Castle Milk Stout ‘African Time’

I DID THAT CRAFT AWARDS
Judge’s Pick

IDIDTHAT JUDGE
Greg Gray

AWARDED
11 August 2026

JUDGES COMMENT ON EDITING CRAFT
“For me, the editing in ‘This is African Time’ doesn’t simply shape the footage; it’s where the idea really comes to life. The rhythm shifts between urgency and stillness, reflecting the tension between measured time and time well spent. The pacing is calm, confident and beautifully restrained, inviting the audience to feel time rather than simply watch it.

What I found particularly impressive is the way Ross Garrett’s still photography is integrated with Zee Ntuli’s moving footage. Through motion-blurred stills, stop-frame techniques and carefully judged pacing, the edit creates something that sits beautifully between photography and cinema. None of it feels self-conscious or indulgent. Every image feels deliberately chosen, every cut purposeful, and every editorial decision is in service of the central idea.

Ultimately, that’s what makes it such an outstanding piece of editing. It’s the rhythm of the edit that makes you feel ‘African Time’ rather than simply understand it. For that reason, William Kalmer would be my choice for Craft Best Editing.”

– Greg Gray, Director at Romance Films

View I DID THAT Craft Awards July 2026 showcase

The edit was shaped around the idea that African time is about moments, not minutes. This became the rhythm of the film. We used fast-paced bursts during the sudden rushes of time, then slowed the edit down for moments of reflection and presence. Pace, repetition and stillness were used to create a contrast between the pressure of measured time and the experience of being fully present within a moment.

Under Zee Ntuli’s direction, over 16,000 stills were captured across digital and film, primarily by photographer Ross Garrett, with Zee also capturing select moments. From that vast pool of imagery, only around 300 stills made it into the final piece. The edit took shape over two months of planning, experimentation and refinement, with every image selected and placed to build rhythm, emotion and continuity.

We also completed a film-out process and transferred the edit to 35mm film, allowing the final piece to carry the texture, movement and imperfection of genuine film rather than simply reproducing the look digitally.