Broadcastpro – Page 35 – Virtual BroadcastPro Tech Summit | 14 – 15 Jun 2022 | Online
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Netflix and Working Title have started production on The Swimmers, directed by Egyptian-Welsh director and screenwriter Sally El Hosaini. The film is based on the true story of Syrian refugees-turned-Olympians Sarah and Yusra Mardini.

The film tells the true story of swimming sisters Yusra and Sarah Mardini’s journey as refugees from war-torn Syria to the 2016 Rio Olympics, where Yusra competed as a swimmer as part of the Refugee Olympic Athletes (ROT).

In 2015, after their house was destroyed in the Syrian Civil War, the Mardini sisters decided to flee the country. They made their way to Lebanon and then Turkey, where they arranged to be smuggled into Greece by dinghy. In the middle of the Aegean Sea, the engine failed 15 minutes into the trip, they had to swim for three and a half hours in a bid to stop the boat from capsizing.

Lebanese actresses, and real-life sisters, Manal and Nathalie Issa will portray Yusra and Sarah Mardini in the upcoming movie.

They will be joined by Arab-Israeli actor Ali Suliman, Egyptian actor Ahmed Malek, Syrian actress Kinda Alloush and James Krishna Floyd, who starred in El-Hosaini’s last film My Brother the Devil, which won the World Cinema Cinematography at the 2013 Sundance Film Festival.

The forthcoming film will be produced by Working Title’s Eric and Tim Bevan, Ali Jaafar and Tim Cole. Stephen Daldry is the executive producer.

It is slated for global release on Netflix in 2022.

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Huawei has secured the contract for the latest expansion of 4G services in Ethiopia’s monopoly operator, Ethio Telecom.

The Chinese company is the main contractor for the roll-out of LTE in the east of the country. Its rival, ZTE, has already installed 4G services in the capital, Addis Ababa, and other parts of central and north-western Ethiopia.

Ethio Telecom’s monopoly is set to be broken within the coming months.

Frehiwot Tamiru (pictured), CEO of Ethio Telecom, said the move “opens a new chapter and brings an immediate impact on congested areas of telecom service”.

He added that Ethio Telecom plans to launch 5G services in 2022 — but gave no further details.

Companies among those likely to bid for the much-delayed new licences include a Vodafone consortium, involving its African partners Safaricom and Vodacom, plus MTN from South Africa. Orange might bid, though some suggest it is more interested in shares in Ethio Telecom, for which it once had a management contract.

Ethio Telecom said about the new 4G areas: “Given the reliability, high bandwidth and high-speed features of LTE advanced services, we hope that it will enable and empower our customers to digitise their services, increase productivity and improve their experiences.”

The company said its 4G plans were “among the major strategic initiatives” it is planning. “Accordingly, we will be launching similar services in other parts of the country, for which preparation works are underway.”

Chen Mingliang, CEO of Huawei’s Ethiopian operation, added: “Our delivery teams worked day and night to meet the target. Regardless of all the challenges, today we are proud and rejoiced to bring you the best LTE advanced service.”

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Disney and Sony Pictures have signed a multi-year ‘content licensing agreement’ that will bring new Sony theatrical releases, starting with its 2022 films, to Disney-owned platforms.

Disney also secured rights to offer older Sony films, including Jumanji and Hotel Transylvania, much sooner. The company said it will add a significant number of Sony titles to Hulu starting in June.

Financial terms were not disclosed.

The arrangement means Disney will be able to offer new Sony movies, including any new instalments in Marvel’s Spider-Man and Venom series, starting in 2023. First, they will play in theatres and be offered on DVD and video-on-demand. Next, they will head to Netflix for an exclusive 18-month period before going to Disney+ or other Disney platforms.

The agreement covers new Sony films that debut in theatres between 2022 to 2026. That is scheduled to include Marvel’s Morbius, best-selling book adaptation Where the Crawdads Sing, Brad Pitt-thriller Bullet Train and another instalment in the Bad Boys comedy series.

Netflix reached a deal with Sony earlier this month.

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IBC has set out more details around its plans to bring the content and technology industry together again to discover the future of media and do business face to face. The event is set to lead the way in a new era of inclusive hybrid events, enabling the industry to engage and discover together, whether physically onsite in Amsterdam or online at home. IBC continues to focus on the return of a live event at the RAI in Amsterdam this year on September 10–13, 2021 but also has a fall-back option of December 3–6 2021.

Michael Crimp, Chief Executive of IBC, said: “The industry is telling us that people are keen to come together again after being apart for a long time. In the coming months, a number of factors will help us decide when the event can happen and in what format. From macro trends such as vaccine roll out and testing, to the willingness of our attendees to travel, we will take all things into consideration as we make those important decisions. We are aiming to create a fresh and valuable event experience that enables the industry to engage and explore the future of media together again in a safe way. We want to gather views from across the IBC community, and that’s why we are launching a visitor survey today and will also roll out a targeted exhibitor survey next week, in partnership with IABM. We all have an opportunity to think differently this year. A good example of this is how we are embracing hybrid/ digital to give IBC more reach than ever before. Also, we are fully prepared to shift to December if that will deliver the safest and most valuable outcome. We would encourage the IBC community to be open to these ideas when they complete the surveys.”

IBC has selected ExpoPlatform, a powerful AI-powered platform for hybrid and online exhibitions and conferences, to support its digital offering. The move will enable IBC to create a compelling hybrid event that combines the best of the show floor with state of the art online interaction.

With safety a major consideration in the planning of any physical event in today’s climate, IBC is focusing on how it can create a safe environment that still delivers the value and enjoyment that attendees have traditionally experienced in Amsterdam. Gaining access to IBC 2021 will feel similar to attending a large scale sporting event like the Olympics or an arena rock concert. At such major events, there is a perimeter around the venue at which attendees pass through security, bag checks, and ID/ticket validation. IBC 2021 will use a similar approach with a purpose-built perimeter around the RAI, with multiple entry points where attendees will be processed under Covid-19 health and safety protocols. This means that once within the perimeter, attendees will be free to move around the RAI complex, inside and out, without further physical checks — minimising queues and congestion. Various technology tools will be used, including opt-in facial recognition for contactless registration and badge pickup and Artificial Intelligence to monitor visitor movement and control capacity in all areas.

Crimp concluded: “We realise that IBC 2021 may be the first large event that many people will attend for some time. Rest assured, we are putting a lot of time and energy into planning what that experience will be like this year. The world is very different from when we all last went to a trade show, and the IBC 2021 experience will reflect that. We have been working closely with the City of Amsterdam and the RAI to ensure attendees can get the most out of IBC 2021 while keeping everyone safe. We have an overriding duty to get this right and to repay the trust that has been placed in us for over 50 years.”

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CABSAT 2021, the Middle East and North Africa’s event for the satellite, digital media and filmed entertainment industries, has been postponed. The event will now be held from October 26 to 28 at Dubai World Trade Centre to explore synergies with EXPO 2020.

Besides a special focus on the SATEXPO Summit with a wider content offering, CABSAT has announced the launch of “NextGen Content” in partnership with Dubai Studio City, a new marketplace to buy, sell or co-produce TV and film content for the Arabic market.

Speaking about the partnership, Majed Al Suwaidi, Managing Director of Dubai Studio City, said: “As an increasingly global hub for cinema production, Dubai Studio City looks forward to welcoming the broadcast community at what promises to be a unique, well-timed platform for discussion and innovation. The launch of “NextGen Content” at CABSAT 2021 in October will deliver unprecedented strategic opportunities to the broadcast industry, creating new areas of content collaboration that will contribute to the growth of the emirate’s creative economy.”

Jamal Al Sharif, Chairman of the Dubai Film & TV Commission, added: “Dubai is an attractive global destination for film and television production, and we look forward to meeting the wider broadcast industry during CABSAT 2021. Hosting the event in October will provide an ideal platform for greater collaboration and international cooperation. It will create new opportunities for content creation and contribute to the vision of our leaders to transform the emirate into the world’s leading creative economic capital.”

David Meltzer, Secretary-General of Global VSAT Forum (GVF), commented: “We completely endorse the decision made by CABSAT’s organisers to hold the 2021 edition in October. By ensuring the show is open to as many international participants as possible during the time when EXPO 2020 is running in Dubai, CABSAT 2021 will maximise collaboration opportunities in the satellite ecosystem.”

Aarti Holla, Secretary-General of EMEA Satellite Operators’ Association, stated: “ESOA is pleased that CABSAT is taking the needs of the international satellite community into consideration in choosing to hold its 2021 edition in October. The SATEXPO Summit will provide better value to the industry at a time when there will be even greater business opportunities.”

Arab State Broadcasting Union, said: “We completely support the decision made by CABSAT to host the 2021 edition of the show in October and we look forward to the collaboration opportunities that it will bring.”

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UAE-based content rights management company Sawa Rights Management (SRM) has announced the addition of eight new and exclusive Russian entertainment TV channels to its extensive portfolio of more than 20 Russian channels that are now available to the hospitality and residential properties in the region.

The new channels include TNT, TNT4, Friday!, TV3, 8TV, UA|TV, Detski Mir and Lubimoe Kino. Russian-speaking community will get a wide range of content line-up ranging from comedy series to movies, reality shows, cartoons, sitcoms and more.  

Speaking about the new channels, Ali Ajouz, CEO of SRM, said: “We are thrilled to expand our portfolio of Russian TV channels in the region. The Russian speaking community in the region comprises over one and a half million residents as well as tourists and it is growing year on year. The new agreements we just signed expands our Russian offering to over 20 channels that are available on Etisalat, du and to all hotels in the region.”

In addition to the channels mentioned above, SRM’s portfolio of Russian channels also includes Channel One Russia, Carousel, Dom Kino, Dom Kino Premium, Gulli Girl, Katyusha, Muzika Pervogo, O!, Poehali, Telecafe, Tiji and Vremya.

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Netflix has announced that it will spend $17bn on content in 2021 – on a par with its 2020 spend. Netflix shares, however, fell on April 20, after the streaming giant disclosed that it had added only 3.98m subscribers worldwide during the Q1 of 2021. In the current, Q2 ending June 30, the company expects to add 1m more paying customers.  

On the content front, the company said that productions are up and running in every country in the world except Brazil and India, which are seeing new coronavirus waves. For 2021, the company said it expects to spend more than $17bn in cash on content — up more than 44% compared with $11.8bn last year, when numerous productions were put on hold because of the coronavirus crisis, and $13.9bn in 2019.

The company early in the year touted that it would release 71 films in 2021, equating to at least one new movie every week. “They are watching the kind of films that that would go to the theatre to see, but at the convenience of their timetable, their home, where they can really enjoy a great new film,” co-CEO Ted Sarandos said on the company’s earnings call.

Even as its subscriber numbers underperform, the company is in its best financial position ever, with lower marketing and content spend combined with its record existing subscriber base. As a result, the company had revenue of $7.16bn with operating margins of 27%, the best in the company’s history.

Netflix, meanwhile, has focused on growth in foreign markets given the more mature US market and increasing its prices due to its expanding lineup of original fare and signs that subscriber engagement with its service remains high.

“Over the years media companies have been really great at exporting content around the world,” Sarandos said. “But the one thing that we really have sharpened our skills on is creating content from anywhere in the world, and playing it all over the world.”

He added that the global scale of its content has also been attractive to creators in some of those other countries, including Japan and South Korea.

“As you tell stories from around the world, the more authentically local they are, the better they play around the world because people recognize the authenticity of storytelling,” he said.

In the meantime, revenue has jumped 24% in Q1 of this year when compared to the same period in 2020, paid memberships grew less than expected to 208m, Netflix said in its quarterly earnings release.

Its management team, led by co-CEOs Reed Hastings and Ted Sarandos, had forecast a gain of 6m, compared with an increase of 15.8m in the year-ago quarter, which had been fueled in part by stay-at-home orders due to the coronavirus pandemic.

“We had those 10 years that were smooth as silk, and we are just a little bit wobbly right now,” co-CEO Reed Hastings said on the company’s earnings call.

“It really boils down to Covid-19, frankly,” Netflix CFO Spencer Neumann added on the call. “For us, at a minimum, it creates some short term choppiness in the business trends.”

“We believe paid membership growth slowed due to the big Covid-19 pull forward in 2020 and a lighter content slate in the first half of this year, due to Covid-19 production delays,” the company wrote in its quarterly letter to shareholders. “We continue to anticipate a strong second half with the return of new seasons of some of our biggest hits and an exciting film lineup. In the short-term, there is some uncertainty from Covid-19; in the long-term, the rise of streaming to replace linear TV around the world is the clear trend in entertainment.”

The letter added that it expects subscriber growth “will re-accelerate in the second half of 2021,” as some of its tentpole films and most popular series debut on the service.

One thing that the company insisted was not a factor: Competition from competitors like Disney+, Paramount+, Peacock, or other streaming offerings. Hastings said they “looked through the data” to make sure competition wasn’t a factor in the miss.

“There is no real change that we can detect in the competitive environment, it has always been high and it remains high,” he added.

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Sony Middle East & Africa has introduced the newest addition to its long-standing switcher family, the XVS-G1. This new entry-level compact live production switcher, developed as a next-generation platform, combines the features of a new video processing engine with a modern architecture design.

Designed for live production needs including sports, news or entertainment programmes, the XVS-G1 system is designed for small-to-mid-size studios, outside broadcast vehicles, and fly-away production units. With many options, this switcher offers its versatility to various production environments.

Koichi Murakami, Deputy Director, Sony Middle East and Africa, said: “Sony’s switchers have a long history and reputation for their reliability and robustness. The new XVS-G1 is built on that legacy in a small compact and modular form and adds some must-have future-proof features such as a clip player, HDR conversion and capability amongst many others.”

One of the distinguishing features is its hybrid structure which pulls together a central processing unit (CPU), with a graphics processing unit (GPU), and a field-programmable gate array (FPGA). This combination delivers high performance and reliability, with no compromise on visual processing enhancements.

FPGA hardware enables high-speed processing at a high resolution 4K(UHD) and wide colour gamut, high dynamic range (HDR) imaging, and ultra-low latency. High-density, high-resolution video processing using the latest software technology provides versatility and expandability while enhancing creative possibilities.

The key features of the XVS-G1 include a creative and high-potential platform enabled by GPU options, a built-in clip player, and the new menu GUI and control panels that provide sophisticated operation in any production environment.

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Accedo has launched Accedo Play – Sports, a new sports video solution that enables sports organisations to launch, manage and monetise a service that delivers both a world-class video-centric experience, as well as a premium and tailored fan experience.

With Accedo Play – Sports, rights-holders, federations, and clubs can quickly deliver a video-centric hub for their brand to augment and enhance any existing video and social media strategies. As well as creating an engaging digital space for fans. It opens up the opportunity to monetise across core revenue streams, such as ticketing, merchandising, sponsorship, as well as direct video revenue streams.

Speaking about the new launch, Michael Lantz, CEO of Accedo, said: “Many sports organisations are already producing video content to distribute through Youtube, and other social channels. We believe that revenue potential and fan engagement will be significantly improved by a branded experience powered by Accedo Play – Sports.  The new solution offers great possibilities for sports organisations to aggregate their content, create new revenue streams and engage their audience – from the casual viewer to the diehard fan.”

Accedo Play – Sports supports a wide range of editorial content, from highlight reels to full live matches, across multiple device platforms and including distribution to social channels. Rightsholders, federations, and clubs benefit from a data-driven approach that delivers key insights into fan behaviour and content preferences. It ensures that sports organisations can deliver a high-quality user experience and scale as audiences grow.

As services mature, the Accedo Play – Sports solution will enable additional advanced features to support the growth. This includes ‘next generation’ content formats such as augmented reality, game statistics and sponsor activations which can bring a new level of interaction to content.

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Actor Ajay Devgn has joined the bandwagon of Bollywood celebrities who are making their digital debuts with his crime-drama series Rudra – The Edge of Darkness, which will stream on Disney+ Hotstar. The show, produced by Applause Entertainment in association with BBC Studios India, is an adaptation of the British series Luther, for Indian audiences.

In a statement, Devgn said: “My attempt has always been to tell unique stories and work with good talent. The idea is to raise the bar of entertainment in India. The digital world excites me, and I am looking forward to working with Applause and BBC to bring this series to life on Disney+ Hotstar. Rudra — The Edge of Darkness is a compelling and highly intriguing story and I can’t wait to begin this new journey! Playing a cop on screen is not new to me, but this time the character is more intense, complex and dark. What drew me most to his persona, is that he is possibly the greyest character you may come across in recent times.”

The actor, also shared a teaser of Rudra to give his fans a sneak-peek into what can be expected from his web debut.

Sameer Nair, CEO of Applause Entertainment, commented: “We are very excited to have Ajay Devgn play the lead. He truly has the fiery intensity and persona required to play this iconic character. With Disney+ Hotstar VIP we have built a strong foundation and are looking forward to creating this global series. We work very closely with BBC Studios to bring the best stories to Indian audiences and Rudra is a brilliant re-imagination of an iconic global format.”

Sunil Rayan, President and Head, Disney+ Hotstar, said the series will push boundaries with its content. He stated: “This kind of storytelling has never before been attempted in India. The narrative is bold and genre-defining, crafted not just for metro audiences but also appealing to hundreds of millions of users across the country. We’re thrilled to have Ajay Devgn headline the series and we are certain that his fans would be happy to see him in a new avatar.”

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