Broadcastpro – Page 33 – Virtual BroadcastPro Tech Summit | 14 – 15 Jun 2022

BluTV, Turkey’s first and largest local subscription video-on-demand service, has selected Veset Nimbus to power its original linear action and comedy channels in the cloud. The linear channels are delivered by Veset Nimbus to BluTV’s OTT platform and various smart TV apps, including AppleTV, Samsung, AndroidTV, and LG Smart TV.

Started in 2016, BluTV has a strong focus on championing locally produced content. It delivers a mix of original content together with local and international series, documentaries, and movies to a global Turkish and Arabic-speaking audience. BluTV also delivers live TV channels covering a wide range of content, including action and comedy. All of its programming is available ad-free across multiple devices, including smartphones, computers, and Smart TVs.

Speaking about the development, Erkut Göksel Çınar, OTT Headend Lead, BluTV, said: “Until now we have been managing our original linear channels in the cloud using stitching technology. As we continue to expand and add new channels, it was becoming increasingly apparent that we needed a more sophisticated channel management tool that would allow us to do more within our linear feeds, while ensuring our viewers get a premium video experience across multiple channels.”

Veset Nimbus is an enterprise-grade SaaS linear TV channel management platform that allows easy creation and scheduling of new channels in cloud. It enables content owners coming from a VOD-first background, such as BluTV, to manage multiple linear channels, delivering high-quality video IP streams. It supports the addition of multiple live inputs, graphics, subtitles, audio and SCTE-35 markers.

BluTV is using Veset Nimbus’s playlist editor to create schedules for both channels. BluTV’s infrastructure setup is fully cloud-based, providing required scalability and flexibility for the operations.

Igor Krol, CEO of Veset, added: “BluTV is leading the OTT distribution revolution in Turkey and we are very proud to support that push expanding its content format portfolio. BluTV has ambitious growth plans which will be made possible thanks to its cloud-first approach and focus on getting the right tools in place to deliver premium content in an easy, cost-efficient, yet scalable way.”

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Turksat has announced that its revenue in 2020 increased by 40.7% compared to 2019, reaching TL2.5bn ($0.3bn).

In a statement, the company says that its cable business had, at TL986m, the highest share (39.5%) of revenues.

Cable service revenues were in fact 29.4% higher than in 2019, when they amounted to TL762m ($93.05m).

Meanwhile, satellite service revenues in 2020 were TL844m ($103.06m) and claimed a share of 33.8%, and IT revenues TL665m ($81.20m) and a share of 26.6%.

Turksat notes that the value of its fixed assets in 2020, especially Turksat 5A and 5B increased by 38% to TL6.3bn ($0.769bn).

Its total liabilities related to the financing of the two satellites increased by 52.2% to TL3.4bn ($0.415bn).

On a sectoral basis, satellite services accounted for the highest EBITDA (TL630m), followed by cable (TL356m) and IT services (TL101m).

Satellite services also had the highest EBITDA margin at 74.6%.

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Pay-TV network OSN is ramping up its Ramadan programming with premium, localised series selected exclusively for Kuwaiti viewers, which include Arabic dramas Al Namous, Al Rouh Wa Al Rayya and Bait Al Thull.

Following an extensive analysis of content trends and viewership patterns across the Middle East region, OSN aims to further cement its positioning as a one-stop entertainment platform, providing discerning audiences in Kuwait with content which appeals to a wide range of preferences and age groups.

Building on data and research, including studies conducted last year, the network highlighted the Kuwaiti dialect and relevant social issues as top criteria for the handpicked offering, spotlighting Gulf dramas which are set to take centre stage during Ramadan.

Commenting on the development, Rolla Karam, Interim Chief Content Officer at OSN, said: “Last year, audiences in Kuwait spent an average of 84 hours consuming content in Ramadan on the OSN Home proposition in addition to 16 hours on our streaming platform. This year, we are expecting this number to rise by 45% across all our platforms. The connected household in Kuwait spends an average of 1080 hours a year, equivalent to 45 days, consuming content through OSN. Active Streaming users spent 37% of their time on western series while 19% spend their time on Arabic content before the holy month, we expect these percentages to flip during Ramadan with a huge spike towards Arabic series.”

Hani ElKukhun, Chief Commercial Officer at OSN, added: “What many may not be aware of, is that 42% of our users have been with us for six to 10 years, which means that more than 65% of consumers have been with OSN for at least five years. These percentages are solid indicators of our consistency in fulfilling the needs of audiences across the Arab world and testament to our commitment to continue to be the leading entertainment hub by increasing our investment in Arabic content.”

Changing viewing behaviour during the last year has accelerated the growth of OSN Home services in addition to streaming, according to an OSN study of media habits. “New patterns have put us on the path towards a recovery to pre-pandemic levels,” explained ElKukhun.

Focusing on Arabic and dubbed series, which OSN has announced were its best performers – particularly in the OSN Originals category – the network has revealed that 60% of Kuwaitis seek premium entertainment in one place, an option which OSN consistently caters to through its rich, readily available content.

The network has also revealed that OSN’s audience is, by far, among the most loyal in the industry, with a percentage of consumers which have been following the broadcaster since the days of Orbit Pay TV and Showtime Arabia.

Promising more content during Ramadan, set to premiere on OSN is Al Namous – a series that takes place in Kuwait during the 40s and 70s, and tells the suspenseful story of a businessman who disappears right after his son’s wedding.

Moreover, the premiere of Al Rouh Wa Al Rayya will bring to viewers the story of a mother who, after suffering from an illness, passes away leaving her five children in the care of their eldest daughter who is now forced to take charge of the family along with her emotionally fragile father.

OSN has also released data on top-viewed content in March 2021, with the contemporary Kuwaiti social drama series Rad Eatebar, Turkish drama series Al Tufah Al Haram (The Forbidden Fruit), followed by Al Kha’en (A Woman Scorned), another production from the Middle Eastern country. OSN Original’s Anonymous, The Falcon and the Winter Soldier, as well as Disney+ sitcom WandaVision topped the on-demand and OSN streaming list.

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Syrian documentary Children of the Enemy, which captures the journey of a Swedish-Chilean man to a Syrian prison camp to rescue his grandchildren, had its world premiere at the Copenhagen documentary film festival CPH:DOX this week.

Director Gorki Glaser-Müller’s documentary focuses on Chilean-Swede musician Patricio Galvez who attempts to bring his orphaned grandchildren home after their parents – members of Daesh – are killed.

The film depicts how Galvez’s daughter Amanda and her husband, a Swedish Muslim convert, travelled to Syria with their children in 2014 to fight for Daesh. Both parents were killed in 2019 and their seven children were transferred to an overcrowded refugee camp in North-East Syria.

Galvez – shattered by grief – refused to accept the grim fate of his grandchildren, and decided to travel to Erbil, the capital city of Iraqi Kurdistan, from where he hoped to enter Syria, and save the children. He invited Glaser-Müller to accompany him on this perilous mission.

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Egyptian actor Mohamed Ramadan has denied accusations of insulting the late comedy icon Ismail Yassine during a scene in the 12th episode of his Ramadan series Moussa.

The scene in question includes someone who resembles Yassine. The man tries to exploit his resemblance to the actor to avoid paying a bill from the shop where Ramadan’s character Moussa works. Moussa demands that the man pays.

Ramadan re-posted the scene on his Facebook account, and wrote: “Moussa, on his first working day in Downtown Cairo, in 1946, does not know about cinema or artists, and this saved him from a scam by someone who exploits his resemblance to Ismail Yassine.”

The granddaughter of the late actor Yasmine Yassine said, in a Facebook post, that her grandfather’s representation in the series was inappropriate. She emphasised that she does not blame Ramadan, but she blames “the director, cameraman, and producer, who are supposed to belong to art.”

Yasmine noted that Ramadan has previously offended her late grandfather, in reference to press statements dating back to 2017. She explained that Ramadan said at that time that Ismail Yassine’s goofy portrayal of an Egyptian soldier was insulting.

Poet and screenwriter Ayman Bahjat Qamar, who is related to Ismail Yassine, announced that he would file a lawsuit against Ramadan and the makers of the series Moussa because of the scene, calling it a deliberate abuse of the late artist, as it portrayed him as someone who would not pay for something he purchased.

Qamar wrote in a Facebook post: “The physical movements that the late artist was famous for in his roles were also deliberately emphasised, which the makers of the work used as a tool for ridicule.”

The director of the series, Mohamed Salama, also denied the accusations, adding that “people are strangely quick to judge things.”

The story of Moussa takes place in the 1950s through the 1960s, and revolves around the journey of a man from Upper Egypt who loses his father at a young age and has to care for his younger brothers.

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Global revenues from over-the-top (OTT) TV episodes and films will reach $210bn in 2026, up from $106bn in 2020, according to a study from Digital TV Research.

From the 138 countries covered, the top five will command two-thirds of global revenues by 2026. This proportion will be down from 71% in 2020, with emerging markets like Southeast Asia and MENA continuing to cut the cord. About $23bn of revenue will be added in 2021 alone.

Commenting on the findings of the report, Simon Murray, Principal Analyst at Digital TV Research, said: “The US will remain the dominant territory by some distance. Its share of global revenues will still be 42% by 2026. This market is far from mature. US revenues will climb by $42bn between 2020 and 2026 to reach $88bn”.

From the extra $104bn revenues between 2020 and 2026, China will add $8.4bn to reach $24bn. Japan will add $4.5bn to double to $9.2bn, while India will increase by $4.7bn to more than triple to $6.7bn. The UK is set to continue to be the third-largest OTT market by 2026, edging out Japan with $9.92bn. The UK is forecast to have an OTT market worth $6.89bn at the end of 2021.

SVOD revenues will climb by $59bn between 2020 and 2026 to $126bn and their share of the total will dip slightly from 62% in 2020 to 60% in 2026.

Meanwhile, AVOD revenues will increase by $39bn between 2020 and 2026 to $66bn. This will be 32% of total OTT revenues by 2026, up from 26% in 2020.

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How is CABSAT shaping up at present? Will this be a hybrid version or in-person only?

CABSAT will reunite the region’s content and broadcast communities in-person once again at its 26th edition. Our exhibitors, speakers and visitors are extremely excited to meet again after a year that has been defined by virtual interaction – or, in other words, the missed opportunities that are associated with being unable to meet in-person.

Technology played a vital role in helping to mitigate the economic impact of the Covid-19 pandemic. While life went on pause for people across the world, online streaming boomed to unprecedented levels as a result of lockdown measures. Digital transformation was already affecting every major industry across the world, but the pandemic has only accelerated that pace of change. The main challenge for the global broadcast and content communities is to now ensure that the increased levels of demand seen during the pandemic for a variety of services can be effectively sustained.

In terms of the satellite industry, it seems fitting that CABSAT follows soon after the UAE’s Hope Probe successfully entered the orbit of Mars, which represents a landmark historical occasion for the Arab world and a hugely exciting opportunity for satellite operators, not only in the region but also internationally.

CABSAT plays a key role in sparking international conversations within these communities to ensure that stakeholders are able to stay on top of the latest developments in their industry through the cornerstone of business networking, which is of course meeting in-person.

What big lessons has DWTC learned from Covid-19, and how have they shaped your strategy for future events?

Visitor well-being is our number one priority at Dubai World Trade Centre, and CABSAT 2021 will be held under stringent safety and hygiene protocols. DWTC has proven its capability to curate the safest face to-face business environment and deliver world-class events with the highest safety protocols, as evidenced by the recent GITEX Technology Week – the only live in-person tech event in 2020. Held in December, the event welcomed tens of thousands of visitors, with 96% of local and international attendees recording a ‘safe’ or ‘very safe’ experience.

DWTC’s protocols were further intensified for Gulfood 2021, the only major F&B industry event to go live in a year and hosted this February, under strict guidance and coordination with the Dubai Health Authority and Dubai Municipality, to ensure the safest possible business conditions. The wearing of masks is of course now mandatory, with social distancing enforced to ensure the well-being of all delegates.

DWTC continues to work with these authorities to ensure it complies with local regulations, and is also Bureau Veritas-certified, which attests to its commitment to world-class health and safety standards.

How important was Dubai’s decision to press ahead with hosting exhibitions?

Dubai was the first city in the world to reopen its events industry, in H2 2020, and has proven that large-scale, in-person events can be safely and responsibly hosted. CABSAT will be the first in-person event for the global broadcast industry since 2019, and we are experiencing great demand from right across the spectrum to meet in-person once again. The abiding theme has been the increased value that CABSAT provides to businesses to meet existing and new customers and bring like-minded sector professionals together.

Could you take us through some of the new topics that will be part of the conference this year, and perhaps mention some of the speakers?

The Covid-19 pandemic will spark irreversible global change across so many industries, in the process creating new forms of cross-border collaboration; media, and specifically content, is chief among the realms that will be permanently disrupted. Global lockdowns caused a spike in content consumption, which worked to the advantage of content producers.

Almost ironically, filming in production studios instantly ground to a halt, forcing production houses to think outside the box in order to keep consumers satisfied. Now, content producers need to rethink their roadmaps to keep pace with this demand.

Content Congress will deep dive into the survival strategies of smaller OTT players, as well as exploring the current lifespan of linear TV and the ways that Gen Z are disrupting the content industry. CABSAT will also explore the expanding role of artificial intelligence within broadcast, and specifically the ‘4 C’s’ of AI – how it will understand the citizen, content, context and container (device) used.

CABSAT will host a range of international and local broadcast and content expert speakers, including Jamie Cooke, Group SVP and GM, Central Eastern Europe, Middle East and Africa, Russia, Discovery Inc (UK); Madeleine Noland, President of the Advanced Television Systems Committee (US); Augustus B. Ajibola, Director, Department of Entertainment and Creative Services, Federal Ministry of Information and Culture, Abuja, Nigeria; Fagr Kassim Ali, Director Media Sector Development, Sharjah Media City; Catherine Mwangi, Head of TV Production and Programming, Kenya Television Network; Hans Fraikin, Film and Television Commissioner, Abu Dhabi Film Commission; Majed Al Suwaidi, MD, Dubai Media City, Dubai Studio City and Dubai Production City; and Bernhard Hafenscher, Austrian Partner, Executive Consultant, OnMedia AG, Austria.

What are some of the key focus areas at the event this year?

The Content Congress conference will engage a cross-section of senior industry stakeholders with up-and coming influencers to share insights on how to adapt traditional broadcast models, the benefits of disruptive thinking and the future of worldwide broadcasting. CABSAT will also host its homegrown content marketplace ContentScape, which is set to attract content creators and sellers who will present their ready-to-be released content to content buyers, while CABSAT will also explore the impact of AI in the broadcast, content and satellite spaces.

What can we expect at SATEXPO?

SATEXPO will launch as a two-day summit and two-day exhibition focused on all satellite communication solutions and technologies for the MENA region. Through the expo, an all-encompassing event experience will cover applications for all areas of satellite communication, Earth observation, satellite imagery, hybrid network technologies, mobile satellite services and security, and space.

SATEXPO will unite all products, solutions and services available and in use across multiple industry sectors, delivering higher levels of ROI to exhibitors, resulting in new target attendee (buyer/ specifier) acquisition per industry vertical from industries including government and military, maritime, aviation and enterprise.

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The Asian Football Confederation (AFC) has announced StarTimes as their new media partner in Sub-Saharan Africa for 2021 to broadcast the AFC’s national team and club competitions including the AFC Asian Qualifiers – Road to Qatar Final Round as well as the Group Stages, Knock-out Stages and Finals of the AFC Champions League 2021 and the AFC Cup 2021 on a non-exclusive basis.

Speaking about the deal, Dato’ Windsor John, General Secretary of AFC, said: “The AFC is delighted with this new partnership which will bring the best of Asian football to the sub-Saharan African region, and we are thankful to the StarTimes for recognising the value of the AFC’s competitions. The agreement will not only increase the exposure of our world-class competitions and platforms beyond the Continent, but also enhance the stature of the AFC’s brand as we continue to expand our family of global partners.”

Lily Meng, StarTimes Media Division General Manager, added: “We are delighted to partner with the Asian Football Confederation to bring the AFC’s national team and club competitions to Africa. Football is by far the most popular sport in Africa and African fans expect to enjoy the best football events. I am sure they will be very excited to watch the AFC competitions.”

Patrick Murphy, Board Member and CEO at Football Marketing Asia (FMA), commented: “We are very pleased to welcome StarTimes as our new media partner in sub-Saharan Africa. We are looking forward to working closely with StarTimes to strengthen the presence of Asian football in the region.”

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The 72^nd edition of the International Astronautical Congress (IAC) 2021, organised by the International Astronautical Federation (IAF) in collaboration with the Mohammed Bin Rashid Space Centre (MBRSC), under the patronage of Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai is inviting registrations to the event.

For the very first time, the IAC will open its doors to the global space community in the United Arab Emirates, the first Arab country to host the IAC since its establishment in 1950.

Speaking about the event, Yousuf Hamad AlShaibani, Director General, MBRSC, said: Having the UAE host the IAC after just a decade of space activity is a matter of pride, and an attestation of our commitment to keeping up with the latest technological developments and innovations.

Salem AlMarri, Assistant Director-General for Scientific and Technical Affairs, MBRSC and local organising committee chair for the IAC 2021, added: The Congress will accelerate the growth of the space sector in the region and will also act as a knowledge enrichment platform for the youth in the fields of space science and technology.

Pascale Ehrenfreund, President of International Astronautical Federation, commented: We are delighted to host the 72nd edition of the International Astronautical Congress for the first time in the Arab World and in the UAE. We look forward to sharing ideas and networking with like-minded people and peers from the region and the world. We remain committed to the exchange of knowledge and expertise to find solutions in matters relating to space and humanity.

The IAC draws high-level stakeholders from space agencies and institutions around the world under one roof to exchange information and ideas, share developments and advances, swap insights, strategies and rising trends in the fields of space research and exploration. The Congress will feature a line-up of thematic plenary events, highlight and keynote lectures, in-depth technical and special sessions, interactive workshops in addition to an exclusive global networking forum, social events and a space science exhibition, all tailored to encourage engagement.

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Akhbar Al Aan and the American University in the Emirates (AUE) have signed a Memorandum of Understanding (MoU) to provide support to students aspiring to build successful careers in the media. The agreement will help set the stage for establishing a professional environment dedicated to journalism and media students for them to acquire the relevant skills required in their future career.

The MoU forms part of Akhbar Al Aan’s commitment to facilitate new development and training opportunities for the younger generation. This is in recognition of the role of the youth in shaping the future of digital journalism and the media in the Arab world.

The strategic partnership marks a strong start in Akhbar Al Aan’s initiatives this year to build fruitful collaborations with universities in the Arab region and establish direct communication with the students to nurture their talents and capabilities.

Through the agreement, students will gain professional training that is essential for them to report issues, topics, and stories that are of interest to the young generation. This is aligned with Akhbar Al Aan’s newly adopted identity and approach as an independent news platform dedicated to the youth.

Commenting on the agreement, Solange El Rassi, Head of Public Relations and Corporate Communications, Al Aan TV, said: “We are proud to announce our strategic partnership with the AUE to support future media professionals and provide them with hands-on experience and a clear understanding of what it is like to work in the field. This agreement provides an opportunity for the young media talents to apply the skills and knowledge they learn in the university. Moreover, through our joint efforts, we can help reshape the different reporting methods and highlight the stories that matter to the young generation today.”

She added: “We believe that we have a role to play in providing all the tools required to promote knowledge and share experiences in the field to support the aspirations of the younger generations, so that their news becomes our news. By establishing channels of effective communication with the youth, we will also be able to learn the latest and most innovative techniques in social and digital media and journalism from them in return. We look forward to expanding this cooperation with other universities across the Arab region and benefit many youths, who are considered as the most important resource in achieving a prosperous future. We reaffirm our commitment to work with leading universities and academic institutions to equip the younger generation with knowledge, expertise and tools to succeed in the fields of media and journalism.”

William Cornell, Provost – Professor of AUE, commented: “Our partnership with Akhbar Al Aan is an exciting new journey which strongly reflects our shared mission of providing the young generation – the leaders of tomorrow – with a new voice and hope. Through media training, we are giving them the opportunity to use their voice and interact with people whose stories need to be told. It is important that they learn professional skills and ethical responsibility when using the power of their voice for the good of society. Having said that, we are proud to be partnering with a responsible news organisation like Akhbar Al Aan. We, at the American University in the Emirates, believe that nothing is impossible, and we spare no effort in equipping our students with the best knowledge and skills to enable them to achieve their dreams. We are confident that this partnership adds significant value to our efforts in this regard.”

The two entities agreed to share the industry practices and cooperate in attracting, training, and retaining talents, who add value to Akhbar Al Aan’s pioneering media approach emphasising innovation and originality. The collaboration will also allow the AUE students to use Akhbar Al Aan’s studios and advanced media facilities to develop top-notch media content aimed at providing inspiration to young media consumers.

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