BroadcastPro ME April 2021

ISSUE 129 | APRIL 2021

Licensed by Dubai Development Authority

S ’ A N ME tudio s l a n io t a n r s and inte n io t c ional u g d e r o r a p e l a m n o c regio n has be io t c u d o With strong r P t edars Ar C , s n content io t ic a b r a o r A r o f collab e powerhous

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PROINTRO

GROUP Managing Director Raz Islam raz.islam@cpitrademedia.com +971 (0) 4 375 5471 Managing Partner Vijaya Cherian vijaya.cherian@cpitrademedia.com +971 (0) 4 375 5472 EDITORIAL

Welcome

Editor Vijaya Cherian vijaya.cherian@cpitrademedia.com +971 (0) 55 105 3787

Sub Editor Aelred Doyle ADVERTISING Group Sales Director Sandip Virk sandip.virk@cpitrademedia.com +971 (0) 50 929 1845 +44 (0) 773 444 2526

DESIGN Art Director Simon Cobon Designer Percival Manalaysay CIRCULATION & PRODUCTION Production Manager Vipin V. Vijay vipin.vijay@cpitrademedia.com +971 (0)4 375 5713 Distribution Manager Phinson Mathew George phinson.george@cpitrademedia.com +971 (0)4 375 5476 DIGITAL SERVICES Abdul Baeis Sadiq Siddiqui FOUNDER Dominic De Sousa (1959-2015) Published by

A lot has changed in sports across the world in the last year. That’s owing to the pandemic. It forced the world to think differently about sports, and to revisit how to play and broadcast games and the technologies to add to potentially enhance a game, in the absence of fans in a stadium.

But equally, we have witnessed some winds of change in the MENA sports scene. If it was all about global football a few years ago, it’s not anymore.

Local leagues are catching up and visionary leaders are encouraging the creation of other sports regionally.

The UAE Pro League, for instance, is an example of a dynamic local entity that has raised the level of national football and taken it to all seven continents for global viewing, and has been upping its game every year. Equally, the Saudi Pro League has a big fan following.

But like I said, it’s not just about football. While the UAE was already several steps ahead of the rest of the GCC fraternity in terms of hosting and broadcasting the world’s richest horse race, camel racing, falconry, rugby, cricket, tennis, Formula One races and more, Saudi Arabia is now pumping a lot of money into making it the next hotspot for games.

More recently, we have seen a lot of combat sports join the scene. At The Future of Sports Broadcasting Summit, our keynote interview was about how one entity is making muay Thai and kickboxing very relevant and important to the local scene, elevating it for both regional and international broadcast.

In short, regional leaders are setting the stage for sports events to be hosted here, and gradually we will see them extensively monetised. But more about this in the next issue of BroadcastPro. For this issue, our focus is on the content market. With Ramadan the most important period for TV broadcasters across MENA, we bring you an exclusive interview with one of the most revered figures in the world of Arabic content – Sadek Sabbah, CEO of Cedar Arts Production, one of the first companies in the region to be approached by the likes of Netflix, Banijay and The Walt Disney Company for regional productions.

Read on.

Vijaya Cherian, Editorial Director

The publisher of this magazine has made every effort to ensure the content is accurate on

ISSUE 129 | APRIL 2021

Licensed by Dubai Development Authority

the date of publication. The opinions and views expressed in the articles do not necessarily reflect the publisher and editor. The published material, adverts, editorials and all other content are published

or transmitted in any form without the permission

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MENA’S

in good faith. No part of this publication or any part of the contents thereof may be reproduced, stored

On this month's cover…

nal studio ns and internatio a regional regional productio has become With strong Production Cedars Art for Arabic content collaborations, powerhouse

Sadek Sabbah, CEO of Cedars Art Production.

of the publisher in writing. Publication licensed by Dubai Development Authority to CPI Trade Publishing FZ LLC. Printed by Printwell Printing Press LLC.

CPI Trade Media. PO Box 13700, Dubai, UAE.

Subscribe online at:

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© Copyright 2021. All rights reserved.

April 2021 | www.broadcastprome.com | 1

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PROCONTENTS

Inside this issue 05 NEWS Intigral works with NPAW for viewer analysis; KSA Sports to broadcast Extreme E; ABS Network upgrades newsgathering with LiveU; Red Sea International Film Festival announces new date; Twofour54 transfers post to Genomedia; Cubic Media Production opts for For-A switcher; Zee Weyyak announces Originals; and more

16 MENA'S CONTENT KING Sadek Sabbah on how Cedars Art Production has raised the quality of Arabic content for MENA viewers and is now attracting international buyers

April 2021 KSA SPORTS TO AIR EXTREME E

COVER: MENA'S CONTENT KING

16

05 EXPLORING THE ARAB CONTENT MARKET

TECH NOTES ON HYPER-CONVERGENCE

24 THE ARAB WORLD'S

CONTENT SAGA Heba Korayem deftly navigates the complex world of Arabic content and helps us better understand how it operates

28 TECH UPDATE

24

Paul Cameron advocates hyper-convergence in an ecosystem where people’s appetite for visual content has been unprecedented and the ability to provide it significantly challenging

THE RED KOMODO PUT TO THE TEST

30 ALL CHARGED UP When the RED Komodo was launched in the UAE, focus puller Koko Boutchakjian invested in one. Boutchakjian and freelance DOP Andrew Clemson give us their take on the little dragon

28 HOT LAUNCHES IN THE MARKET

36

30 CABSAT 2021- WHAT'S IN STORE?

UNDERSTANDING AOIP STANDARDS

38 SNEAK PEEK –

CABSAT 2021 Thomas Löffler, AVP, Exhibitions at Dubai World Trade Centre, takes us through what to expect at CABSAT this year

38

40 April 2021 | www.broadcastprome.com | 3

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PRONEWS

Intigral partners with NPAW for better understanding of subscriber behaviour Nice People At Work (NPAW) has renewed its partnership with Intigral to improve user insight. By adding new NPAW users’ products to the existing YOUBORA suite, Jawwy TV – Intigral’s premium media and entertainment product – will be able to better understand subscriber behaviour, to optimise the platform.

The wide set of metrics provided by users enables different teams to correlate consumption patterns from within and beyond the video player, to make informed decisions on engagement strategies, content acquisition and platform performance optimisation.

JP McKerlie, Commercial Vice President, Intigral.

As the OTT TV market continues to rapidly grow in the Middle East, Jawwy TV aims to offer a better viewing experience for subscribers, adjusting to their preferences based on advanced analytics and churn prediction metrics.

NPAW advanced analytics for VoD and live streaming services, paired with Intigral’s ambitious business strategy based on its vMVDP model, will enable Jawwy TV to reach more audiences in the MENA region.

Commenting on the partnership renewal, Intigral Commercial Vice President John-Paul McKerlie said: “We are excited to continue our collaboration with NPAW as we set new standards for deriving insights that will enhance customers’ experience, support our ambitions to acquire and importantly engage customers as we expand across MENA.” Mehdi Kadhi, Sales Director, Middle East & Africa at NPAW, added: “The MENA region continues to be one of our key markets, and we are delighted to further strengthen our partnership with the Intigral Group.”

KSA Sports and MBC Action to broadcast Extreme E debut season KSA Sports – Saudi Arabia’s TV sports network – has acquired the rights to broadcast the debut season of Extreme E. It will broadcast live all five of the brand-new FIAendorsed rallies as they take place over the course of the year at different locations across the world.

MBC Action will also televise all five of the series’ X Prix across its territories in MENA. The first of those is Saudi Arabia’s own AlUla race, Extreme E’s firstever X Prix, taking place April 3-4. The new electric vehicle competition will pit ten teams and 20 drivers against each other over two

days on the dunes of AlUla. Following the inaugural race in Saudi Arabia, the series will visit Senegal (29-30 May), Greenland (28-29 August), Brazil (23-24 October) and Patagonia (1112 December). By holding races in areas suffering from the environmental crisis, such as tropical rainforests and the Arctic, the aim is to raise viewers’ awareness and interest in environmental issues.

Extreme E’s mission to ‘race without a trace’ and minimise local impact means events will not be open to spectators, with fans instead invited to follow the action through

the live TV broadcast and on social media.

Speaking about the partnership with KSA Sports, Ali Russell, Chief Marketing Officer at Extreme E, said: “As we prepare to go racing for the first time, in the stunning setting of AlUla, there is no better channel for us to reach our Saudi Arabian fans.”

He added that he was delighted to announce the broadcast agreement with MBC Group, expressing that as home to the most widely watched MENA TV networks, MBC Group provides the tremendous opportunity to bring Extreme E’s innovative technology

and its crucial conservation and equality message to a vast audience of almost 300 million Arab speakers.

Prince Khalid Bin Sultan Al-Abdullah Al-Faisal, Chairman of the Saudi Automobile and Motorcycle Federation (SAMF), who is co-organising next month’s debut race in Saudi Arabia, added: “It is to our immense delight that they have chosen to continue to back our events with the agreement to broadcast next month’s AlUla Extreme E X Prix and the season thereafter, which itself marks a new dawn for motorsports on a global scale.”

April 2021 | www.broadcastprome.com | 5

PRONEWS

ABS Network chooses LiveU solutions to upgrade newsgathering capabilities Middle East news network ABS Network (ABSN) has selected LiveU’s live video solutions for live newsgathering across the Middle East and from its Washington, DC news bureau. ABSN chose LiveU’s technology to enhance its news reporting capabilities with cost-effective, reliable 4K/full-HD live streaming solutions, enabling its teams to move around much more freely. LiveU units have already been used to cover the US election, the inauguration of President Joe Biden and events in the Middle East, as well as in its live studio.

ABSN CEO Mohammad Elajlouni said: “In an age where viewers demand the highest level of production quality, we ensure that the equipment we own and operate comprises the latest, most

The ABS team on the field with LiveU.

sophisticated state-of-the-art gear.

LiveU was the clear choice for us when evaluating a live streaming solution, with its proven reliability, best video quality and service guarantee. LiveU units are working both as a stand-alone

solution and as part of our existing HD/4K systems, and the compatibility with our existing hardware is perfect.

As a 24/7 service provider, it’s essential for us to work with a partner that provides round-the-clock service, and LiveU’s global support and operations teams are delivering every time.”

Bruno Schmetz, Territory Manager – Middle East and Africa, LiveU, added: “It’s great to see how ABSN is using our live streaming equipment to deliver innovative news coverage to millions of its viewers around the world. The Gulf region is growing in important for us, with huge potential, and we’re proud that the leading news network has chosen LiveU for our technological advantages and service guarantee.”

KSA's Red Sea festival sets new date, announces Lodge participants The first edition of the Red Sea International Film Festival will take place November 11-20, 2021 in Jeddah, Saudi Arabia.

The festival will be delivered by a team of Saudi and international curators, film specialists and industry veterans, including MD Shivani Pandya and Director of Arab Programmes & Film Classics Antoine Khalife. Film critic Kaleem Aftab joins as Director of International Programming, bringing distinctive global cinema to Saudi across In Competition, Out-of-Competition and thematic categories.

Jumana Zahid leads

the Red Sea Lodge, the foundation’s incubator for Saudi and Arab filmmakers, now in its second edition.

The Red Sea Souk, the festival’s industry platform for distributors, sales agents and producers, is helmed by Zain Zedan, Industry/Souk Manager.

The festival organisers

6 | www.broadcastprome.com | April 2021

have also announced the 12 Arab projects selected for development at the Red Sea Lodge 2021, an eightmonth programme that will mentor Saudi and Arab directors, producers and writers to develop inventive feature films. Six are from Saudi Arabia, alongside projects from Egypt, Jordan,

Kuwait and Lebanon. Half of them are helmed by female directors, with three women in producer roles.

The emerging storytellers will convene four times digitally and finally in person in Jeddah, Saudi Arabia, at the inaugural Red Sea International Film Festival, where the 12 filmmaking teams will pitch to international production companies.

An independent jury will award two production grants of $100,000. The two winning films will have the opportunity to have a world premiere at the 2022 Red Sea International Film Festival.

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With the new ATEM Mini Pro ISO model, you can now edit your live show to fix any mistakes or make improvements. You get all video inputs and program recorded as 5 separate video files! Plus a DaVinci Resolve edit timeline is saved, so you can open the live show and make changes with a single click! It only takes a few minutes to edit and upload a perfect version of your show!

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Use Professional Video Effects ATEM Mini is really a professional broadcast switcher used by television stations. This means it has professional effects such as a DVE for picture in picture effects, commonly used for commentating over a computer slide show.

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PRONEWS

Abu Dhabi’s Twofour54 transfers post production facility to Genomedia Twofour54 and Abu Dhabi production company Genomedia Studios, an existing partner, have reached an agreement that will see Genomedia Studios take over management and ownership of twofour54’s post-production facility.

The agreement will transfer the full facility and its assets to Genomedia Studios, including an extensive bank of professional hardware, equipment and industryleading software such as Dolby Vision and Atmos.

In addition, following a transitional period,

The post-production facility at twofour54 Abu Dhabi.

Genomedia Studios will take over all existing contracts, including the lease of the editing suites and screening room, and ongoing client projects.

Twofour54’s post-

Arab Film Studio invites entries to storytelling programme Image Nation Abu Dhabi has partnered with the Embassy of the United States in the UAE and Film Independent to offer AFS Episodic Storytelling – an in-depth programme for scriptwriters. The submission is open to all UAE nationals and residents, and the last date to submit applications is April 17.

Over the course of six months, experts from American industry leader Film Independent will provide participants with a practical understanding of several distinctive

elements of American television and the tools to help them develop authentic content that includes the state of the TV industry, the writers’ room, creating a Bible or series document, a compelling pilot and the art of the pitch.

The course, which is split into three parts and will commence on May 24, consists of online training – except for the last workshop in November, which might take place at the Image Nation offices in Abu Dhabi if the global situation allows.

8 | www.broadcastprome.com | April 2021

production facility is fully equipped with hardware and software that allows video, audio, animation and broadcast creation and editing to the highest levels of feature film

production, while also being accessible to independent and smaller projects. The facility will continue to be based in twofour54 and will be relocating to a purpose-built development in Yas Creative Hub when it opens in Q4 2021.

Michael Garin, CEO of twofour54, said: “Genomedia Studios’ industry experience and vision to nurture local talent makes the company a natural partner, and we will continue to work together to build the local and international client base for this strategically important facility.”

OSN to analyse data with TVbeat OSN has partnered with TVbeat Inc to use its TV SaaS Framework services, in a step that will strengthen OSN’s position as a datadriven network and enable it to better address shifting viewership behaviour and trends in the MENA region.

In partnering with OSN, TVbeat will streamline set-top box viewership and demographic datasets, and activate harmonised TV data available through its comprehensive TV Audience Measurement interfaces.

The set of services include custom Reporting, Ranker, Research and Audience Manager modules to provide granular insights into linear and non-linear TV viewership behaviour across any type of audience segment.

In recent years, OSN’s content strategy has seen an increasing focus on using as many insights as possible from consumption data and deploying these insights towards content development, to cater to audiences’ ever-changing needs and aspirations. This is considered a natural step that is expected to take the network even closer to its consumers and help bring them stories that answer their needs and speak their language.

Powered by its SaaS Framework, TVbeat enables OSN to set advanced permission and data filtering controls to share harmonised TV data to both internal and external users, ensuring 0% data leakage and 100% data integrity.

PRONEWS

DJI launches new drone in Dubai with Advanced Media DJI launched an entirely new type of DJI FPV drone last month at an event at Safa Park, Dubai, in partnership with local distributor Advanced Media

Trading LLC. The event, which brought together more than 50 people, was attended by Nasser Khalifa Al Budoor, Director of Dubai Media District; Dubai

Attendees at the launch of the DJI FPV drone in Dubai.

Civil Aviation Authority; Dubai Municipality; Dubai Police and Sharjah Police; and top aerial production companies like Shadow, Airscope, Nomad Production and Chopper Shoot.

Ahed Mahmoud, an Advanced Media DJIcertified Technical Support and Solution Engineer, said: “It was great to have another DJI product launch and see this amazing group of DJI enthusiasts.

The new DJI FPV drone is truly amazing. We were surprised by the number of orders on the first day.”

Rotana Group renews ties with Thema Thema, a subsidiary of Canal+ International, has renewed its longtime partnership with Rotana Group. The agreement grants Thema the rights to distribute the entire portfolio of Rotana’s channels in Europe, as well as unlimited access to Rotana’s content library. The deal also includes a close marketing collaboration between both groups, with a greater focus on digital activities such as influencer campaigns.

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April 2021 | www.broadcastprome.com | 9

PRONEWS

Cubic Media Production chooses For-A switcher

The new OB van features several For-A solutions.

Abu Dhabi firm Cubic Media Production has anchored its newest production vehicle with a For-A HVS490 digital video switcher.

The truck has been booked for a variety of high-profile projects, from multi-camera production of professional

football matches to coverage of the historic UAE Mars probe for Abu Dhabi TV. Built on a Mercedes-Benz Sprinter van chassis, the UNIT2 4K truck is a compact mobile unit that typically supports eight-camera HD or six-camera 4K productions.

Feras Hamdan, Managing Partner and Director of Operations for Cubic Media Production, said the HVS-490 was perfect for the new truck, because it included features usually found in larger switchers.

Beyond the HVS-490, UNIT2 4K also includes two FA-505 and three FA-9600 multi-channel signal processors, mainly used to convert external sources to 4K during productions. However, the processors can also be used to synchronise inputs, embed and de-embed audio, provide colour correction and downconvert footage from 4K to HD or HD to SD.

Egyptian editor Ahmed Hafez edits American TV series Taking a new international step in his career, Egyptian film editor Ahmed Hafez recently edited the first episode of the American TV series Cypher, titled The Code. The series is slated to premiere on Netflix MENA on Thursday, April 1 and is currently airing on Roku for audiences in the US and Canada.

Cypher is a new international project for Hafez after working on the thriller Paranormal, which topped the 'Most Watched' list on Netflix.

Cypher is an eightepisode action series that premiered on Netflix South Africa in 2020. It is an Egyptian-American

Ahmed Hafez.

co-production between AROMA Studios and United Brothers in Egypt, along with international production companies including AZ Film Studios, Organic Media Group and Thriller Films.

Helmed by Tunisian

10 | www.broadcastprome.com | April 2021

director Majdi Smiri, Cypher stars Australian actor Martin Dingle-Wall opposite American actress Jaclyn Hales, along with a large number of American stars. It follows Will Scott, a highcalibre FBI code-breaker who deciphers a covert hit list and soon becomes a target himself as he tries to prevent the shadowy killings.

Ahmed Hafez has had an impressive career, with editing credits on more than 30 films and TV series. His most recent projects include Paranormal, Netflix's first original Egyptian production, and Every Week Has a Friday, which premiered on Shahid.net to great success in 2020.

Zeinab Abu Alsamh, GM of MBC Studios KSA.

New GM at MBC Studios KSA MBC Group has announced the appointment of Zeinab Abu Alsamh as GM of MBC Studios KSA, the in-house premium content production arm of MBC Group.

In her new role, Abu Alsamh will oversee all local production and development projects, with a particular focus on the development and expansion of the content production industry in the Kingdom. She will also be the official MBC Studios representative for government initiatives and local media engagements.

Abu Alsamh will report directly to MBC Studios Managing Director Peter Smith, who is part of the executive team that reports to MBC Group CEO Sam Barnett.

Prior to joining MBC Group, she was Chief Commercial Officer at Saudi Broadcasting Authority (SBA).

PRONEWS

Alsumaria and sister channels renew media contract with JGroup Lebanese firm JGroup has announced the fiveyear renewal of its media representation contract for Iraqi satellite TV, Alsumaria and its subsidiaries Sumer FM and Alsumaria.tv. The partnership will explore new avenues of revenue for advertisers, as well as introduce innovative services and initiatives targeting the right audience at the right time and place.

Imad Jomaa, founder and President of JGroup, said: “We are happy to have renewed our contract with Alsumaria TV, Sumer FM

Imad Jomaa is founder and president of JGroup.

and Alsumaria.tv, through which we continue to serve an array of advertisers in the region. Alsumaria TV is a leading network in Iraq.

The network’s popularity and viewership strengthen its position and help retain its standing as an important advertising platform for existing advertisers, as well as the ones who want to enter the Iraqi advertising and media industry. We have always been trusted advisors for our customers, and Alsumaria TV, Sumer FM and Alsumaria.tv enable us to unlock new

possibilities for them.”

Chafic Tabet, Chairman of Alsumaria Media Group, added: “We are pleased to have JGroup as a part of our journey.

Over the past few years, we have been innovating with our programmes and news broadcast to meet the expectations of our audience and reach new prospects.

To have renewed the partnership with JGroup strengthens our business roadmap and helps us advance to achieving new business milestones.”

Fatafeat commits to more local content production in 2021 As part of its 2021 plans, Arabic cooking channel Fatafeat, which has a production facility in Dubai Production City, has scheduled more than 270 hours of linear content for production this year. In addition to linear content, the purpose-built Fatafeat studio will output hundreds of hours of social and digital content, expected to exceed the 1,000+ hours of content produced in 2020.

Layla Tamim, Commercial Manager at Discovery, Fatafeat’s parent company, remarked: “Last year, despite the challenges which resulted from the global pandemic, the

The Fatafeat studio in Dubai Production City.

Fatafeat studio was able to surpass expectation by exceeding forecasted hours of content. Following a brief mandatory closure of facilities, in line with governmental safety precautions, we were able to adapt business practices to allow production teams and talent to

12 | www.broadcastprome.com | April 2021

re-enter the studio and continue creating the shows and content that the region loves. From a personnel perspective, it meant that we were able to retain production staff and continue supporting the broadcast industry as a whole.”

By swiftly adapting

to Covid-19 safety regulations, the ongoing production capabilities aided in maintaining job security for many individuals faced with a level of uncertainty as a result of the pandemic, while also supporting local and regional talent including chefs Mohammad Orfali, Manal Alalem and Afnan Aljaadi.

Tamim concluded: “Our plans for 2021 are not only to increase the hours of output from the studio, but to also capitalise on the opportunity to develop creative content solutions that not only add value to our burgeoning fan base, but also showcase real value to our partners.”

PRONEWS

VYND: Arabic Originals on MENA OTT services up 383% in 2020 VYND.IO, a video entertainment industry data intelligence platform, has announced the release of the first intelligence report on Arabic Original programming for OTT platforms in MENA. The report highlights the exponential growth, up 383% from 2019 to 2020.

Before 2019, Arabic Originals on OTT platforms were few and far between, and predominantly released by internationally backed platforms. In 2020, however, there was a significant acceleration from 12 to 46 Arabic Originals, primarily driven by regional OTT services.

The report highlights how local services such as Shahid (39% of 2020 Arabic Original output), Jawwy (22%) and OSN (9%) have led this massive expansion of content. International

4

!

services Viu (17%) and Netflix (4%) have likewise continued to increase their releases. In the coming years this growth is expected to continue, adding to the overall strong development and feeding competition for projects of interest in the region.

As more global players enter the region in search of growth, and with more services competing for original

content, budgets will inevitably rise and production resources will be stretched, resulting in an ever-increasing pressure on making the right decisions in production and content. The balance will shift towards the companies that most effectively combine the raw power of data with creativity.

However, data to support the content industry is scattered, disconnected, siloed or simply not captured. Given these blind spots, content acquisition and marketing decisions are potentially being made inefficiently, resulting in billions of dollars of wasted expenditure and lost revenue opportunities each year.

VYND.IO has provided a first sample of how data can provide deep insights into the industry.

April 2021 | www.broadcastprome.com | 13

PRONEWS

Anghami to be listed on Nasdaq MENA music streaming platform Anghami Inc and Vistas Media Acquisition Company Inc (Nasdaq: VMAC), a publicly-traded special purpose acquisition company led by CEO F. Jacob Cherian and cofounders Saurabh Gupta and Abhayanand Singh, have entered into a definitive merger agreement that will result in Anghami becoming the first Arab technology company to list on Nasdaq.

The transaction implies a pro-forma enterprise value of $220m. The combined company will operate under the Anghami name and trade under the new symbol ANGH. The transaction is expected to close in Q2 2021.

Anghami offers over 57m songs to more than 70m registered users with around 1bn streams per month. With an Arabicspeaking population of over 450m globally, a listing on Nasdaq allows Anghami

Anghami founders Elie Habib (l) and Eddy Maroun (r).

to scale its user base and invest in technology to build on its data play.

Anghami’s AI and machine learning algorithms process over 56m data points from its user base every day. Over nine years of user data enables the company to predict user behaviour and trends to focus its investments in areas delivering the highest return on investment – which helps improve monetisation – and will continue to be a key driver

Instagram brings Reels to MENA

Instagram launched its shortform video-sharing feature, Reels, in the Middle East last month. This feature offers a new way for the platform’s community of creators, users

and businesses in MENA to create and discover short, entertaining videos. This follows the introduction of Music on Instagram Stories earlier this month.

14 | www.broadcastprome.com | April 2021

of revenues going forward.

Anghami has longstanding partnerships with all major global labels, including Universal Music Group, Sony Music and Warner Music Group. It has licensing agreements with thousands of independent labels and distributors to provide users with legal access to a vast catalogue of music. The company also has direct partnerships with 36 telecommunication companies across the MENA

region, to boost free user acquisitions and facilitate subscriptions achieving the highest paying conversion rate in emerging markets.

Headquartered in Abu Dhabi with offices in Beirut, Dubai, Cairo and Riyadh, Anghami is currently backed by MENA venture capital firms and strategic shareholders, including media groups and telecommunications companies that collectively own approximately 68% of the company, with the balance owned by the founders.

Anghami’s management team, led by co-founder and CEO Eddy Maroun, will continue to operate and manage Anghami following the transaction. Co-founder and Chairman Elie Habib will continue as CTO. F. Jacob Cherian, CEO of Vistas Media Acquisition Company Inc, is expected to join the company as co-CEO for a period of one year.

M6 International launches in MENA THEMA, a Canal+ Group company, in collaboration with UAE content licensing management company SAWA Rights Management (SRM), has announced the launch of M6 International channel on du’s TV platform in the UAE. It is being offered in du’s add-on French Package.

Laurent de Lorme, M6 Group Programme

Director & Programme Marketing Director, said: “M6 International gathers the best of M6 TV channel programming as well as successful flagship programmes from M6 Group channels (W9, 6ter, Paris Première and Téva). M6 International now allows francophone and French expatriate access to a diversified selection of high-quality content.”

PRONEWS

Zee Weyyak announces Originals, invests in European markets Following a spike in subscriptions with Covid-19, Zee Weyyak has invested in more original productions to ensure its platform is continuously refreshed with new content. As part of this, the platform has invested in three original in-house productions to feature exclusively on the platform this Ramadan – Layla Andi Bel Beit, Safi Albak and Al Damma.

Layla Andi Beil Beit is a culinary show showcasing different flavours of the Arab region, featuring celebrities and local people who bring various Arabic cuisines to the UAE, and will run for the whole month of Ramadan. Safi Albak is a talk show hosted by the famous Safaa Sultan, who will have an honest heart-to-heart discussion with two guests and potentially sing with a live band. With Al Damma, the host Majed Ajlany will be visiting an orphanage from where he will take one child to spend an entire day with a well-known celebrity and experience their lifestyle. At the end of the day, the celebrity will give the child a gift as a memory that can stay with them forever. Each episode will feature a different child and a different celebrity.

Although Weyyak has a big Arab following in the MENA region, Chief Business Officer Nadine Samra explains that the team has also seen a huge uptake for its shows in Europe.

“Throughout our launch, our main audience has been locals and Arab expats who love watching a variety of content. We have a lot of Arab audiences across the GCC and MENA. The UAE, Saudi Arabia and Egypt remain the biggest markets for us. We also saw a huge MAU [monthly active users] jump on AVOD in the MENA region. We doubled our MAU during Covid-19. However, we also saw a jump in subscriptions from Europe during the lockdown period, with significant engagement from France and Germany.”

Encouraged by this, Weyyak has explored more investment opportunities in the European market, she says. “Although Ramadan remains the month where the most budget is invested, as the competition for

eyeballs is at peak and we want to push our content, Europe is looking attractive. So we have a solid customer retention plan in place to ensure we serve our audience well.”

Part of that effort is the platform’s investment

Nadine Samra.

in in-house productions, as well as “acquiring and repurposing content to keep our bouquet of content offering very appealing to all tastes”.

“We have worked with many production houses this year and are looking forward to a great outcome.

“This Ramadan, our new strategy revolves around new original exclusive productions. We also have a variety of entertaining exclusive Arab and Indian content shows such as Al Kandoush, continuation of Oheboka W Aktar (season 2), Noqta Al Sater (season 3), Begusarai (season 3), Bebaakee (new season) and a remake of Quboul 2.0,” Samra remarked.

“Apart from our first in-house local production, Chicago Street, we have also introduced new social content formats. We went with live streaming on multiple social platforms with big celebrities, to get our fans to enjoy a special edition of dynamic content.”

Being part of the larger Zee network has been a big advantage.

“Leveraging on our Zee power when it comes to exclusive Indian content was fundamental to building a huge content library.

Now, adding to that our continuous investment in Arabic content acquisition and more recently our focus on creating our own original productions, has been really great,” Samra concluded.

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MENA’S One of the biggest MENA production houses has remained resilient in the face of the lockdown that crippled the production industry worldwide last year. Cedars Art Production (Sabbah Brothers) CEO Sadek Sabbah tells Vijaya Cherian how the company has continuously adapted since the early 50s, and discusses its Ramadan 2021 drama rollout Cedars Art Production (CAP) has released five 30-episode Ramadan productions this year, four of which will feature exclusively on MBC platforms, with its SVOD service Shahid VIP enjoying first window status in some cases: Moroccan series Slamat Abu Al Banat and Wlad El Amm, Egyptian productions Molook Al Gadaana and Lahm Ghazal, and a Levant series titled 2020.

The latter, starring Nadine Nassib Njeim, will launch exclusively on MBC in the GCC, on MTV in Lebanon, on Ro’ya TV in Jordan and on ART in Egypt. Although CAP usually produces around 14 TV series and a couple of movies a year, five is considered remarkable in an ecosystem that is still under partial lockdown and riddled by other recent regional challenges.

Heading the family-owned business started by his grandfather in 1954 is Sadek Sabbah, who joined the entity in 1978 and has run the show since 1981, along with his brother and partner Ali Sabbah and the new Sabbah generation.

Since the Sabbah brothers took over, Cedars Art Production has become a strong contender in the Arabic production market and in recent years has worked with the likes of Banijay, The Walt Disney Company, Netflix and Shahid. But the production house’s forte lies in creating Arabic productions and developing stories that cater to each of the Arab markets.

It all began with his grandfather, who “loved filmmaking and the theatrical aspect of the business but wanted to expand”, Sabbah says. “He sent one of his sons to Egypt for inspiration and they ended up investing in Egyptian cinemas first, and later in Lebanese cinema.

My uncle was dubbed the King of Egyptian Cinema.”

“I came into the business in 1978 during the video

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cassette era. My brother is the CFO, while I oversee the rest of the business; we have 125 people working in the group. Our children are mostly producers – we have four producers in the company. One for the Egyptian part, two working to serve the pan-Arab market and one focusing on the Moroccan area. Today we are innovating with our productions, serials, TV game shows, animation, theatrical plays adapted for TV and so on.”

Cedar Art Productions made headlines in 2018 when its hit Al Hayba was picked up by Netflix. CAP also produced the Lebanese series Dollar as another original for Netflix, which released it in August 2019. More recently, the production house collaborated with The Walt Disney Company – a first – to produce Sukkar Ziada, the Egyptian adaptation of American show Golden Girls. Also on the cards is Anbar12 – Untold Stories behind the Beirut Port Explosion.

Asked how it feels to work with international companies, Sabbah sums it up in one word – “complicated”.

“There are a lot more limitations and protocol to follow with international productions, but fortunately the restrictions were a lot less with Golden Girls, because it is a relatively older format. The idea was to bring back two Arabic divas from Egyptian cinema to the smaller screen. The challenge in this specific case was that we were working with older celebrities, which meant we could only work a few hours a day.”

CAP had the original 13-season Golden Girls run condensed into a 30-episode package. A new set was created in Lebanon for the purpose, with Arabic flavour and culture integrated into the series. The team also toned down the raciness, making it more palatable to an Arab audience.

Asked why CAP was chosen over other production houses,

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Posters of 2020 (l), which will premiere on a number of channels during Ramadan, and The Blue Eye (r), which debuted on OSN last month.

Sabbah speculates that, high quality aside, it has the ability to invest time and money in getting the work done, and “has the experience, the access and exclusive stars”.

“We spent 90% more time on these productions than we would on a normal Arabic production.

The hundreds of hours invested in meetings and emails was significantly different from our normal classical way of operating.

But having gone through the first one, we now know the ropes and are confident future productions will require less time.”

He points out that Arab audiences have a certain expectation of storylines, one that is perhaps not the current priority for international platforms looking to add Arabic productions to their portfolio.

“A trend we have noticed among international platforms is that they seem to be looking to create a catalogue of productions in different languages and genres, rather than focusing on specific storylines for the region as we do. So they are not necessarily competing with regional producers who want to infuse our productions with a local flavour and have the finer nuances that appeal to our world. They are competing on a worldwide level, and perhaps their priorities are different,” he speculates.

As a result, he thinks

“We have signed exclusive deals with many A-list stars and we work on two projects at least annually with each of them – usually one for Ramadan and one outside Ramadan” Sadek Sabbah, CEO, Cedars Art Production regional platforms with their finger on the pulse of the Arab audience will always have room to grow.

Cedars has its own priorities. Apart from wanting to focus on making high-quality Arabic content, it is also keen to help its productions travel. In fact, it has recently had considerable

interest from the Turkish market.

“We have the opportunity to have our productions dubbed for other markets, as we see huge opportunities there to work with international broadcasters. Al Hayba was the first Arabic content in 2018 from our portfolio to be dubbed and subtitled into many languages for Netflix, and we are in season five now. There’s a lot of potential to do the same with a lot of our other productions, and we are exploring that opportunity in greater detail now.”

While there is huge demand for Arabic productions, Sabbah rues how Covid-19 spoiled the party last year by affecting “where to shoot and how to shoot”. But Cedars has now got its act together and has a good strategy in place, says the 60-year-old chairman proudly.

“Last year, it was quite hard. But now we are back because we know more. Our groups are vaccinated and by the end of May, everyone will be vaccinated. This includes not just the people who have always worked for the company, but also freelancers who are part of our projects. In Lebanon and Morocco, everyone has been vaccinated. In Saudi Arabia, not yet. In Egypt,

Eghleb El Sakka is the regional avatar of the international format Beat the Star, a game show with Egyptian action movie megastar Ahmad El Sakka.

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Sadek Sabbah says CAP's biggest advantages are its understanding of Arab audiences, its willingness to invest and its access to celebrities.

there is no corona,” he jokes.

After a few weeks of being completely locked down, Cedars secured special permissions to continue indoor shooting. It hired a few beds in one of the central hospitals for its staff, bought medicine and oxygen from Dubai and Cairo and “followed the corona protocol”.

“We took all the precautionary measures and surrounded ourselves with the medical support we would require to protect our staff and continue doing our business. This is important, because last year we were under lockdown. This problem may continue for years; we have to adapt and survive.”

Asked how Cedars circumvented the production challenges that have cropped up in Egypt in recent years, with several production houses having to shut down and one production house favoured to produce most Egyptian shows, Sabbah says he strategically moved his

Egyptian productions to Lebanon.

“We only operate a bureau now in Egypt. Instead, we expanded our studios in Lebanon. Our studios are in the suburbs, around 15km away from Beirut.

We have brought all the accessories needed to build Egyptian sets, with a complete replica of Egyptian urban neighbourhoods in Lebanon, and built everything there. We flew everyone, from the stars and the technical artistic production team to those required for the Egyptian productions, to

“Our aim is to make a hit with a couple of Saudi projects.

If we succeed on one or two of our first projects there, it will boost their confidence in us and we will be able to build a whole production market there, like we have done in other Arab markets” Sadek Sabbah, CEO, Cedars Art Production

Lebanon and they stayed there for the duration of the shoot. The government supports us because they know production helps boost the country’s economy on so many levels: economy, tourism and media.

They are giving us many facilities.”

One reason CAP productions are sought-after is its work with celebrities, some of whom are exclusive to the production house.

Nadine Njeim, for example, has worked exclusively with Cedars Art for the last seven to eight years.

“We have signed exclusive deals with many A-list stars like Nadine Njeim (2020, Five Thirty, Al Hayba, Cello, Samra, The Way, What If), Taim Hasan (Al Hayba, Ana, Hajj Nohman Family, Cello, Half Day), Kosay El Khawli (Not Guilty, 2020, Five Thirty), and we work on two projects at least annually with each of them – usually one for Ramadan and one outside Ramadan. While there are celebrities who work exclusively with us as part of a deal, there are others who haven’t

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Taim Hasan in Al Hayba season 4 – a Levant action series that went beyond Arab borders and was translated into at least 34 languages.

signed deals but are also working in a similar way. It’s a win-win.

“I think the reason they do it, especially high-level celebrities, is because they don’t want to fail.

It’s not just about money for them; they also want to have safe projects, and most of our productions have been very successful.”

As a result, these drama series are in big demand. Cedars has a collaboration with MBC Group that gives the broadcast network a first look at its programmes.

MBC often acquires the bulk of them, but some do run on other platforms – for instance, a telenovela titled Aka Kharzeh Zarka (The Blue Eye) launched exclusively on OSN last month.

But not everyone can afford a Cedars production. Sabbah explains that all good things come at a price.

“I admit that our productions are a little bit more expensive.

But in any project, if you put a lot of expertise behind it in terms of directors, DOPs and big celebrities, ipso facto it brings up the production costs.”

The production house is not just spending on high-quality productions, it is equally invested in entering new markets and

developing talent there. A good example is Saudi Arabia, where Cedars Art is gearing up for a big launch. With a strong existing presence in Lebanon, Egypt, Syria, Tunisia, Morocco, Kuwait and the UAE, Cedars first entered the Saudi market in 2019 with the first

“A trend we have noticed among international platforms is that they seem to be looking to create a catalogue of productions in different languages and genres, rather than focusing on specific storylines for the region as we do” Sadek Sabbah, CEO, Cedars Art Production

A scene from Al Hayba Season 4, currently streaming on Shahid.

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season of Masrah Al-Saudia.

Sabbah’s passion for cinema and TV production is said to have spurred this theatre performance project, specifically designed for television. It also helped the company explore the Saudi market, scout for talent and check the feasibility of setting up a base there.

“I believe that live performance and theatre serve as a rich platform for future generations to experience the magic of stage performances.

Masrah Al-Saudia itself has gradually evolved into a real-life academy that is now managed by top actors, scriptwriters and directors who are now fully engaged in developing and allocating new talents to work first on this project. Then they will be able to expand their career in the TV industry with that experience.

“Today, Cedars Art has established three branches of this live academy – one in Egypt (Masrah Massr), one in Casablanca (Masrah El Maghreb) and the newest in Saudi (Masrah Saudia).

It makes me happy to help bring up new talents in different sections of our industry by transferring our team knowledge to them and train them and upskill them so it can reflect in turn in the media.”

Cedars Art was meant to open a facility in Saudi Arabia last year, but the global pandemic put the brake on that. Now

PROCOVER Kings of Chivalry is a 2021 release from CAP.

Cedars has revived the project, investing initial capital of $10m in partnership with RITIX, with the aim of developing that market.

“We will apply our expertise to Saudi content and Gulf content.

We want to train Saudi talent and bring them up to the levels that have been achieved in more mature markets like Lebanon, Morocco or Egypt. We started that process with Masrah Al-Saudia.

“Sometimes postponing a project also gives you an opportunity to plan and evaluate things better. Now we know how to enter this market in a smarter way. In Saudi Arabia especially, you have three different dialects, and you have to work on it. We are now more familiar with the type of stories that the audience there like, the stars that appeal to them, and we have identified some of the new generation of Saudi stars that will be right for our projects,” Sabbah explains.

In fact, Cedars is already working on two Saudi productions – a historical film and a 15-episode TV series. Their names are both under wraps.

“Our aim is to make a hit with a couple of Saudi projects. If we succeed on one or two of our first projects there, it will boost their confidence in us and we will be able to build a whole production market there, like we have done in other Arab markets. We are known to be successful with introducing new concepts, and now, in this part of the region, we need to concentrate more and allocate more time and resources.”

Sabbah’s plans for Saudi Arabia are all theatrical releases, but he knows the situation means they may be on other platforms prior to that.

“Even if it is not released in theatres, we want to continue making grand productions. This is a new concept. We are talking to platforms who are willing to pay us to exclude the theatrical

“We will apply our expertise to Saudi content and Gulf content. We want to train Saudi talent and bring them up to the levels that have been achieved in more mature markets like Lebanon, Morocco or Egypt” Sadek Sabbah, CEO, Cedars Art Production and the traditional windows, and this is up to them. We make big productions even if we will not be able to put it in

Not Guilty is currently streaming on Shahid.

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theatres. But we will make the same kind of buzz around it.”

Cedars is also looking at other new ventures. For instance, it is eying a new set of talent, namely influencers. Another element it is exploring is the adaptation of well-known Arabic novels for the big and small screens.

“We think there are some bloggers and influencers out there who have the potential to become acting talent if we train them well. They already have a large fan following.

We have also bought the rights to some successful novels like those of well-known Egyptian novelist Naguib Mahfouz, and we are starting to pick out the stories that we can best adapt either for the traditional screen or for newer platforms.”

Sabbah believes this is a great period for content, when one is no longer limited to the markets one operates in but has the potential to reach audiences beyond the Arabic territory.

“There’s so much more opportunity now. Before, we were limited by geographies. Now with the expansion of digital platforms, our market has become global, which is why we are looking to take our regional productions to

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international markets and have invested in dubbing a number of our Levant series in Mexico to be specifically offered to the LATAM market and so on.

We are exploring new formats and constantly innovating.”

Sabbah cites a new Moroccan cooking programme hosted by famous chef Rim Chami.

“We are in the last stages of finalising this production. I think we will shoot by the summer. She flies to different countries to pick up her ingredients. Sometimes she has to take a flight, but she will do what it takes to get the right flavour, because it’s not just important to see the ingredients on the table but where she goes to bring them.

She will then cook each time with a new family. It’s a new format, but it is integrating traditional cooking and it will appeal to everyone.”

“I admit that our productions are a little bit more expensive.

But in any project, if you put a lot of expertise behind it in terms of directors, DOPs and big celebrities, ipso facto it brings up the production costs” Sadek Sabbah, CEO, Cedars Art Production With five different widely-spoken dialects of Arabic, Cedars will stick to white Arabic for this production.

“The most commonly understood dialects are maybe Levant, Iraqi, Egyptian, Sudanese and Maghreb.

White is understood by everyone.”

Apart from the Western platforms, one other key market taking notice of Cedars Art is Turkey.

Sabbah calls this a milestone.

“For years, the Arab market has

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bought Turkish productions, and I don’t think an Arabic drama format has ever travelled to Turkey.

So it’s great that they are now looking to acquire some of our productions. We are in talks with an important Turkish studio to make a Turkish version of Al Hayba. It’s a big market and a big competitor, and so we are really happy.”

At 60, Sabbah is still replete with new ideas to ensure Cedars Art remains a powerhouse; but in our conversation, he seems to hint that old age is creeping up on him.

Perhaps the mantle will one day need to be passed on to someone younger. But for now, he appears to thoroughly enjoy what he does, travelling across different parts of the Arab world, negotiating deals and ensuring that his company continues leading the way in the Arab media Industry.

The Industry Professionals’ Choice

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April 2021 | www.broadcastprome.com | 23

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CONTENT PRODUCTION IN MENA: DIGGING DEEPER INTO THE DYNAMICS

The Arabic content market is a complex labyrinth that requires a fair degree of expertise to navigate, and the entry of new platforms has added to this complexity. Content expert Heba Korayem takes us through some of the twists and turns of the industry's production scene Eight years ago, the Arabic content industry was fairly straightforward when it came to the monetisation life cycle of a video asset, like an Arabic drama series or a movie. A tight-knit TV industry thriving on personal relationships meant that a limited selection of production houses produced content for TV/ theatre, with a simple windowing process that normally only involved theatre (for movies), followed by pay TV, then free TV. Finally, almost everything landed on YouTube for residual revenues, a convenient and cheap catch-up solution. In most cases, the monetisation cycle only went through the last two stages, especially during the month of Ramadan.

This lasted until roughly 2017, when OTT platforms started popping up in MENA at almost the same rate as linear channels on satellite back in 1997.

Fresh demand was created by these new buyers coming into the Arabic content marketplace.

However, in an industry still almost fully funded by ad spend rather than subscription revenues, the acquisition budgets of the digital newcomers were too small to justify ramping up production, leaving the monetisation life cycle of a video asset in limbo. While content distributors had a bit of fun splitting the rights of video assets even further to cater to the small budgets of OTT platforms, YouTube had an abrupt 92% decline in

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video assets uploaded, as witnessed in Ramadan 2019.

To cut a long story short, this is how many OTTs started off in the MENA region – catch-up services for linear channels, slightly more monetisable YouTube replacements. However, this only lasted a year or so, as OTT platforms struggled to figure out a monetisation strategy in a region used to receiving free Arabic content.

Needless to say, OTTs decided to gain a competitive edge by going into production, aka Originals.

Shifting trends If you recall, Netflix announced its expansion into MENA back in 2016. That was probably bad news for pay-TV networks in the region, but for regional production houses, it meant new commissioning opportunities and new money.

Netflix started investing in Arabic content a year later, releasing Emirati drama Justice in 2017. Interestingly, the first regional OTT platform to release its own Original production in the region was ICFlix in 2014, with Egyptian movies HIV and Al Makida, titles and genres that were a perfect fit for an OTT platform.

However, the concept of SVOD back then was too premature to gain traction. Fast forward to 2021 – in just seven years, the MENA region has witnessed the rise and fall of three OTT platforms, the birth of some more, and more than seven telcos

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Investment in Arabic content by OTTs does not translate to significant ROI in the form of ad spend or subscription money, says Heba Korayem.

acquiring content for their own IPTV and OTT solutions. Recent content market studies released

by Dubai-based companies such as DICM, vynd and mena.TV all point to the good news that OTT is indeed flourishing in the region, implying new money in the marketplace.

We should then all celebrate the digital content revolution, because subscription revenues will finally save the industry from being fully dependent on ad spend, right?

Wrong.

The industry is still fine-tuning the balance between SVOD models and ad-supported monetisation, whether digital or linear, but one thing is clear: both international and regional OTTs are now setting aside budgets for exclusive Arabic Originals. That’s music to every producer’s ears, because it means content is privately funded for the purpose of increasing the valuation of an OTT platform, not necessarily immediate profitability.

Investment in Arabic content

by OTTs does not translate to significant ROI in the form of ad spend or subscription money, not for the next couple of years.

However, the fact that MENA

viewers are finally starting to open up to the concept of paying for content is to be celebrated.

“In just seven years, the MENA region has witnessed the rise and fall of three OTT platforms, the birth of some more, and more than seven telcos acquiring content for their own IPTV and OTT solutions” Heba Korayem, Content Marketing Consultant, H. Consult

Where’s the money?

A market scan reveals three international OTTs already investing in the region, and at least three more trying to properly expand into MENA within the next year. By ‘properly’, I mean investing in Arabic content, not just having a payment gateway or a small free zone office in Dubai.

There are five regional OTTs investing in Arabic content and at least two more scheduled to launch in 2021, boasting about doubling or tripling investment in Arabic productions for OTT. Now, before international format distributors and regional production houses start rolling up their sleeves, they need to understand what to start pitching, to whom. In other words, what content is going to sell, and what do audiences want to see?

In a unique region where the source of audience data is a controversial topic that is frequently debated, and with digital platforms not releasing audience share or ratings data, this is a million-dollar question. However, I’m going to run some simple non-algorithmic AI (Actual Intelligence) to analyse the production trends of platforms over the past few years, drawing conclusions to help understand what sort of Arabic content these OTTs are demanding.

We all know drama sells in MENA. That’s why a whopping 56% of OTT releases are drama series, 40% of them portraying societal stories/relationships – OTTs have chosen a conservative ‘if it’s not broken, don’t fix it’ approach.

However, since the start of OTT production releases in 2014, new genres that Arabic viewers were not used to seeing on linear EPGs have been successful on OTT platforms: thrillers, suspense, crime, mystery.

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Dahaya Halal was touted as a bold Saudi production but was pulled off air after it sparked outrage among more conservative viewers.

From 2014 to 2019, 12% of OTT releases were in these genres. 2020 alone saw a 19% YOY increase.

This tells me two things. First, it took three years for OTTs to realise that what works on linear TV does not work on a solo digital watching platform. Second, you can be a lot more creative and experiment with different genres if you’re pitching to an OTT platform.

While the second point is good news for the creative crew, I wouldn’t get too creative, because censorship rules in the region remain vague – as witnessed with Dahaya Halal, or Halal Victims, with which Shahid boldly announced it was ready to take on Netflix.

Despite hundreds of thousands of dollars spent on this production, it didn’t make it past the fourth episode. It was ordered to be taken off the platform immediately.

Now that we know what genres are trendy, we’ll look at who and how. Who is the target audience, and how many episodes? In 2020, 36% of all OTT releases were in Egyptian dialect – as expected, since it‘s the most widely understood and

“We all know drama sells in MENA. That’s why a whopping 56% of OTT releases are drama series, 40% of them portraying societal stories/ relationships – OTTs have chosen a conservative ‘if it’s not broken, don’t fix it’ approach” Heba Korayem, Content Marketing Consultant, H. Consult

Dantelle is a Lebanese romantic drama produced by Eagle Films.

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familiar dialect in the Arab world.

No surprises here. 26% were in Gulf dialects, mainly those of Saudi Arabia, Kuwait and the UAE. 13% of releases were in Levant dialects, mainly those of Lebanon and Syria.

These are all expected trends.

We already know that Egyptian content sells and Khaleeji content pays. Not rocket science.

The unusual trend is in the part of the pie chart labelled ‘other’.

15% of 2020 releases were “mixed dialects” – a new trend rarely seen on linear TV but adopted by OTTs positioning themselves as pan-Arab, mainly Shahid and OSN. Why is this a cool trend? Because it implies collaboration, co-production and cohabitation. (Maybe not the last one, but you get the idea.)

In a nutshell, it doesn’t require too much content market intelligence to figure out that the entities currently spending on Arabic content are no longer the linear channels, but the OTT platforms.

The key difference is that OTTs have access to their own real-time viewership data; they will never publicly reveal it, but a quick scan of their libraries is enough to get a general understanding of acquisition trends and production preferences.

Now is the time to try new genres in MENA. Shorter episodes and mixed dialects (Lebanese, Saudi, Egyptian) seem to work for Shahid, the region’s biggest platform.

The content industry is currently experimenting, so it’s a good time to go in with fresh ideas. Whether this subtle risk-taker approach will become a new norm is up for debate, but the good news is that right now, unlike any time before, we can confidently say that the MENA content industry has potential money in two places instead of one: ads and subs.

I believe there’s actually money in three places – but that’s for a different article.

PROTECH

HYPERCONVERGENCE IS HERE TO STAY

With an unprecedented number of people at home seeking entertainment, the appetite for visual content has never been higher and the challenges of providing that have been even greater.

A hyper-converged solution is the answer, says Paul Cameron With the onset of the pandemic and the subsequent lockdown, studios, on-demand services and TV networks have had to quickly come up with ways to meet the increasing demand for new content. This has been made all the more difficult given that the industry creating the content is rapidly having to adapt its own business practices.

Studios that are able to quickly adjust infrastructure, keep up with productivity and meet content demands are able to stay competitive. A hyper-converged solution is an approach that creative media businesses can take to stay agile and keep infrastructure costs low.

When it comes to media data storage, studios and broadcasters have historically depended on on-premises hardware supplied by the major data appliance vendors. Aside from a few exceptions, the majority of these vendors have not yet included cloud-based solutions in their offerings.

For these vendors, that makes good sense. Any data moved off their on-premises systems and over to cloud instances is lost business. To guarantee long-lasting profitability, many vendors lock clients into contracts for a number of years, charging extra for maintenance or to move data when the contract period ends.

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This limits the flexibility of a media creation company as it grows as a business. Once locked into one of these contracts, the only available solution for upscaling storage needs is to add more capacity to the existing appliances. This in turn can be very limiting if different business requirements arise, such as workloads delivered from the cloud, which is precisely the scenario that many studios are working in today.

This is where hyper-converged infrastructures that leverage software-defined technology come into play. Having a softwaredefined solution built into the storage layer removes the limitations associated with hardware appliances. It gives studios the ability to choose which vendors to work with, when and if needed. This subsequently brings down prices for companies and empowers them with ultimate control over their data.

Integrated remote workflows for better user experience Many studios today work with remote teams, running virtual workstations that need connectivity to the studio. Operating within one integrated system guarantees workflows like this can be automated and therefore more efficient. Software with an open API or written in a common coding language such as Python makes it a lot easier for studios and broadcasters to

PROTECH

“Hyper-converged infrastructure offers studios scalability and agility, creating streamlined deployment workloads, optimised infrastructure performance and the option to move costs” Paul Cameron, Managing Director, Pixit Media

integrate the solution within their existing system. And this level of operation is only truly made possible by having in place a software-defined solution within the storage layer.

Cost-cutting solution If the only way studios can grow storage capacity is by buying another tray, blade or disk from their appliance vendor, naturally the people in control of the price of that solution won’t be studios themselves. A hyper-converged infrastructure gives studios the freedom to choose where to grow their capabilities, whether onpremise or in the cloud. They can spend on whatever is the biggest, fastest, best solution in the market.

Naturally, a free market means competition among hardware

manufacturers for market share, consequently reducing prices. If a company is tethered to a vendor, there is no competition, and therefore the vendor sets the price and the ongoing costs of managing that system.

That’s not to say that on-premises hardware has become obsolete – cloud isn't the solution for all data challenges.

There are still huge costs associated with cloud usage, costs not always accounted for beforehand, which can be especially difficult for planning project budgets and bidding for work.

Studios need to take a considered approach to how they design their storage infrastructure, and hyperconvergence may be the answer.

Vendors that offer software-defined solutions to data management should have a consultative approach with clients, prescribing the attributes of the technology that needs to be purchased for the software that will sit on it, whether that’s hardware appliance or cloud. Ultimately, the customer can choose at any point which vendors it wants to buy from.

That might be based on new offerings with better performance or cost, or even new entrants in the marketplace. It could be a number of different things. Regardless, the software works as the technology linking all workflows and applications, moving data between premises and the cloud intelligently – and, more importantly, giving studios the flexibility to expand as and when they wish.

Take media agencies with large

amounts of archive data, for example. If the storage solution in place is a legacy system such as Storage Area Network (SAN), it’s very likely that additional hardware will be required for the backup. To avoid having a complicated stack of on-premise assets to manage and pay for – only to move old data around to keep it safe – some companies deploy a hybrid storage model with different cloud instances built alongside SAN. Hyperconverged infrastructure removes the complexity and overhead of data movement by automatically tiering within the same namespace across cloud, file system, tape and on-premises devices into the ‘right cost’ resource, according to value and usage as work teams and business needs demand.

Hyper-convergence is here to stay Anyone can tell you that technology moves quickly. Hyperconverged infrastructure offers studios scalability and agility, creating streamlined deployment workloads, optimised infrastructure performance and the option to move costs. It simply gives media enterprises a choice.

My advice is: Don’t get locked into platforms that don’t offer the flexibility to make your own choices in the future. Stay agile.

One thing’s for certain, hyperconvergence is here to stay.

Paul Cameron is Managing Director at Pixit Media.

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PROREVIEW

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PROREVIEW

ALL FIRED UP TO USE THE RED KOMODO

The RED Komodo is one of the year’s most anticipated products – it promises 6K, is a small form factor cinema camera, and is the most costeffective piece of kit to emerge from the RED stable. Freelance DoP Andrew Clemson and focus puller Koko Boutchakjian take it for a field test The Komodo is a far cry from the original Red One or even the DSMC1/2 series of cameras. A tiny cube, very similar in form factor to a Z-Cam, it weighs under 1kg unrigged on its own and features a 6K global shutter sensor with a brand new colour science. The global shutter alone is enough to make this model interesting to most people, allowing more natural action and elimination issues with strobing light, but the new sensor also performs particularly well in terms of highlight roll-off.

Like all RED cameras since the introduction of the EPIC, the Komodo is modular. This allows people to design their rigs from the ground up to suit the nature of the content they plan to capture.

One of the most interesting aspects of the new design is that it has done away with one of my personal pet peeves over the years, RED cameras’ lack of support for third-party media. The Komodo accepts CFAST2.0 memory, which is usable across a number of different cameras, making it a boon for rental houses that don't want to invest too heavily in one type of card.

Like its larger siblings, the Komodo records both Redcode Raw and ProRes to the internal cards at resolution and framerate combinations, with record times dictated by the option you choose.

At the highest quality, you’ll get just under an hour of material per TB. The Komodo is the first RED camera to feature a built-in screen for monitoring.

Like the rest of the camera, it’s tiny,

April 2021 | www.broadcastprome.com | 31

PROREVIEW

so not much use for focus (even though it does have peaking), but in a pinch you can certainly use it for framing, fantastic in a crash cam situation. The Komodo also features full 4K out via a 12G SDI port, which gives you the option to record to an offboard monitor or recorder for proxies, backup record or just use instead of internal memory if you have a lot of SSDs for long interview situations.

The last way to monitor is via an ad-hoc WiFi network straight to your phone or tablet. While there is (very low) latency, I’d say this is more for framing or remote viewing than for real-time focus.

When I first heard of the lens mount choice on the Komodo, I had no experience with RF lenses so was a bit surprised, but having seen what it allows the camera to do, I’m an instant

“If you’re shooting for 4K native delivery or just want to run with the smallest camera package possible for high-intensity shooting without rolling shutter issues, the Komodo is your answer” Andrew Clemson, DoP convert. The brain features a Canon RF mount, previously seen on Canon’s mirrorless range of stills/hybrids. With a similar shallow flange depth to the ever-popular MFT and E-Mounts, this offers the same adaptability in the form of mount adapters, to allow electronic control of a whole range of lenses. I’ve shot projects on the Komodo using both EF lenses and PL mount cinema lenses, but you really can’t discount the RF lenses that work natively.

Andrew Clemson says the Komodo is an ideal choice for a first-time RED buyer.

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The Komodo autofocus is fantastic. Using Phase Detect AF, you can use native RF (and EF via an adapter) lenses to track subjects and maintain autofocus. I haven't tried the native lenses, but I can only assume they work faster than the EF we had via adapter.

Taking another nod from Prosumer cameras, the Komodo has two power slots on the back that accept BP batteries. While that would spark alarm in the larger RED cameras, the Komodo has very low power consumption in comparison, allowing around two hours of operation on a single charge when using a larger capacity BP battery.

The two slots double this capacity and allow hot swapping. You can, of course, use a V-Lock battery via an adapter, for even longer run times and power accessories via D-Tap – around five or six hours with a

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PROREVIEW

Koko Boutchakjian was one of the first to invest in a Red Komodo in the UAE.

larger capacity battery, absolutely crazy for a cinema camera.

Audio-wise, the Komodo has only one 3.5mm jack. This is unsurprising given its size and real strength as a crash/action camera. You can feed a scratch mic into the brain to capture audio, but you would want to capture any important audio via an external recorder and sync.

The camera itself is very quiet.

I actually found my Atomos monitor to be much louder, which is very surprising for a RED! The real strength of the Komodo is the fact that it is so compact and portable. Though once you throw in V-Lock batteries, PL mount lenses, matte boxes and other KAS, you find yourself in the same size and weight territory as with one of the larger DSMC2 cameras.

I have a RED Gemini, and during the shoots on which I’ve used the Komodo, I didn’t feel any real difference between the two. But, when using the native batteries and a small prime lens, it’s small enough to be used like a DSLR, or

“The Komodo autofocus is fantastic. Using Phase Detect AF, you can use native RF (and EF via an adapter) lenses to track subjects and maintain autofocus” Koko Boutchakjian, focus puller and owner of Media Max on one-hand gimbals like the Ronin-S. So that brings me to the real question. Will this replace the other RED cameras in the wild?

This comes down to a few factors. Is this the only RED you have access to?

What kind of material are you be shooting, and how do you need to capture it?

The answer, when you look at all these factors, is no.

Each RED camera has a unique role. The Komodo is a 6K camera with the ability to capture footage up to 40FPS. If you need to capture footage at a higher resolution, the Helium or Monstros (which also gives you a fullframe option) are still necessary. The sensor, while working admirably, is not

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as good as the Gemini in low light.

But if you’re shooting for 4K native delivery or just want to run with the smallest camera package possible for high-intensity shooting without rolling shutter issues, the Komodo is your answer. I can also see it as a mainstay for remote documentary filming, due to the ability to carry multiple days of power and media in a single backpack.

It can of course be an A camera in most situations if needed. The Komodo still shoots 6K resolution Redcode Raw and will no doubt become an indie film darling. For people wanting to get into the RED ecosystem, the Komodo is an obvious choice, given its absurdly low price point. If you’re already a RED owner, it can be an unbeatable B or C camera, rather than an outright replacement. But if I was buying a RED for the first time?

The Komodo in a heartbeat.

Andrew Clemson and Koko Boutchakjian are both passionate camera experts based in Dubai.

PROPRODUCTS

Ross announces Inception Ross has announced that V15 of Inception, its newsroom computer system (NRCS) and social media management tool, is now available to customers. This latest release includes a range of new features, with a focus on two key areas: Assignment Manager enhancements and MOS device permissions.

New features help improve planning, including the introduction of duration-based, all-day and multi-day events.

There is also improved visibility of timing information for content created in the Assignment Manager and increased search capabilities to allow better

planning and communication.

Version 15 adds the option to set user permissions by MOS device, meaning some users may be able to create and modify MOS objects for all configured devices, with others given more limited access. This allows more granularity in workflows and is powerful in an enterprise environment where multiple teams may be using the same Inception instance.

These features were developed and prioritised with input from existing Inception users. www.rossvideo.com

ARRI creates COVID-ready workflow toolkit

ARRI has released a new toolkit called Remote Solutions that can be customised to meet near-set and off-set workflows. This remote production ecosystem allows professionals to safely and immediately get back to work without compromising operational and creative control.

With a complete system of connected ARRI cameras, lights, remote heads and accessories that can be remotely controlled, ARRI Remote Solutions offers workflows that enable safe social distancing between talent and crew, as well as between crew members. Professionals can leverage technology from an industry veteran and produce

cinematic quality with near-set and off-set workflows for broadcast, cinema, live events, corporate, sports, music video production, fashion and more.

One application used is Stellar, an intelligent lighting control app from ARRI that provides a smart way to control professional lighting.

It allows gaffers to change colour temperature and output without touching lights or approaching talent. Products such as the WCU-4 and the ERM (External Radio Module) allow crews to control focus and camera movement from a greater distance and through barriers such as concrete floors or walls, while the Stabilised Remote Head enables cinematic camera movement and can be combined with a robotic dolly for near-set movement. www.arri.com

Mo-Sys and HYPER Studios launch StarTracker Sports Studio Mo-Sys Engineering, a virtual production and image robotics company, and UK firm HYPER Studios, a cloud broadcast graphics creator, have designed StarTracker Sports Studio, the first virtual production system with datadriven sports graphics. It combines a complete virtual production system based on Epic Games’ Unreal Engine, capable of generating moving camera virtual studios, augmented reality (AR) and extended reality (xR), with

a state-of-the-art HTML5 sports graphics system.

An ever-increasing number of sports broadcasters use virtual studios and AR with data-driven graphics, where each graphic type is generated by two separate graphics systems. However, rather than simply keying standard overlay graphics on top of a virtual set, sports broadcasters are now asking to integrate data-driven graphics inside the virtual studio – for example, making them appear inside

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a virtual monitor or synching them to an AR animation where the graphics need to match the style and branding of the AR virtual graphics.

StarTracker Sports Studio enables in-context design of photo-realistic virtual graphics with data-driven sports graphics, simplifying the creation and operation of this new approach to virtual sports graphic presentation.

“We have engaged with many sports broadcasters in order to capture the full spectrum

of graphics functionality and workflows that they need now and going forwards, in order to cover major events,” said Michael Geissler, CEO of Mo-Sys. “Working with HYPER Studios, we have designed a system that allows a sports broadcaster to create integrated and in-context virtual graphics content, and as a result produce more engaging and differentiated content for their viewers.” www.mo-sys.com

PROPRODUCTS

TRACAB announces release of Coach Paint 8.2 TRACAB, a ChyronHego brand, has launched Coach Paint 8.2, sports-agnostic coaching analysis software. This version enhances Coach Paint with improved timeline features and more robust formation visualisation, upgrades to flash detection, and introduces Coach Paint Training Ground,

a mobile tool that makes telestration and video review immediately available to coaching teams before, during and after a match.

Coach Paint Training Ground provides access to Coach Paint software through a one-input, one-output mobile platform that allows

More Thunder from Sonnet’s new card reader

Sonnet Technologies has launched the Sonnet SxS PRO X Thunderbolt 3 single-slot card reader, the latest model in its family of professional media readers. It features a 40Gbps Thunderbolt 3 interface and is powered through the cable that connects it to the computer.

SxS PRO X is the latest version of the SxS memory cards developed by Sony for use as onboard recording media in many past and current Sony and ARRI pro digital video cameras and camcorders.

Compatible with Mac and Windows computers with Thunderbolt 3 ports, the SxS PRO X card reader ingests footage from all SxS media at their maximum supported speeds. Designed for demanding workflows, it is built with a pocket-size aluminium enclosure and includes a separate Thunderbolt 3 cable. These features enable users to integrate the reader into any workspace or workflow and pack it easily into

a computer bag or backpack.

SxS PRO X cards feature an upgraded interface (PCIe 3.0), enabling them to deliver speeds nearly three times as fast as the last-generation (PCIe 2.0) cards. But for a user to take advantage of the performance gains, a card reader with the new interface is also required.

Not only can the Sonnet reader deliver maximum SxS PRO X ingest speeds of up to 1,250MB/s – cutting ingest time by more than half compared to previous readers – it also supports every previous generation SxS card at the card’s maximum rated speed. It also ingests from XQD and SD memory cards when used with XQD and SD card adapters (sold separately).

Measuring 2.8 inches wide by 4.1 inches long by 0.8 inches high, the Thunderbolt 3 single-slot card reader is the smallest SxS PRO X card reader available.

coaching teams to instantly telestrate video, highlight coaching points and review plays. Designed for intuitive use during live play, it brings a new dimension to coaching and in-game decision-making.

Coach Paint comes complete with an array of digital tools suited to help coaches to

visualise formations and players, to improve positional awareness. Using graphics and techniques familiar from live sports broadcast and analysis shows, the TRACAB software gives the coaching staff more detailed and digestible insights. www.tracab.com

Litepanels brightens with Lykos+ mini-LED panel Litepanels has launched the next generation of Lykos mini-LED panel lights. The new Lykos+ Bi-color LED panel is one of the smallest in the Litepanels range, but features an output 40% brighter than the previous generation, delivering 2,000 lux (@3ft/1m) of accurate white light at any colour temperature from 3,200-5,600K. Incorporating advanced LED and lensing technology developed for Litepanels’ Astra range of 1x1 panels, Lykos+ offers broadcast-quality lighting – with a CRI of 96 for true-to-life colour accuracy – in a fixture that weighs just 500g. Lykos+ is designed for remote locations or tight spaces and provides over two hours of operation via its built-in L-series/NPF battery mount.

The mini light offers multiple mounting options or can be hand-held with a sturdy hand grip. Stand-mounted, taped or tied, Lykos+ is designed to integrate easily into any lighting scene. Brightness and colour temperature are controlled by two dials or via the Litepanels SmartLite Director iOS app with an optional Bluetooth dongle.

Lykos+ is available from Litepanels authorised retailers as either an individual fixture or as a Flight Kit incorporating three lights, stands, filters, softbox and a Peli rolling flight case. www.litepanels.com

www.sonnettech.com

April 2021 | www.broadcastprome.com | 37

PROCABSAT

CABSAT 2021: THE NEXT FRONTIER OF CONTENT After conducting a virtual edition last year, CABSAT is back for an inperson gathering and exhibition. Thomas Löffler, AVP, Exhibitions, Dubai World Trade Centre, takes us through some of the key features this year

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, Thomas Löffler. 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

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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 faceto-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.

PROCABSAT DWTC ushered in the return of major in-person events with GITEX Technology Week 2020.

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.

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

“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” Thomas Löffler, AVP, Exhibitions, Dubai World Trade Centre 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

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-andcoming 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-bereleased 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 includ ing government and military, maritime, aviation and enterprise.

April 2021 | www.broadcastprome.com | 39

PROGUEST

“Ultimately, SMPTE adopted the basic transport and synchronisation principles of AES67 and brought them into the SMPTE ST 2110 set of professional-media-over-IP standards”

Past, Present and Future: AoIP Standards in Broadcast The AES67 standard has been at the heart of audio over IP since its publication in 2013. Defining a minimum set of requirements essential to interoperability at the IP layer, AES67 fulfils the requirements of professional audio while remaining easy to adopt.

Right about the time AES67 was published, SMPTE was exploring the use of IP for the transport of video, audio and related data. Any media format or media data can be encapsulated into IP, and AES67 proved that this approach could work. AES67 successfully handled key principles of operation related to IP transport – and the critical task of synchronisation, in particular – in a manner that could be applied to transport of video and data as well.

Ultimately, SMPTE adopted the basic transport and synchronisation principles of AES67 and brought them into the SMPTE ST 2110 set of professional-media-over-IP standards. For the audio part (ST 2110-30), SMPTE references AES67 but adds a few constraints, mostly by removing some less important requirements mandated by AES67 and adding optional conformance levels regarding channel number and packet time recommendations, for better accommodation of typical broadcast production requirements.

Because AES67 accounts only for 16- and 24-bit linear PCM formats, SMPTE created ST 2110-31 to accommodate AES3, another format originally defined by AES for serialised audio transfer on a bidirectional link

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(including MADI). AES3 has bits in addition to 24-bit PCM data that can be used to also carry other data, such as compressed or non-audio data as defined by SMPTE 337 and 338 (e.g., Dolby E, serial ADM). ST 2110-31 was built on the proven RAVENNA AM824 format for bittransparent AES3 transport over IP. Progressing with PTP Both AES67 and SMPTE ST 2110 are based on Precision Time Protocol (PTP) version 2.0, which dates back to 2008. Officially known as IEEE 1588, PTP outlines a standard protocol for synchronising clocks connected via a network. The release of the backwardcompatible PTP version 2.1 in 2019 introduced new features that allow broadcasters to take advantage of new and future IP-based audio and video solutions without the need to replace all their version 2.0 infrastructure.

Broadcasters working with PTP v2.1 will benefit from enhanced accuracy, flexibility, robustness and security.

Enhancing Control via NMOS While AES67 and other standards for IP audio address the transport layer, it is more difficult to agree on a common standard for upper-layer functionality. Nevertheless, recent efforts by AMWA with NMOS – and IS-04, IS-05 and IS-08 specifically – address discovery, registration and connection management, along with audio channel mapping.

These specifications support the move to a common control layer, in turn allowing broadcasters to use

a single control interface for multiple devices, even when those devices themselves have proprietary interfaces.

Crossing the WAN Together, AES67 and SMPTE ST 2110-30 and -31 cover virtually any scenario for transporting audio across IP networks.

Both standards are designed to work in real-time production environments, mostly running on local or tightly administrated corporate networks.

However, successfully transporting AES67 across a provider’s IP link without complete transparency or the guaranteed performance of a local area link can be challenging. For this reason, AES SC-02-12-M (the same group which developed AES67) is in the process of finalising an engineering document describing the challenges associated with running AES67 across wide area links, including cloud-based distribution.

Embracing Immersive Audio With object-oriented audio becoming more popular, the AES X241 working group has been examining the use of pure AES67 to distribute audio objects along with a separate stream for audio object metadata, with PTP ensuring accurate synchronisation as these elements are reassembled upon delivery. SMPTE is looking at the same challenge, albeit through a wider lens, with ST 2110-41 – ‘fast metadata transport’. The expectation is that these efforts will ultimately yield results that are consistent across AES and SMPTE standards.

Andreas Hildebrand is a RAVENNA evangelist.

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