, swinging barn doors and roaming cows beyond.
These days, it’s not only the cows that roam on the farm in the southern suburbs in Cape Town. It is also the computer geeks who roam with their animation tablets amid rows of computers whizzing as they render 3D animations.
Sinden has been on the farm since the beginning. The barn betrays the youthful spirit of its inhabitants. All around are action figurines, posters of cartoon characters, table tennis tables, stock-piled vending machines, popcorn maker and coffee stations.
It is no mean feat for Sinden, who has spent eight years in this barn bringing to life African animation movies Adventures of Zambezia ($35 million) and Khumba ($26 million) that became South African blockbusters and the third and fourth best-grossing films in the country’s history, respectively.
“South Africa is the leading emerging animation industry in the world. We cannot beat Asia in terms of raw costs, but that is just servicing work. In Africa, we are passionate about our own work, our stories being told,” says Sinden.
Stick Man, a BBC One Christmas collaboration with Magic Light Pictures, has now won 11 international awards on three continents, including the Cristal for a TV Production at the world’s leading animation festival, Annecy.
Such is their prestige, Triggerfish were given rare rights to produce, alongside Magic Light Pictures again, Roald Dahl’s Revolting Rhymes which premiered in Africa in March.
In June, this latest work scored a hat-trick: first winning Best Storytelling at Shanghai International Film and TV Festival in China, then Best Animation at the Banff World Media Festival in Canada, and finishing off with the Cristal for Best TV Production at Annecy in France, the world’s premier animation festival.
Triggerfish’s hat-trick follows just days after the release of the National Film and Video Foundation’s (NFVF) second Economic Impact Assessment on the South African film industry, which found that the sector’s GDP contribution had increased from R3.5 billion in 2013 to R5.4 billion in 2016.
“With South Africa officially in recession, it’s more important than ever that our economy finds new avenues for growth,” says Triggerfish Animation CEO Stuart Forrest.
“The animation sector is still the smallest part of the film industry, according to the NFVF’s study, but our three awards on three continents this weekend are further proof that we are punching above our weight. We believe that with continued government support, animation can become a key, job-intensive growth sector in South Africa.”
“The animation industry [in South Africa] is still very fledgling. 2007 was the first time someone could work in the industry in this country, since then there has been a couple of films and a couple of 2D studios making content for Disney, but not a lot of people have had the opportunity to do their own stories, their own content. That’s a big deal,” says Sinden.
What it means for Sinden and the animators of Triggerfish is coming up with the next big hit.
It is a lot harder than you think.
“At the heart of this issue, is we don’t have enough stories that are going to hold up worldwide. Universal stories for the family,” says Sinden.
This is why Sinden has been spearheading initiatives like Story Lab, a competition supported by the South African Department of Trade & Industry and US-based Disney that aims to develop African stories by Africans. Triggerfish were looking for four feature films and four TV series for development; they got 1,400 entries from 30 countries.
“We wanted the best stories and we wanted to mentor and nurture them through bringing the best in the world from Hollywood to teach them here. We identified 38 writers to have projects we love. We held a two-week workshop in 2015.”
The cherry on the top was the final eight would be given a rare foot in the door with mentorship at the Walt Disney Company in Burbank, Hollywood.
Two years later, and in the present, Sinden says the feature films are in their first drafts and the TV programs are ready and looking for investors.
South Africa is also in the unique position to produce movies at a fraction of the budgets of Europe and the US. It is a cut-throat business driven by merchandise and the young.
“Pixar are sitting at $100 million to make a film and then double that for marketing. Adventures of Zambezia and Khumba was both made under $5 million each… Film is basically a $100 million advert. [Pixar, Dreamworks and Marvel] are alive because of the off-screen sales on merchandise. Disney are the godfathers of this. They have 100 years of creating content it has sold off the shelf. They realized way back in the day its off-screen sales and brands make the money. It wasn’t about Mickey Mouse on the screen. We’re all catching up now,” says Sinden.
In this fast-paced industry, Triggerfish have adjusted their pipeline to focus on television.
“What Triggerfish is finding is with television there is a quicker turnaround time, and there can be momentum. If you have [content] that is interesting, you can get investors to move in quite quickly. For us to change our pipeline from movies to TV series was a massive shift. It means producing a TV episode once a week. But it’s a better business model. It is our own merchandising, our own content and we can make money off that,” says Sinden.
“Triggerfish has always been about passion but we also have realized we need to make money. We thought we would make money off our first two projects but we haven’t yet. We’ve paid all our gap investors and financers, but that’s about it.”
Another reason why Triggerfish is targeting TV is the paradigm shift of gender-based content – especially young girls.
“I see from my nephew, [boys] are given such a platter of all this variety, but all the girls are offered are pink sparkles and princesses.”
“Girls haven’t gone to university with dreams of becoming animators. Why are there so few women in those roles? It is because they weren’t encouraged to do so when they were girls. Now the content to pre-schoolers is saying you can be engineers, you can be scientists, nothing is stopping you, or you can still be a princess in pink. There is nothing stopping you.”
Two new shows set to air will break these sexualized conventions featuring not only girls in lead roles experimenting in science and engineering, but also Africans. One of them is a girl who decided she wants to be a princess and a ninja. The other, called Mama K’s Super Four, features four teenage girls who have to save the world on a budget from their headquarters in Lusaka, Zambia’s capital. The story is written by Malenga Mulendema, who lives and works in that city.
“Malenga asked… ‘why can’t she see herself in any of those roles, there are no black girls who speaks to who she is and what she does why can’t she see herself as hero’.”
“It’s an all-black girl cast, all shapes and sizes and it just taps on those little buttons, that girls don’t have to be skinny, you can be beautiful and be curvy and busty, and be smart and techie and programmed robots and that’s beautiful too,” says Sinden.
“Four teenage girls living in Lusaka, who save the world, may not appeal to a girl in Germany, but reality is the time is right and content and stories like this will come from Africa and we think there is a market.”
For Sinden, now 39 years old, transforming the animation industry and seeing equal gender-based content come to life is a dream come true. When she was young, she was watching movies like Aladdin and singing along to the cassette in her dad’s car for months.
“Kids love the visual characters and the vibes you get from watching their reactions are the hooks for me… I remember when A Bugs Life came out in my late teens and I was the only adult in the entire cinema.”
There is even more hard work ahead. Around the world only one in five women are in the industry, says Sinden.
“Parents don’t think the film industry is a great industry. My parents were put off when I told them I wanted to work in film and started off working for free and finding a job. They said ‘why would you do that, why would you work backwards’.”
There is even more in store for the company that works out of a barn. On the horizon is Seal Team – an origins story of navy seals.
“It’s seals versus sharks and it’s meant to be true to the genre, seals standing up to the bully sharks. It’s going to be great for the boys. That’s currently going into storyboarding come July. We are currently going into the script at the moment.”
All from a barn where childhood dreams were born, where the tough business of animation is carried out.
The Maverick In Tech
The founder of some of Nigeria’s best-known startups on the mistakes and the millions that made him click in the technology business.
Sometimes, the simplest business ideas can come from strange places, or even strangers.
In his first year studying law at Waterloo University in Canada, Iyinoluwa Aboyeji was approached by a stranger who asked to stay in his house.
“I was like ‘I don’t know you, you have long hair and you are white; I don’t know about this’, but I said, ‘ok cool’, and he stayed over and we became good friends.”
About a year later, Pierre, the friend, decided to head to Silicon Valley for his cooperative education term.
“He told me about this amazing world of Silicon Valley, tech and investments, and I was sold. A few months later, we decided to start our own tech company called bookneto.com,” says Aboyeji.
It was a platform that enabled students to download past examination questions and work with a team of people at the school to help answer them.
The company did decently for three years until it got sued by the university, but at least that marked a turning point in Aboyeji’s entrepreneurial life.
It turned out that the intellectual property for past examination questions belonged to the professors at Waterloo University, a fact that was “unknown” to the pair of entrepreneurs and they were found “guilty of piracy”. The venture was eventually sold to a professor who wanted to teach students not enrolled on campus, for a small fee.
“We had it for three years, and by this time, I had graduated and looking for a new adventure and I was pretty sure I did not want to run another business in Canada, so I had started looking at other markets and Africa was a big one for me, Nigeria in particular,” says Aboyeji.
After graduating, he returned to Nigeria in 2013.
His proclivity for identifying opportunities inducted him into the world of massive open online courses (MOOCs). The dominant players at the time were Coursera and Udacity.
According to a report by Component, globally, the MOOCs market is estimated to hit $20.8 billion by 2023. Aboyeji wanted in. He set up a company in Abuja called Fora.com focused on incorporating MOOCs into the university environment especially for courses that were relevant but not provided by Nigerian universities due to a lack of quality resources.
“I was very naïve. I imagined that it would be a breeze to build that business and learned the hard way that anything regulated doesn’t operate rationally. So, the regulators didn’t give me any approvals and universities were skeptical and didn’t want to be laid off so it didn’t work out. We ended up pivoting that business and ended up selling online MBAs instead. Our typical clients were young bank managers who wanted to get an MBA or advanced degree courses to improve their chances of being promoted,” says Aboyeji.
The firm began to gain some traction. People were paying for the application courses and Aboyeji decided to pilot a loan program where financial institutions would offer loans to students.
“So, we were making money but it wasn’t popping off. I went to New York with the team because we had just gotten some new funding and we had to meet the new investors. I had met a guy named Jeremy Johnson when he was in Nigeria earlier so I pinged him and told him what we wanted to do. I wanted to learn from his experiences. He agreed to meet for coffee in New York.”
During their meeting, Johnson expressed his idea about a new form of education geared towards skills rather than degrees. Aboyeji also talked about unemployment in Nigeria and how that represented a massive opportunity.
It was a match made in heaven.
“One of the things he told me was that he could not find a sales force engineer for $150,000 in New York. They just didn’t exist so I said, ‘man, I can train you sales force engineers’. And he said ‘if you decide you are going to pivot, what you are doing or adding to it… I would fund you and I will be chairman and we can do this together’. So, I said ‘someone is going to fund you to do a new business, why not’.”
Aboyeji had just stumbled on a new gold mine and Andela was born. He started with one person and began teaching him how to code. He repurposed the team from Fora into coding masters, bid masters and operational staff, and shifted the focus of Fora because they had the flexibility to do it.
“I don’t think at the time we had any idea how big what we were doing was. We did the first one, it was semi-successful, we trained the next four, which was really good. We put out a job description saying no experience required, we will pay you to learn how to program and we had over 700 applicants off Twitter and we knew we had something.”
They whittled down to about four or five people that completed that program. To find work for his new coders, Aboyeji used Upwork, the popular freelance jobsite, to bid for jobs.
“We didn’t know anybody, so we bid for jobs, executed it and before we knew it, we had about 150 people in the room. That was how the transition happened from Fora to Andela,” says Aboyeji.
The company has since gone on to raise $180 million in venture funding from the likes of Mark Zuckerberg and other notable investors from Silicon Valley. Aboyeji left the company after three years in search of his next adventure but is still a major shareholder in Andela.
That voyage led him to co-found Flutterwave, an integrated payments platform for Africans to make and accept any payment, anywhere from across Africa and around the world. Under his watch, the company processed 100 million transactions worth $2.5 billion.
Turning his eyes firmly on future opportunities has led Aboyeji to set up his own family office called Street Capital, with a focus on identifying passionate and experienced missionary entrepreneurs with the integrity and courage to flawlessly execute in Africa.
With a solid track-record of unearthing diamonds in the rough, Aboyeji hopes to empower the next generation of African entrepreneurs to achieve their fullest potential and help build some of Africa’s fastest-growing and most-impactful tech businesses.
The Movie Buff With A Happy Ending In Business
Kene Okwuosa continues to make profit selling the immersive cinema experience across movie halls in Nigeria.
If trailers of Simon Kinberg’s upcoming X-Men: Dark Phoenix have whetted your appetite for more action-packed cinema, you could take your pick from the likes of Hobbs & Shaw, John Wick 3: Parabellum or Avengers: End game. But as any film buff would tell you, watching these adrenaline rushes on DVD or TV is no match for a full-throttle cinema experience.
Kene Okwuosa is bullish about letting Nigeria’s 190 million population experience the thrilling excitement of the celluloid world. Using the theater to extract a sizeable profit from the Nigerian culture of socializing and communal engagement, his Filmhouse Cinemas has grown from just three screens to multiple locations across the country.
As part of the company’s strategic expansion plans, Okwuosa signed a pioneer deal to bring IMAX, the world’s most immersive cinematic experience, to West Africa in 2016. In doing so, Filmhouse has flipped a switch not just to beat competition from other local cinema chains, but also become one of the fastest-growing IMAX businesses in Europe, the Middle East and Africa.
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Quite a feat considering Okwuosa’s first stint at the cinema business did not have a happy ending.
The year was 2008 and Okwuosa and his partner at the time, also named Kene, were desperately looking for greener pastures beyond the borders of the United Kingdom (UK), where they were both employed as assistant general manager and general manager respectively at Odeon Cinemas.
“I had a conversation with Kene on the first of December 2008 and he was saying there is an opportunity with a friend of his who was an investor in Nigeria and we could go back, set up a company and create a great product in Nigeria. I resigned from my job on the second of December, I saw my family on the third of December and I caught a flight on the fourth of December after not being back in Nigeria for 11 years,” says Okwuosa.
And their voyage back home was favored by lady luck. A South African company at the time was exiting the Nigerian market and their assets were up for grabs. With the help of their investor, the pair bought up the assets and just like that, Genesis Deluxe Cinemas was born. It was a magical moment in the lives of the newly-minted entrepreneurs.
With three chains of Genesis Cinemas under their belt, the pair were ready to reap the profits of their entrepreneurial pursuits until everything went belly up.
“A year later, that deal went so bad we had to exit. Myself and Kene exited the company to our dismay. The private investor owned most of the business and there were issues between the investor and my partner relating to a slight misalignment of the company. We were torn between either staying in Lagos or going back to the UK. We decided to stay and tug it out,” says Okwuosa.
The pair had to downsize from the guest house they were staying in to a smaller flat and survived on noodles, while they hatched their next plan. They turned their living room into an office and went back to the drawing board.
Okwuosa believed there was still a market in the cinema theater business and he was not wrong. According to PricewaterhouseCoopers, the Nigerian film industry is globally recognized as the second-largest film producer in the world. Total cinema revenue is set to reach $22 million in 2021, rising at 8.6% CAGR over the forecast period.
READ MORE | Will Cinema Just Disappear?
The cinema industry is one of the priority sectors identified in the economic recovery growth plan of the federal government of Nigeria with a planned $1 billion in export revenue by 2020. Furthermore, the National Film and Video Censors Board estimates the Nigerian movie industry needs at least 774 cinemas across the country for it to tackle the menace of piracy.
“So, for two years, I was literally waking up and going to every single office trying to pitch and raise money. We didn’t know anybody and we are not sons of rich men, we had already failed with Genesis, we had no assets or collateral. We were literally telling people we were going to modernize Nigeria’s entertainment scene and everybody was looking at us like we were crazy.”
In 2009, the Intervention Funds, created by then president Goodluck Jonathan to boost the Nigerian creative industry, would prove to be the lifeline Okwuosa and his partner so badly needed.
“I am proud to say we were the very first to access that fund in 2012, which was about N200 million at the time which, when you look back is not that much but considering the exchange rate, it was over $1 million. It was enough to help us kickstart Filmhouse. We had nothing, so that particular facility was largely uncollateralized,” says Okwuosa.
The fund took a bet on Okuwosa and his partner and it paid off. The loan was used to open their first three-screen cinema in Surulere, Lagos.
“It had a slow start but ultimately grew to be one of the biggest locations in the country and that organic growth led us to open two more cinemas prior to our second round of investors, which was private equity money from African Capital Alliance.”
The investment helped Okwuosa to scale to 10 operational locations across six states. The original vision when Okwuosa started Filmhouse was to be the biggest and best cinema and create an amazing space where people could escape into a different world.
Two years after, the company set up the production and distribution part of the business.
Filmhouse now represents about 50% of tickets sold in Nigerian cinemas, according to Okwuosa. With just a dream to conquer the Nigerian market, today, Filmhouse has a vision to become a media entertainment company.
In addition to IMAX, the company represents other international brands like Warner Bros and Lionsgate. With the institutional investment, Okwuosa has strengthened his core team, which no longer includes his former partner, as well as providing the company the impetus to scale with the right mind and right trajectory.
With a GDP of $375 billion making the Nigerian economy the 30th largest economy in the world, Okwuosa believes there is still a big chunk of money to be made from the entertainment and media space.
“I think we haven’t even scratched the surface of this industry and we want to position ourselves at the forefront of Nigerian entertainment.”
Advances In Nigeria’s ‘Burglar Watch’ Industry
The escalating safety and security issues in Nigeria raised the alarm for this innovative entrepreneur.
Today, organizations not only face escalating risks but also the certitude that they will face a security breach at any time, if proper precautions are not taken. Such was the case for Paul Ajibulu when his office premises were ransacked by thugs in Adeola Odeku, Victoria Island, Lagos.
“We had just got our office fully furnished with MacBook computers and the whole works. When we came in the next day, we found the locks broken and all the office equipment had been looted. I lost about $20,000 in all that day and that set our business back for a couple of months,” says Ajibulu.
To solve his problems, he reached out to Extreme Mutual Technique, an automated digital systems solution and renewable energy service provider.
The company says it boasts top-tier clients such as MTN, the Embassy of Sierra Leone, South African Breweries, and Africa Finance Corporation, amongst many others.
Akpobome Ojoboh, its founder and Managing Director, is adamant his systems are a must-have for every organization in Nigeria.
“We initially started the business called Extreme Surveillance Systems limited. Coming from my previous background, we decided to focus on CCTV and digital security. Considering the fact that Nigeria was being terrorized by security mishaps, we decided to [resolve] that,” says Ojoboh.
Safety and security have never been discussed in Nigeria as they are now. Threats are from everywhere, and at all places. Routine security checking at offices and shopping mall entrances has become the norm.
The idea of preventing crime is an appealing twist in today’s times and although it’s comforting for many to imagine a competent police officer monitoring every camera in Lagos, the question remains whether CCTV systems really do prevent crimes from happening or do they merely help in nabbing a criminal once a crime has occurred.
In a city like Lagos where you have constant disruptions to power, the long-term success of these systems presented significant hurdles for Ojoboh in the early days.
“There are so many limitations to digital security vis-à-vis the lack of a proper database that even when you have [identified] the culprits, you cannot find them. Furthermore, there were limitations to how people took ownership of their equipment because there was [often] no power. So, you put a system and people say ‘what if there is no power’?”
To combat these challenges, Ojoboh decided to provide another solution, by moving into the world of inverters.
“Then again, these inverters run down when there is no power to charge them so we went into renewable energy called solar to back up our inverters and digital solutions. That is when we changed the business to Extreme Mutual Technique Limited,” says Ojoboh.
Security is one of the largest businesses in the world, according to Ojoboh.
He has seen an increase in more families opting for peace of mind by having big brother watching over their loved ones whenever they cannot be with them.
“When I first became a mum, I would always worry incessantly about my daughter left alone at home with my nanny. Then, we started noticing strange marks on my daughter and I had heard about people mistreating children they cared for but I never thought it would happen to me. I reached out to a security company to install a camera in the house and lo and behold, I saw the nanny hitting my daughter. My whole world crumbled,” says Rebecca Gyan, a grocery store owner in Accra.
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“You have to be prepared because if you are not, then you almost cannot stop any security breach. It helps you to know some proactive measures to protect yourself. If you have a CCTV system and you notice there is a particular group of people visiting your building, you will be able to notice and react,” says Ojoboh.
As organizations become familiar with probable threats and vulnerabilities, they will be able to establish both preventive measures and responsive systems, to decrease the likelihood of intruders and attacks.
Since starting out in 2007, Ojoboh has grown the team to a 40-member business spread across Lagos and Abuja. The company has also moved into IT and engineering services in the areas of energy infrastructure, home automation, fire safety and digital security solutions.
With power still an issue in Nigeria, Ojoboh sees the future of his business in the area of renewable energy to power his systems to provide that all-important peace of mind to his clients.
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