The objective of this document is to provide a framework within which service providers, management and staff can perform their daily duties within a healthy and safe environment and, to protect people against hazards to health and safety emanating from the activities at the SABC Campus.

Attention to, assembling of TV sets, general cleanliness, storage and housekeeping can prevent numerous accidents. Good housekeeping efforts are part of the SABC’s fire prevention, accident prevention, health, and environmental management programme.

The Renaissance Area has been declared as a high fire risk area due to the somewhat industrial activities that are taking place during the storing and assembling of Television Production Sets,

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Download the Freelance agreement form:

The process that the SABC follows with regards to the payment of exploitation fees is as follows:

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This Code of Good Practice: Handling Sexual Harassment in the Film and Television Industry (“The Code”) promotes workplaces that are free of sexual harassment, where employers and employees respect one another’s integrity and dignity, their privacy, and their right to equality.

It is encouraged that all employers in the Film and Television Industry adopt the Code and enforce it.

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Is social media all about change, or is it all about how the only thing that changes is the way we do things? What is important is that we get a hold onto what appears to be changing, and what it is about that change that seems to be new. We have to sort out the difference between mere technological change, the ethereal changes in culture that go on all the time, and any basic changes in our humanity.

We often use the word “challenge” as a replacement for the word “problem” as it does not sound so threatening. It doesn’t work as it tends to make us push problems to the side and simply call them challenges.

Change is forcing us to face problems with the forceful weapon of creativity, and not to just find new words for it.

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This book describes how and why all of us are creative and innovative. To do this, it looks at the change that isn’t really changing. People always fear and resist change. But that won’t work in broadcasting—after all the schedule and the programmes change every day.
Broadcasters are used to change, and they should see it as an adventure. Right now, more things are changing in broadcasting than ever before, as we embark on digital multi-channel, social and other digital media, and mobile reception.
But, in a way, things are not really changing. They are just developing—in the same way as the jam we buy at the supermarket gets better every year. If this has confused you, read on—you’ll get the drift.

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Co-productions have a crucial role to play in this respect. Not only can they contribute to the expansion of the film, television and video production and distribution industries of partner countries, but they can develop cultural and economic exchanges and bring financial and economic benefit through the use of local locations, the expansion of markets and the development of skills.

Co-production offers the opportunity to bridge the gap between two worlds: In South Africa, collaborative production can help bridge the gap between rich and poor – the so-called “first and second economy”; globally, co-production can help bridge a similar gap between rich and poor countries, northern and southern realities, and between producers from different cultures.

The really significant ingredient in this mix is the people – the relationship between the co-producers who bring their creativity, skills, experience, and perspectives to bear on the production process.

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As we move into the Digital Television Age, the parallel lines of broadcaster and content provider, converge.
It’s no longer a simple matter of proposal, contract, and delivery. It’s now all about partnerships, collaboration and shared responsibilities.

The act of presenting a proposal to a broadcaster – either in person or in the form of a document

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