BroadcastPro ME May 2023

TORCHBEARERS OF PROGRESS

Three remarkably ambitious women shatter stereotypes and take the lead in broadcast workspaces

Powering UI for FAST, xVOD, OT T, DTH

Localized Content Metadata for MEN A Rich Content Genres & Keywords

Curated Regional Content Recommendations

Games Metadata

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

Director of Finance & Business Operations

Shiyas Kareem shiyas.kareem@cpitrademedia.com

+971 (0) 4 375 5474

EDITORIAL Editor Vijaya Cherian vijaya.cherian@cpitrademedia.com

Usually, when you return from NAB, people are gushing about new trends or technologies that they believe will take the industry in a new direction. While we did see a lot of that at the show, I think the big news this year was from the Las Vegas Convention Center (LVCC) itself. The addition of the new West Hall this year meant a 20-minute walk to the rest of the action. However, the new LVCC loop sweetened the process with Tesla cars waiting at the stations outside the Central and West halls to take us on a 90-second drive through the $47m underground tunnel to get to the other side. It was a lot of fun with everyone going on a jolly but with plans to have only the North and West halls in 2024, those wait times could be a lot longer.

In the meantime, while there were some impressive technologies around AI, AR/VR and the cloud, the one product that stood out for me was the Home Apps solution from Lawo, primarily because it is relevant to all broadcast facilities. Andreas Hilmer of Lawo called it “the great pyramid of wasted processing”.

“Whenever you invest in a server, you buy for the maximum capacity you require although you rarely use any of that on a daily basis,” he explained.

The rest of the time, that

resource lies there under-utilised although it continues to consume the same amount of power. Now consider how many racks, servers, etc a broadcaster has for its studios, control rooms, PCR, MCR and so on. Typically, facilities invest in standard Dell or HP servers and they are not designed for dedicated processing. So, if anyone has a pool of processing power on-prem or in the cloud, this little app can help redirect that compute power and allocate it based on requirements to different processes, thereby maximising its potential. Of course, I have over-simplified it.

But essentially, you are just redirecting processing power as required. I thought this was a given at most facilities.

This year, with all the science fiction I have been watching with the teen, I was half expecting to see AI technologies that would self alter and dynamically adapt to the needs of each viewer, but it turns out we are still figuring out some pretty basic stuff. Perhaps at CABSAT there will be more? See you there!

Vijaya Cherian, Editorial Director

left: Christina Varghese, Pauline Hunter and Dina Nimer.

Evolution Wireless Digital EW-DP

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Inside this issue

05 NEWS

Orchard Clips announces availability of Arab cultural footage; Neom launches sound stage; Rise Studios and Parrot Analytics partner; CABSAT to host co-production salon; 1001 surpasses 1m users within three weeks of launch; and more

18 LIGHTS, CAMERA, AI!

Filmmakers will no longer have to handcraft every single visual effect or animation in their videos. AI is starting to take care of content generation, voice cloning, hyper-realistic looks and accurate language dubbing, among other things.

PRIDE AND PREJUDICE:

WOMEN BREAK STEREOTYPES

As part of our series on women in broadcast, we bring you three special interviews this month.

20 With Pauline Hunter, Head of Presentation and Broadcast Management Systems, OSN

26 With Dina Nimer, Head of Media Operations, Al Arabiya

30 With Christina Varghese, Senior Technical Operations Manager, BBH

34 THE FUTURE OF SPORTS BROADCASTING

Broadcast experts discuss football, cricket and the power of sport to rake in the dollars.

48 THE POD SQUAD

From podcasting platforms to self-service recording studios, we look at podcasting services emerging in the MENA region.

53 CABSAT SHOW ISSUE

A look at what exhibitors have in store for this edition.

THE BIG NEOM PRODUCTION SHOWCASE

THE FUTURE OF SPORTS BROADCASTING

CABSAT 2023 SHOWCASE

THE RISE OF PODCAST STUDIOS

DUBAI: WHERE THE MEDIA BUZZ BEGINS

WOMEN & MEDIA: A NEW WORLD ORDER

TOGETHER

Store, edit & manage video on-prem, in the cloud or a hybrid of both

At EditShare we empower storytellers to craft and share their stories with solutions that enable collaboration, improve the production process and remove tedious tasks that get in the way of creativity –freeing storytellers to do what they love.

Find out more: editshare.com

or see us at CABSAT on booth #S1-E20

Flexible

Scalable Open

Newbie Orchard Clips announces availability of footage on Middle East

New clip sales business

Orchard Clips has launched a selection of historic and contemporary footage showcasing the rich diversity and cultural heritage of the Middle East. It aims to become the go-to destination for video clips from and about the region as the demand for this high-quality content continues to grow.

Orchard Clips will draw on sister company OR Media’s 30year archive of documentary footage and unmatched access to people, places and events across the Middle East. The team has scoured thousands of hours of footage for exclusive and elusive clip content, from events throughout the region's history to the everyday lives of its citizens. Over 10,000 clips will be available at the time of launch, with hundreds more added every week for use by documentary producers, news channels, publishers and brands.

OR Media is also currently

documenting Saudi Arabia's societal transformation, Vision 2030, and has been granted unique access to major cultural, historical and archaeological projects, many of which have gone unrecorded and unseen by the outside world. With over 150 hours of documentaries currently in production, Orchard Clips will make this footage, shot to the highest quality by award-winning filmmakers, readily available to worldwide content producers.

In addition to the exclusive content from OR Media,

Orchard Clips will also be collaborating with highprofile third parties for content acquisitions and partnerships. The company is committed to helping Middle Eastern content owners turn their archives from a cost sink into a revenue-generating resource. It also plans to offer new user-generated content (UGC). The team will provide advice and support to help content owners effectively maximise their revenue potential.

Head of Orchard Clips and former AP Archive Manager

Luke Smedley will lead a team of industry experts with experience in managing, preserving and monetising audio-visual content. He explained: “Right now, lenses –both figuratively and literally –are focused on the Middle East. With the World Cup in Qatar, protests continuing in Iran and the mega building projects of Saudi Arabia, the whole world is watching the region with interest. We’re committed to providing video producers with the right footage to tell the stories of the Middle East. It’s also a fantastic opportunity to be able to make the prestigious archive of OR Media available for the first time. The collection goes beyond the headlines and tells the intimate stories of the diverse people of this fascinating region.”

Orchard Clips has partnered with tech company Veritone to ensure the content is both searchable and licensable online in English, with an Arabic version coming soon.

StarzPlay to stream Sky News Arabia content

StarzPlay has signed a landmark carriage deal with Sky News Arabia. According to the deal, the streaming platform will distribute Sky News Arabia through telecommunication partners across the MENA region, making it available to all subscribers and greatly increasing its

visibility in the marketplace.

Nart Bouran, CEO of Sky News Arabia and International Media Investments, said: “At Sky News Arabia, we constantly endeavour to find new ways of delivering fast, credible news to Arab viewers, wherever they may be. In line with this, we recognise the importance of

reaching audiences across streaming platforms, and we are pleased to partner with StarzPlay as one of the leaders in that space who will enable us to engage with a wider segment of audiences across the MENA region.” StarzPlay is available in 18 MENA countries and Pakistan.

A screenshot from a clip on cultural footage from the Arab world.

Nart Bouran, CEO of Sky News Arabia.

Neom launches sound stage, hosts international leaders at showcase

Neom launched a new sound stage and hosted a gathering of 140 leaders from the international TV and film industry at a two-day showcase event last month. The event showcased Neom’s stages, production support facilities, talent and crews, and also highlighted production incentives. Guests from Saudi Arabia, North America, Europe, the UAE, Turkey, India and Morocco attended. Attendees were shown Neom's production facilities and the locations across its vast landscapes. The next day focused on the future and the challenges the industry is facing. ‘The Future of Storytelling and Production’

was the conference theme, with a diverse background of participants from across the industry including TV and film producers, major global production companies, investors, industry financiers and service providers.

Wayne Borg, MD of Media Industries, Entertainment and Culture at Neom, said: “Our

ability to attract the numbers and calibre of industry leaders ... demonstrates our offering is resonating and is competitive on the world stage. Whether it’s our world-class facilities, our amazing crews or our globally competitive 40%++ production cash rebate incentive, the package is in place and working. Everyone

Hot Docs-Blue Ice Docs offer grants to eight African films

Hot Docs Canadian International Documentary Festival and Blue Ice

Docs have announced the eight African film projects selected to receive 115,000 CAD in development and production grants. Chosen from 87 applications from

22 countries, four of the selected projects will receive development grants, one will be provided with production grants, and three will get post-production grants.

The Hot Docs-Blue Ice Docs Fund, now in its 12th year, seeks to enable

more African documentary filmmakers to tell their stories and contribute to the next generation of African documentary talent. In addition to the funding of eight projects from seven countries, six of the grant recipients have been invited to participate in a year-long mentorship programme that will provide direct access to industry mentors, networking opportunities and private filmmaker labs at Hot Docs and Durban FilmMart/Durban International Film Festival, among other African festivals. Applications for the next round of disbursements will start on October 4, 2023.

experienced first-hand our rapid and dramatic build-up in capacity and capability reflecting the seriousness of our intent and ability to compete across the value chain internationally.”

The showcase also celebrated the opening of Neom’s second purpose-built, 2,400sqm sound stage at its Media Village. This brings the total of operational stages to four, offering a total of 12,000sqm of production space in addition to support and backlot facilities. A further six stages offering 10,000sqm of production capability, including a volumetric stage, are set to open by the end of 2023.

MBC chooses KWIKmotion to streamline workflow

MBC Group has selected KWIKmotion's clipping feature to streamline its internal workflow and enhance the user experience. The solution has been deployed by White Peak Solutions, the company behind KWIKmotion, a complete video suite. For broadcasters and OTT platforms, it offers an array of video tools that streamline their publishing processes.

Neom brought 140 regional and international players to tour its production facilities.

Eight African film projects will receive 115,000 CAD in development and production grants.

Introducing the world’s most portable all-in-one television studio!

The new ATEM Television Studio HD is a professional live production switcher built into a broadcast control panel so it can be used for high end work while being extremely portable. You get a powerful switcher with 8 standards converted SDI inputs, 2 aux outputs, 4 chroma keyers, 2 downstream keyers, SuperSource, 2 media players and lots of transitions! There’s even an ISO model that records all 8 inputs for editing!

Easy to Use and Fast to Learn!

There’s never been a switcher that’s easier to use, as you simply press any of the program row buttons on the front panel to cut between video sources. You can select from exciting transitions such as dissolve, or more dramatic effects such as dip to color, DVE squeeze and DVE push. You can even add a DVE for picture in picture effects with customized graphics. Then you can live stream the results!

Self Contained Broadcast Quality Switcher

ATEM Television Studio HD combines a switcher and control panel into the same unit, so it’s extremely portable. The front panel includes buttons for selecting sources, triggering transitions and setting up video effects. You also get a built in t-bar for manual transition control! The front panel even has an innovative audio mixer control area with live metering on a dedicated LCD.

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Record to Internal Network Storage!

ATEM Television Studio HD8 ISO supports recording all video inputs to optional M.2 internal flash storage! The internal storage will then be available to share over the local Ethernet network so you get a whole post production workflow! This means people can work on post production tasks such as editing, color correction and graphics preparation while recording new live shows!

Built In Fairlight Audio Mixer

With a built in Fairlight audio mixer, ATEM Television Studio HD makes it possible to do complex live sound mixing. The internal mixer features enough channels for all SDI inputs, as well as extra channels for the XLR, RCA and MADI inputs! Each input channel features the highest quality 6 band parametric EQ, compressor, limiter, expander and noise gate as well as level and pan controls.

ATEM Television Studio HD

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Rise Studios collaborates with Parrot Analytics

In order to streamline content creation and distribution, Rise Studios, a company driving investment in the MENA entertainment industry, has partnered with Parrot Analytics, a global audience analytics and content valuation firm, to drive data-driven decisions. By leveraging its TV Demand product and data analytics teams, Rise Studios will make informed decisions to optimise content performance across various platforms. The partnership allows Rise to have a thorough understanding of regional audience demand

and preferences, enabling it to develop more engaging content which resonates and captivates viewers.

Amanda Turnbull, CEO of Rise Studios, said: “We are delighted to partner with Parrot Analytics, who are specialists in global audience analytics and content valuation, enabling us to make informed decisions for our content creation and distribution strategy.”

Laurine Garaude, Parrot Analytics EMEA Partnerships Director, added: “Combining our data-driven approach and insights with Rise Studios’ creative and platform expertise, we believe will result in transformative content that captivates and engages the audience.”

ESM and Bidaya Media sign deal for Mansour series

Bidaya Media has appointed independent IP creator and kids franchise company Epic Story Media (ESM) as the content and licensing agent for new 2D animated series The Adventures of Mansour: Age of AI. It will join ESM’s growing portfolio of franchises at the upcoming MIPTV event in Cannes, France, and will be represented throughout the upcoming licensing and content distribution forums. As part of Bidaya’s global promotion efforts, ESM will represent the new series globally (excluding MENA and China) to secure broadcast rights across multiple linear and streaming platforms.

The rebooted series will build on the success of the original Mansour series, which has more than 2bn views on YouTube with more than 25m viewers. Developed and produced by Bidaya in English and Arabic, the series covers universal issues and themes that

speak to the current generation of children globally. It addresses the benefits and challenges of AI, the balance between usefulness and overreliance on technology, climate change issues and the complexity of social interaction in the digital age.

Abu Dhabi University and SNAA to train future media professionals

Abu Dhabi University (ADU) and Sky News Arabia Academy (SNAA) have signed a cooperative Memorandum of Understanding (MoU) to offer College of Arts and Sciences students comprehensive knowledge, understanding and skills to help them excel in mass communication. The main aim of the MoU is to train future media professionals in the fields of TV, radio, digital and creative media production and enhance their communication skills in Abu Dhabi and the region.

In cooperation with SNAA, ADU will enhance its course offerings in the field of mass communication by incorporating the academy modules into the university courses to advance students’ knowledge and skillsets. Moreover, SNAA will provide internship opportunities and enable industry exposure to ADU College of Arts and Sciences students by inviting expert speakers to host panel discussions at the university as well as organise field trips to its facilities.

Amanda Turnbull.

UAE production house Films by Nomad on 2023 Realscreen Global 200 list

Films by Nomad, a documentary film production company based in the UAE, has been named on the Realscreen Global 200 list for 2023. Compiled by Realscreen, a global trade publication for the non-fiction film industry, the annual list outlines the world’s top 200 production companies working in non-fiction and unscripted screen content.

Founded in 2010 by Phil Griffiths and Zoe Griffiths, Films by Nomad produced Discovery Networks' Covid-19: Dubai, which

detailed the UAE’s handling of the pandemic and the impact of Covid-19 on its residents.

To date, it has produced more than 14 documentaries and documentary shorts, with eight more in development.

According to Tim Swain,

Group CEO of parent company Block N, inclusion on the list highlights not only the professionalism and focus of Films by Nomad’s team, but also the sophistication of the region’s filmmaking industry as well as the

captivating people and rich stories that exist here: “Films by Nomad is deeply focused on storytelling and work that aims to create impact, shape opinions and change hearts and minds. We are honoured to play a role in amplifying important stories to a global stage, so our inclusion on the Realscreen Global 200 list feels particularly special.”

In 2023, Block N plans to add two new companies to its portfolio alongside Films by Nomad and Production by Nomad, with details to be released soon.

Tony Saab moves to StarzPlay Magnus Simons joins Nextologies

Nextologies has appointed Magnus Simons, CEO of Magmedia, as VP of Sales to further expand

its business in the MENA region. While maintaining his dubbing business through Magmedia, he will also promote Nextologies' vast array of services. Under his leadership, the firm will continue offering proprietary video transport technology and OTT enablement services to this region. Simons has more than 25 years of media and satellite experience in the MENA region.

Sheikha Al-Zain Al-Sabah exits OSN

OSN has announced that Sheikha Al-Zain Al-Sabah will be departing from the company’s board to assume her new role as the Ambassador of the State of Kuwait to the United States of America.

Sheikha Al-Zain Al-Sabah will succeed Sheikh Salem Al-Abdullah Al-Sabah as the new ambassador.

Tony Saab has joined StarzPlay as Senior VP of Content and Strategic Partnerships. He will be responsible for developing and implementing content acquisition and original production strategies to further bolster StarzPlay’s growing library of original content and shows. This includes all aspects of content acquisition, programming and production for various genres, including movies, series, documentaries, sports and kids’ content. He will be responsible for building and renewing strategic relationships

with regional as well as global players to bring premium content to StarzPlay subscribers across the MENA region. He previously headed content and production at Intigral, overseeing and leading content acquisition.

Tony Saab.

Magnus Simons.

BeIN Sports podcast shows secure number one ranking in MENA region

Following the success of its World Cup Qatar 2022 podcast, beIN Sports has announced huge reach with two other sports-focused audio shows, namely Legends and Podcast with Ayman Jada. The media network claims that both new shows have hit top of the charts in the football category and are presently the most downloaded audio shows in nine MENA countries.

Legends is a weekly 30-minute show primarily focused on football that dives into the rich history of elite athletes who have left their

India TV expands globally with UAE launch

Hindi news channel India TV launched in the UAE last month in partnership with NKN Media, which has been appointed its exclusive UAE ad sales and distribution partner.

Ritu Dhawan, MD of India TV, said the move is in sync with the channel's goal to inform global Indians with fact-based journalism. NKN Media will facilitate brand partnerships and offer ad solutions to expand India TV's UAE reach.

mark on their chosen sport. With 12 episodes published so far, Legends has hit the number one spot in the football category of Apple Podcasts in Egypt, Jordan, Kuwait, Oman, Qatar, Saudi,

KSA records 39% increase in film production activity

Saudi Arabia recorded a 39% increase in film production activity during Q1 2023, according to the Ministry of Commerce. It reached 113 commercial records in the cinema sector, compared to Q1 2022. The total existing commercial records for film production had reached 1,510 by the end of 2022.

Riyadh ranked first with 820 records, followed by Makkah with 440. The Eastern Province issued 125 records, followed by Madinah with about 47 commercial records, and Qassim issued 18 commercial records.

Tunisia and the UAE, and holds the top position in the general sports category in Oman, Qatar and Tunisia. In Yemen, Bahrain and Russia as well, Legends has done well. BeIN launched a third

audio offering in March. Podcast with Ayman Jada is an open space for the beIN Sports presenter to discuss the burning topics surrounding global football, from specific matches to teams, new rules, competitions and crises in certain leagues.

This is currently the mostdownloaded football show on Apple Podcasts in Egypt, Lebanon, Jordan, Mauritania, Oman, Qatar, Saudi, Tunisia and the UAE, as well as ranking no.5 in Malaysia, no.9 in the Netherlands, no.16 in Sweden and no.17 in France.

For

CABSAT releases app, announces second edition of co-production salon

CABSAT 2023, which will take place May 16 to 18, will highlight the latest trends and explore innovation and new technologies poised to transform the future of live media and the entertainment sector. The event organiser has also released the official app for the CABSAT Global Meetings Programme. The app will provide people with access to the event schedule, exhibitor list, speakers and more.

Ofir Benovici, CEO of Zero Density, a provider of real-time VR, AR and other graphics technologies for broadcast, said: “Through CABSAT, which provides an excellent platform to present our cutting-edge solutions, we intend to boost our network and reshape the future of the regional broadcast sector. In addition, we seek to explore new possibilities for growth in the industry.”

Addressing the mega technology trends, the broadcasting industry has become more reliant on video on demand (VOD). By the end of 2023, it is anticipated that the VOD sector will generate $174.80m in revenue, which will expand at an annual

rate of 5.04% to reach a projected market volume of $215.7m by 2027. With a market volume of $157.10m in 2023, video streaming (SVoD) is considered to have the biggest potential. Currently, the most lucrative monetisation strategy is SVoD, which makes up the largest portion of the OTT (over-the-top) industry. As the broadcast television industry is evolving, it must adapt to stay relevant by shifting from being a TV broadcaster to an allencompassing broadcaster.

Pavel Potuzak, CEO of Aveco, said: “CABSAT provides the perfect opportunity to assemble the entertainment and media communities from around

the MEASA region under one roof to highlight the most recent technological breakthroughs and innovations in creating the next generation of content. We are thrilled to be a part of this landmark event, with Harmonic the worldwide leader in video delivery technology and services at our booth, and to share our recent developments and technologies in the field of broadcasting.”

CABSAT has also once again partnered with Dubai company HConsult to host the second annual MENA region co-production salon at the show’s upcoming edition. The co-production initiative, which connects content creators, production

houses and investors, aims to encourage investment in MENA content projects through co-funding, co-production and commissioning. It will also facilitate opportunities to explore other content funding avenues such as brand integration, private investment and product placement.

Heba Korayem, Content Market & Distribution Consultant at HConsult, who will chair the salon again this year, stated that the previous event saw more than 250 quality meetings take place, with around 30 high-value partnership deals in negotiation during the three-day period.

Expected to participate in this year’s co-production salon are some of the most prominent platforms and broadcasters, including Shahid, TOD, StarzPlay, VOX, OSN, E-Vision and Saudi Broadcast Corporation, along with noted Arabic content producers from UAE-based Eagle Films, Saudi’s Art Format Lab, Cedars Art from Lebanon and the Egyptian Arpu Plus and United Media Services.

The BroadcastPro ME Manufacturer Awards

The inaugural edition of the BroadcastPro ME Manufacturer awards will take place on May 17 at Conrad Dubai, in association with CABSAT. The awards will seek to recognise and acknowledge companies that have a significant presence in the region and have launched pioneering products or services across several categories within media production, broadcast, management and distribution.

CABSAT aims to bring together the biggest production and broadcast players from around the world.

SEE IT. LOVE IT. REPLAY IT.

REPLAY FOR EVERYBODY, EVERYWHERE – EVEN IN THE CLOUD

RiMotion is an easy-to-install replay solution that can be implemented almost instantly in broadcast environments of any scale. It streamlines traditional and modern workflows and provides real-time performance, even when working remotely or operated in the cloud.

Integrate ME to discuss significance of pro AV in smart building market

Integrate Middle East, a new learning and networking event for the entire pro audiovisual (AV) integration value chain that will be colocated with CABSAT, is set to emphasise the significance and latest impacts of the pro AV industry in the global smart building market.

The smart building market is undergoing a rapid transformation due to the increasing demand for energyefficient and cost-effective solutions, and is projected to grow at a compound annual growth rate (CAGR) of 11.3% from 2023 to reach around $232.23bn by 2032.

Pro AV solutions are playing a significant role in this transformation by providing cutting-edge technologies that enable smart buildings to be more connected and efficient.

Estimated at $81.19bn in 2022, the expansion of the global smart building market has been driven by factors including growing demand for energy-saving features and the expanding use of the Internet of Things (IoT) and pro AV technologies.

The use of pro AV technologies is one of the primary elements facilitating building automation in smart buildings. Advanced pro AV systems and solutions have paved the way for building managers to streamline and improve building operations as well as minimise energy waste by obtaining real-time information on occupants, energy usage and equipment status.

This collection and analysis of data is one of the most significant aspects of smart buildings.

Integrate Middle East aims to explore and highlight these emerging and more established pro AV technologies that are transforming the smart building industry and optimising the way buildings are managed.

The three-day exhibition and summit will provide a platform for exhibitors from the pro AV industry to showcase their latest technology innovations and comprehensive solutions that are leading the way in the smart buildings sector.

Ragheed Haydar, Area Manager – ME at Lightware Visual Engineering, said: “We are excited to present our latest technology innovations and comprehensive solutions at the debut edition of Integrate Middle East. During the event, our team will highlight key concepts, features, and benefits of our state-of-the-art AV signal management solutions, which are designed to serve every application, requirement and budget. We expect the event to offer a dynamic platform to further explore the needs of the industry in the region.”

Michael Bosworth, Executive Vice President of

Enterprise at Christie, added: “We are thrilled to exhibit our end-to-end visual solutions of projection, flat panels, and content management which transform spaces to provide dynamic experiences at Integrate Middle East.”

According to a report by MarketsandMarkets, the digital signage market in smart buildings is expected to grow from $6.1bn in 2018 to $13.2bn by 2023, at a CAGR of 16.7%, as data generated by smart buildings can be of great relevance in ‘narrowcasting’ to the building’s users.

Once audiovisual integrators have determined which digital displays are most suitable for the needs of employees and the building itself, the data collected from smart buildings will become an integral part of the workplace environment.

The role of digital signage and other cutting-edge pro AV solutions in addressing environmental issues will be also discussed at Integrate Middle East through a keynote on ‘The Smarter Buildings of the Future’ by industry expert Yasser Ahmed, Director of Digital Buildings and Software, Schneider Electric, UAE.

In addition to various scalable AV solutions for smart buildings and designs, the presentation will also highlight several sustainable AV practices and solutions based on IoT and open APIs that assist companies in the Middle East and Africa in reducing energy consumption and environmental effects.

Integrate Middle East will be co-located with CABSAT this year.

New streaming service 1001 surpasses 1m unique users

1001, a new video-ondemand (VOD) platform in the Arabic-language entertainment space backed by Iraq’s media and TV group Al Sharqiya, has reportedly exceeded 1m unique users across its various platforms within less than three weeks of its launch.

Developed with the aim of delivering diverse and engaging content to Arab audiences, 1001 includes a comprehensive library encompassing popular TV series and exclusive regional content. A major highlight of 1001 is its roster of '1001 Originals' shows, which includes productions such

as Raid, New Baghdad, Silencer, Princess’ Street, and Crazy Sarah.

1001 has seen a particularly strong reception in Iraq. The platform is available in Arabic and English worldwide, with a special emphasis on catering to viewers in the MENA region, North America

and Europe. The platform is accessible via web, Android and iOS devices. Speaking about the success of the platform, William Page, Chief Strategy Officer of 1001, said: “The overwhelming response we have received in such a brief time span is a testament to our commitment to understanding and addressing the diverse tastes of our audience ... As we look to the future, we are excited about our innovative plans to revolutionise the way people consume content, pushing the boundaries of what's possible in the world of streaming entertainment.”

OSN expands deal with NBCUniversal Global Distribution

OSN has expanded its licensing agreement with NBCUniversal Global Distribution to deliver even more premium content to viewers across the Middle East and in Arabicspeaking North Africa. This deal will give OSN viewers access to first-run content which includes blockbuster movies, hit TV shows, kids’ animation series and unscripted shows.

GFF calls for entries to sixth edition of CineGouna Platform

El Gouna Film Festival (GFF) has invited entries for the sixth edition of

the CineGouna Platform, which is scheduled to take place October 15-

GatesAir appoints

GatesAir has announced that Barbara Spicek will lead the company as CEO, effective immediately.

19, 2023, in the desert resort of El Gouna. The deadline for receipt of submissions is July 15 for projects in development and August 1 for films in post-production. The entry form and complete information regarding eligibility for submission are available on the festival’s website.

Spicek joins GatesAir with an impressive business leadership background of nearly three decades, with executive roles at Fortune 500 companies. She was most recently President and GM for NewTek, heading the company’s live production business. Under Spicek, GatesAir will expand its international footprint as well as its products and solutions offerings, including carrying the brand’s legacy of TV broadcasts and radio transmissions forward, while expanding its business opportunities at the same time.

Bruce Swail, CEO since 2017, is retiring from GatesAir after several years of sustained performance.

Barbara Spicek as new CEO

Barbara Spicek.

STN launches MENAFLIX for Middle East audiences

STN, a long-time visitor to CABSAT, will exhibit for the first time at the show (S3-A21). It will present for the first time a dedicated OTT platform for the MENA region called MENAFLIX.

The platform offers live and VOD channels from the Middle East. It includes news, entertainment, kids content, music and many radio shows.

The service provider works in both the broadcast and satellite markets, and promises 24/7 access and support for the platform, which is reportedly

compatible with and available on all web and smart TV platforms. This launch is part of STN's smart solutions offering.

Mitja Lovsin, CEO of STN, said: “From the very early years of STN’s growth, we entered the MENA market and became a trusted partner for many respected clients from the region. Together we have moved forward with advancing technology to meet market demands and to deliver high-quality solutions for our clients. We look forward to further expansion in the region and are dedicated to bringing new opportunities in content delivery for new and existing clients.”

Edgio names Eric Black as CTO/GM of Media

Eric Black will lead Edgio's growth in delivering highquality linear, live and on-demand video experiences, globally. He will be responsible for the management and growth of Edgio’s Media Platform, including Edgio Delivery, its global CDN network, and Uplynk. Prior to this, Black led NBCUniversal’s media technology strategy across its digital properties.

Mitja Lovsin, CEO of STN.

Over the last few years, generative AI has gained a lot of attention in the film industry. But now we are ready for the next big leap, with various deep learning models helping to write texts and creating art like humans, says Hasit Trivedi of Tech Mahindra

LIGHTS, CAMERA, GENERATIVE AI!

Filmmakers will no longer have to handcraft every single visual effect or animation in their videos. De-aging, content generation, voice cloning, hyper-realistic looks and accurate language dubbing will change how films are made. The power to automate and generate lifelike graphics is now within our grasp thanks to the wonders of generative AI, and will help filmmakers take their craft to the next level.

So what is generative AI, and what is its superpower?

Generative AI is an exciting field of machine learning that enables computers to create art, music, literature, audio and video. It uses algorithms to analyse patterns in existing works, learn from them and generate new works of art that are unique and original. Many generative AI language models – no-code/low-code creative platforms –have taken the world by storm in the last few months.

With the help of generative AI, filmmakers can now create ideas, plot lines, visuals, realistic characters and entire scenes. This opens new possibilities for storytelling and enables filmmakers to explore new genres and styles of filmmaking and focus on other aspects such as directing.

From concept to screen: Generative AI for dynamic filmmaking

One of the most significant impacts of generative AI on filmmaking is its use to assist in casting. By analysing the physical characteristics of successful actors, generative AI algorithms can generate new faces that match those characteristics. This technology has the potential to revolutionise the casting process, allowing filmmakers to quickly generate a pool of potential actors for a given role. This could reduce the time and cost associated with traditional

casting methods. It can create characters that look and move like real people, which is especially useful in science fiction and fantasy films, where there is a need for ethereal creatures and other world beings.

In addition, creating realistic effects requires an enormous amount of time and resources, but AI can help filmmakers generate lifelike simulations of explosions, weather patterns and even entire landscapes. This not only saves time and money, but also allows filmmakers to bring their creative visions to life in ways that were previously impossible.

“One of the most significant impacts of generative AI on filmmaking is its use to assist in casting. By analysing the physical characteristics of successful actors, generative AI algorithms can generate new faces that match those characteristics”

Hasit Trivedi, CTO, Digital Technologies and Global Head-AI, Tech Mahindra

Likewise, generative AI helps bridge cultural gaps through the automatic creation of subtitles and dubbed programmes, making local content more accessible to a global audience. AI-based dubbing technology, for instance, can create voiceovers in different languages.

Furthermore, generative AI can also be used to create music and sound effects for films. By analysing existing music and sounds, AI can generate new compositions and effects that fit the mood and tone of the film. This helps filmmakers to create a unique and immersive experience for their audience.

Another way generative AI has been used in filmmaking is by generating scripts. Again, by analysing large amounts of data, generative AI algorithms can generate scripts that match the tone and style of existing movies or television shows. For example, we can create a generative AI model that analyses a dataset of thousands of movie scripts, and the model can then generate new scripts that are similar to the input data. This technology will revolutionise the way movies and television shows are produced, enabling quicker generation of scripts that match a filmmaker’s creative vision.

Elevating filmmaking with analytics

Going beyond creation, generative AI can help filmmakers evaluate audience reactions and feedback. Machine learning algorithms will help it analyse social media trends, reviews and other data to provide insights on how audiences respond to a film. This information can then be used to make changes and improvements to the films, ensuring that they resonate with audience expectations.

Navigating the complexities

Of course, sceptics could argue that generative AI will lead to a lack of creativity and originality in the film industry. No doubt, AI can generate new and original content but cannot replace the human element of filmmaking, such as the ability to interpret emotions and create meaningful connections with the audience. Another challenge is the potential for generative AI to reinforce existing biases and stereotypes. AI algorithms learn from the data that they are trained on, and if the data is biased, the resulting content generated by the algorithm may also be biased. It is crucial that filmmakers take steps to ensure that their data is diverse and inclusive, to avoid spreading harmful stereotypes and biases. With the continued development and integration of AI in filmmaking, the possibilities for creating immersive and engaging films are truly endless.

Hasit Trivedi is CTO of Digital Technologies and Global Head-AI, Tech Mahindra.

CONQUERING NEW WORLDS

As part of our ongoing series on women shattering the glass ceiling in broadcast, we bring you three special interviews in this issue. With nearly three decades of experience in the broadcast industry, Pauline Hunter, Head of Presentation and Broadcast Management Systems at OSN, has embarked on a remarkable journey. In a candid interview with BroadcastPro ME, she shares the ups and downs in her life and emphasises her belief in leading by example

In March this year, OSN celebrated the renewal of its contract with Warner Bros. Discovery that allowed it to continue as the official linear and streaming home for all HBO content in the Middle East and North Africa (MENA). This development prompted Pauline Hunter and her team to swing into action. They began working closely with OSN’s planners to curate the best viewing journey for its subscribers. This involved everything from planning the programme inventory to how they could best incorporate HBO’s content on the new platform to draw out maximum benefit from the deal.

The HBO deal is just one of many Hunter is involved with at OSN, where the vivacious 55-year-old helms the channel’s presentation and broadcast systems. Her dual role requires her to keep one finger on the pulse of the business and the other on the technical side.

“This is how I have traditionally moved within all broadcast networks. I typically start on the technical side and then end up taking on some of the business tasks as well … I’m sort of the business representation within the technical team; I identify and explain the business needs to the technical team,” she says.

As Head of Presentation for OSNtv, the

network’s hybrid linear/streaming product, Hunter and her team are responsible for the channel’s visual identity and platform experience. Another team handles the broadcast management system, which tracks the life cycle of a programme from its acquisition till it goes live on air or is published on a platform. On a day-to-day basis, they work towards providing solutions aligned with OSN’s objectives. For instance, if OSN launches a new channel, a fresh look is called for. As project manager, Hunter ensures that everybody contributes effectively to the success of these new ventures. “We make sure we have the right content line-up, set up the programmes on the system for seamless planning and scheduling, collaborate with the creative teams for promotional briefs and oversee the creation and effective dissemination of promos for the new launches,” she explains. While OSN launches pop-up channels quite frequently, launching a new channel or product presents a greater challenge. Hunter is involved in both processes but emphasises that a new launch requires meticulous planning. “Pop-up channels are everyday business for us – business as usual. But launching new products and channels require more planning. We must carefully

consider the target audience.”

Hunter cites the example of another new venture by OSN wherein the company merged two channels to create a stronger viewing experience for its female audience, highlighting the close collaboration between her team and the planners. “The planners are responsible for creating the programme list, which is passed on to my team, who does the ’finishing’ to ensure that the look and feel of the channel are as desired.”

Hunter’s team is also responsible for placing the channel’s idents and logos, a process that involves various considerations. “Designing the visual experience of the channel includes associated apps and other creative assets. The mood the channel’s branding creates evokes specific emotions which influence the selection of colours, the design of the idents and logos, and the overall channel experience. Once designed, the idents are deployed across all platforms,” she elaborates.

OSN’s dynamic business workflow necessitates constant review, update and configuration of the system’s software to adapt to the changing needs of the channel. “All our linear and non-linear assets are housed within this system, and we do the scheduling from there. The rights management is also done from here. So, we must ensure the solutions we deploy are scalable and can support the business at every stage of growth.”

Hunter’s journey in broadcast began in 1996 when she worked at BSkyB (now Sky) in the UK, moving to Fox Kids Europe four years later, where she handled the channel’s broadcast systems across Europe. When Disney acquired Fox, she managed Disney’s systems across Europe, the Middle East and Africa (EMEA). Following a 12-year stint at Disney, she was headhunted by OSN to implement new systems it intended to acquire. Hunter had worked on the design and product implementation

“We make sure we have the right content line-up, set up the programmes on the system for seamless planning and scheduling, collaborate with the creative teams for promotional briefs and oversee the creation and ... dissemination of promos for the new launches”

Pauline Hunter, Head of Presentation and Broadcast Management Systems, OSN

of the same systems at Disney.

For a woman of colour, this journey has particularly been fraught with additional challenges. She recalls instances where she was the only woman in the room and to top it, the only woman of colour.

“There have been numerous times in my career at the very early stages when I

was told that I was not good enough or that I didn’t have the background to do the work,” she recollects.

Like many women, she has lived through it all, from discrimination in pay to being passed up for promotions. But rather than deter her, such situations have only strengthened her resolve to excel at her work, she says. “I was determined to be good at my job, know more than everybody else and make sure that nobody could ever say that I didn’t deserve to be where I was.”

Hunter credits the unwavering support from family and friends and inspiring mentorship from managers for helping her overcome the darkest times in her professional journey. At OSN, however, her journey has been a far cry from how she started out 27 years ago and her experience has been very fulfilling. Juggling a demanding job and motherhood has been made easier because OSN

supports all its staff, she says.

“OSN is a place that looks for talent. If you have talent, you get the opportunity. It doesn’t matter if you’re a man or a woman. They have a deep understanding of work-life balance and provide a flexible work environment. As long as the work gets done to a high quality, the management is not fixated upon work timings.”

In her current role, Hunter also acknowledges the importance of continuously updating her skills and knowledge. When asked about her perspective on the industry she admits, “It’s a bit scary to think that you are in an industry that could be considered stagnant, even though it’s

Here, she cites the example of linear and non-linear platforms. “Linear is still going strong and booming; non-linear is up and coming. My skillset crosses into both areas. I must be aware of changes in the market in terms of available technology or audience preferences. It is a challenge to know the direction the viewership is moving in and to make sure that we are in the right place,

“As a business, you don’t want to design your future constantly; it really slows you down. You need a company that can see where the business is going and offer exactly what you need”

right from content to systems.”

To achieve this, Hunter believes in deep diving into the workings of the industry. “One way to do that is to get under the hood and get my hands dirty and by doing that, I know how to do each step … This makes it easier for me to manage people. If I know how something is done, it is easier to tell them how to do it.”

Hunter takes immense pride in being part of the team that helps OSN’s broadcast run without any hitches. When she’s not attending industry trade shows or contributing to broadcast groups, you’ll find her playing basketball or strolling through Jumeirah Lakes Towers.

Considering her passion for the

Pauline Hunter, Head of Presentation and Broadcast Management Systems, OSN

software before she switched careers. “I was on a break from medical software and was looking at other things when the position at Sky came up. It was different; that’s why I took it up. I concentrated a lot on the IT side and have always preferred to work on the software side.”

She says software as a service (SAAS) is the future of broadcast management systems and notes that artificial intelligence (AI) must play an increasingly key role in enabling better and more rapid decision-making.

“As a business, you don’t want to design your future constantly; it really slows you down. You need a company that can see where the business is going and offer exactly what you need. You want somebody who’s always thinking about their systems, what will happen in the future, and how to align both. You want something to help put metadata together to help make strategic business decisions.

“Companies have all this information but often don’t know how to process it in a way where they

“While recommendation engines are already present, what we need is AI that learns and then takes your inventory, makes plans and suggests modifications on the spot”

it to give an end-of-the-year report. That data is useful particularly if it helps us make decisions on the spot and that’s where AI would play a huge role. With content getting more expensive, tools like these can help networks determine what type of content they really need to acquire.”

Pauline

Hunter, Head of Presentation and Broadcast Management Systems,

OSN

can see emerging trends or patterns. For example, metadata helps them know what audiences are watching on their platform, what they watch on linear versus what they watch on SVOD (subscription video-ondemand). While recommendation engines are already present, what we need is AI that learns and then takes your inventory, makes plans and suggests modifications on the spot, not after a few days.”

While OSN is a strong proponent of data analytics, Hunter acknowledges that there are gaps in every company when it comes to utilising data effectively. “It’s one thing to collect data, it’s another to utilise it correctly. There’s no point using

Viewers are no longer interested in channels that claim to have hundreds or thousands of hours of content, she believes. “It’s pointless to have loads of content if viewers can’t find their preferences. The idea is to make sure that people who subscribe to your platform can find what they want to watch quickly.”

Looking ahead, Hunter is excited about the future of the broadcast industry and the role she plays within it. She believes that adaptability and continuous learning mindsets are essential in an everevolving landscape. As technologies advance and viewer preferences shift, Hunter remains committed to staying ahead of the curve and ensuring that OSN remains at the forefront of the industry. - Vijaya

Cherian and N Nomani

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SHAPING THE NARRATIVE

Dina Nimer’s progression from editorial researcher to Head of Media Operations at Al Arabiya is a testament to the changing landscape for women in broadcast technology

Dina Nimer was recently promoted to Al Arabiya’s Head of Operations. An expert in media lifecycles, she likes to call herself the glue of the channel. Armed with a passion for creating editorial content and an innate understanding of technology, she has emerged as the Jill of all trades in a cross-functional role at the news channel, working with different departments including the master control room (MCR), editorial, newsroom, websites, on-air, social media, engineering, finance, procurement, legal, and international offices.

“I have to stitch things together; it all works with collaboration. Different teams are involved, whether those who report to me directly or external teams that I work with.” Nimer’s role clearly involves much multitasking, a skill she believes comes to her naturally.

With both her parents media professionals, Nimer has had exposure to the industry from her childhood. “It runs in my blood,” she says passionately. A graduate in Mass Communication/Broadcasting & Computer Science from the American University of Cairo, she interned at Agence France-Presse (AFP) and Orbit news channel during her college years, where she dabbled in editorial and production. She was also awarded a scholarship by the US Association for Journalism Educators for a journalism training programme where she familiarised herself with ethics, editing, TV news writing and online journalism.

At university, she did a project on Al Arabiya’s coverage of the 2003 Iraq War, which allowed her to understand the channel’s modus operandi and reporting style. This later proved to be instrumental in being offered full-time employment there in 2005.

Nimer’s day starts fairly early, at 6.15am. After completing the morning school run for her two children, she heads to work, energised to tackle the day ahead. “I prefer to go to work early.

I’m a morning person, and I think it’s the best for a focused time before all the meetings start.” She draws up a to-do list, ticking off items as she works through them from 8am on. From midday onwards, she conducts local and international meetings via Zoom.

“Gathering real tacit knowledge” is the most critical part of her job. To accomplish this, she regularly does the rounds of the Al Arabiya office, “playing the bee and running around and talking to people”.

Interestingly, at Al Arabiya she started as a researcher in editorial rather than in technical operations – “I love editorial work. I love being on the field, talking to people and being able to tell the stories.” After a couple of years, in 2009 she shifted towards operations, prompted by changing family circumstances. To industry outsiders, moving to an operations role at this time may seem counterintuitive, but it actually helped Nimer maintain a better work life balance. The shift to operations meant she wouldn’t be involved in overnight or overseas reporting and graveyard shifts. Unburdened, she was able to prioritise her workload and better plan her days.

“My managers at work were very understanding as my family grew, and were aware of my responsibilities at home. They also knew I had an aptitude for technical operations, so they asked me to explore it.”

It’s even more noteworthy that Al Arabiya encouraged Nimer to study further while employed, to acquire the skillset and knowledge to fulfil her increasing responsibilities at work. As a result, she signed up for the University of Manchester’s MBA (engineering pathway), completing the full-time programme over three years. In addition to a highly supportive workplace, she is blessed with an equally supportive family.

The ability to straddle editorial and operations gives Nimer a leading edge at the company. “After editorial, I started working in media management, which included working on operational projects related to media workflows, working with the engineering, editorial, the newsroom and the journalist simultaneously. It’s good to know both areas. The technical departments are very straightforward about what they want; the editorial team is equally passionate about presenting a story and how they want audiences to see it.”

Since she has worked at both ends of the spectrum, Nimer can balance the requirements of both teams adeptly. “I live in-

between. I am an editorial journalist at heart. But technical in tasks and occupation.” Shortly after her move to operations, she was asked to manage the operational side of Al Arabiya’s international offices.

Nimer also handled the channel’s production asset management (PAM) and media asset management (MAM) implementations in her previous role as Project Manager. “From the RFPs to the POCs to sitting with the teams to delivering the training myself, I’ve done it all from scratch. Media lifecycle is my expertise.”

Considering these factors, Nimer’s recent promotion to Head of Media Operations isn’t surprising. She manages Al Arabiya’s news library team (responsible for archiving and double-listing the channel’s bulletins from its content across all its offices), the media management team (responsible for managing all the systems’ storage capacity for the incoming and the outgoing workflows), and finally negotiating and maintaining contractual relationships with Al Arabiya’s

suppliers, especially the feed wires and agencies. “My team analyses the workflows between the different departments and then looks for systems that can be implemented between them and technical till they reach editorial on-air.”

Nimer has also started managing the library department, working with Al Arabiya’s engineering room to digitise the channel’s news library from 1991 onwards. This equates to over 180,000 hours of recordings, with 65% of the task completed. Keeping abreast of constantly evolving technology is another critical job function. “There are technology evolutions the industry goes through, and then there are technological changes for us as Al Arabiya. So we see all these changes, and it’s always a tough job to know which one is right to apply. While there is some

“I believe technology is a partner. If people are not happy with it, they won’t be able to apply it”

Dina Nimer, Head of Media Operations, Al Arabiya

space for trial and error, we try to be thorough in our approach. For example, if we want a certain product, we contact many companies and ask for proof of concept (PoC) on-site.”

Owing to her start in editorial, Nimer always keeps in mind the importance of keeping editorial involved while choosing the right tech. “It’s not just about buying technology. People have to use it. I believe technology is a partner. If people are not happy with it, they won’t be able to apply it.”

Nimer’s most challenging project to date was the introduction of the PAM system at Al Arabiya in 2009. It wasn’t the tech that was the roadblock; it was dealing with fixed mindsets. Convincing people to accept digital transformation was the most difficult part. “They just couldn’t believe they had to get rid of the tapes.” She recounts how people would hide the tapes when her team went to collect them!

The Arab Spring in 2011 was another tricky time, with Nimer involved in establishing the social media department for the channel. At the time, Al Arabiya had just one Facebook account and was inundated with requests for videos for social media feeds. As videos and news flooded in, Nimer and her team had the Herculean task of segregating real news from lies and ensuring the channel’s credibility was always maintained. Moreover, with social media rapidly evolving across the region, she had to devise a strategy that would enable swift social media expansion for the channel as well. “It was very challenging due to the pressure we had at the time.”

Nimer is currently seeking solutions to integrate the hundreds of applications Al Arabiya uses to conduct operations. The channel uses Avid as the main supplier for its newsroom production system, and although Avid has recently opened its APIs to allow greater product integration, more work is needed.

“News production uses one kind of tech, but post-production may use a different type of technology, as does social media. So it’s challenging to find one product that fits all.” To solve this problem, Nimer and her team are trying to find ways to “make different programs talk to each other to simplify the media workflows and to raise the efficiencies of the people”.

Nimer also believes that human effort is the answer to the burning debate on how newsrooms can benefit from generative AI without threatening their ethics, credibility, quality and human resources. ”It’s always human intelligence. Human beings just have to keep improving their skills. There’s always something that we can do that technology can’t; that’s always going to be the case.”

Nimer’s outlook and consistent progress on the corporate ladder are a glowing testament to her

does make a conscious effort to have more women on her team.

male. I look

their experience, competence and suitability for the job”

Dina Nimer, Head of Media Operations, Al Arabiya

capabilities and the positively changing landscape for women in broadcast technology. In addition to evolving attitudes across the industry, Nimer also commends the company work culture.

“Al Arabiya provides many opportunities for women, but there is always room for improvement. Most of the female representation has been on the editorial side to date,” she points out, stating a need for more women in the technical side. As a leading figure in the sector, she

“There is a bias against women that being wives or mothers takes away from their time. But that’s completely untrue. I have four new female hires joining us soon. When I choose someone to hire, I don’t think if the candidate is female or male. I look at their experience, competence and suitability for the job.

“Having said this, women have some qualities they bring to the workplace that men don’t. A woman brings every single thing a man can, but on top of it women also bring resilience and empathy. Unfortunately, people underestimate the power of empathy and are biased against it. They think if you’re empathetic, you’re not a good leader, but that’s not true. You can be empathetic, and you can be a strong and outstanding leader.” -

Vijaya Cherian and N Nomani

WIRED FOR ADVENTURE

From discreetly stepping into female majlises at Arab weddings and fixing malfunctioning camera systems to managing a crew of eight to 50 people, from directors and cameramen to technicians at conferences, live events or even reality TV, Christina Varghese has come a long way in her career in broadcast engineering

Christina Varghese, Senior Technical Operations Manager at BBH, discovered her true calling after a couple of brief stints at Dubai-based media houses Khaleej Times and the ARN Network.

“I loved the energy in a fast-paced media environment and the fact that it wasn't a regular nine-to-five job. As a 21-year-old, these things entice you,” she says animatedly.

Unconventionality has been Varghese's guiding principle. Upon graduating from Dubai's BITS Pilani with a degree in electrical engineering a few years ago, she promptly printed several copies of her CV and went door-to-door to media companies to apply for a position. Her expedition brought her to the doors of Best Broadcast Hire (BBH) in Dubai Production City, where she was hired.

“My boss forewarned me that the job would be very different from what I expected, not because I am a woman, but because it is truly demanding. When I accepted the challenge, he made sure he put me through all the aspects of the job.”

Apart from her ingenuity, the Arab weddings BBH covered at the time were also partly responsible for granting Varghese a foot in the door. BBH needed

female technicians who could enter female majlises, and with her technical background, she was the perfect fit.

Thanks to BBH's diverse portfolio, every workday is different for Varghese. She actively covers important events such as the World Government Summit, the Asian Le Mans Series and the Dubai Marathon, as well as smaller events, conferences and concerts. A typical day sees her collating the list of needed equipment, testing and packing it for transfer to the venue, and coordinating with other departments such as sound and screen.

Once everything is set up, she is responsible for explaining the client brief to the director and cameramen and organising rehearsals. When the show goes live, she is active on the cameras, colour correcting – an essential step towards ensuring a cohesive shot, no matter where it's taken from.

Sporting events, especially car races, are her favourite. “There are so many challenges, right from safety to cabling and getting the perfect shot. There are a lot of variable elements too. I enjoy the thrill of that.”

Among all her duties, listening in on the comms is the task she enjoys the most. “One of my responsibilities is to fix a problem even before it occurs, and this

involves anticipating and logically troubleshooting faults. This can't happen unless I am actively listening. For instance, when the director cuts to a certain camera and the shot looks terrible repeatedly, there's something wrong with either the cameraman or the camera. If the cameraman has been giving us good shots the whole show, then the camera is the culprit. I immediately go to the camera and check if everything is OK and fix what isn't. It's exhausting but exhilarating.”

While equipment failure is always a threat for a broadcast engineer, for Varghese the people pose a greater challenge. “If equipment fails, it's a very logical step to figure out what is happening. But with people, it's a different sort of challenge. For instance, calming down a show caller who's panicking about a breakdown and saying, ‘Don't worry, we’ve got this; we’ve done this a million times before.’” Another challenge is to get all the crew on board to be on the same page – not just within my team, but with all the departments that have to come together for the

“There are so many challenges, right from safety to cabling and getting the perfect shot. There are a lot of variable elements too. I enjoy the thrill of that”

Christina Varghese, Senior Technical Operations Manager, BBH

success of an event. Given the cultural melting pot Dubai is, it's interesting to see people's cultures seeping into their responses. At the end of the day, working together harmoniously is a great goal to achieve. And it is, in a lot of cases, challenging.”

With offices worldwide, BBH's employees benefit from each other's experiences. “We regularly get together for chats on Zoom.

For example, during the Covid-19 pandemic, we would discuss our findings, ranging from new intercom technology to wireless systems. We would do our research, test products, and then discuss our findings.

Access to this knowledge base gives me a very secure feeling, and it really is a unique feature of the company that has allowed me

to grow my expertise exponentially.”

Over the past decade, Varghese has seen BBH grow from having two breakout rooms at an event to occupying over a dozen. She's also witnessed broadcast technology evolve from SD to HD and 4K. Given the fast-paced evolution, she knows she must stay on top of emerging trends. “We have to constantly research for new avenues and new technology that can help with our pursuit of 4K and beyond. If we remain stagnant, we'll be completely rolled over.”

She recalls a particularly challenging event during the pandemic. “We had to cover a certain charity event which was a 24-hour-long broadcast. It included live and pre-recorded performances from many famous artists, as well as live in-studio hosts. Of course the equipment would do the job, but the crew and operators? It was both physically and mentally challenging to be on for more than 24 hours, but the reward was more than worth it to pull off a successful show that also raised funds for Covid relief.”

This team, along with family

and friends who understand her job’s demands and pressures, helps Varghese maintain a work-life balance and build an active social life. “If I'm on an assignment, it's common to work long hours, including weekends. Planning is key to having time for everything. Managing things becomes easier as long as they are planned and slotted in.” And if something comes up, her team is always willing to pitch in.

When the season is slow in the UAE (typically May to September), Varghese simply takes on additional assignments in Europe and America. Although BBH encourages its staff to take time off, she prefers to continue working.

“We can take downtime, but I'm offered jobs in Europe, Africa, the USA and Mexico, since the company is working on reality TV in those parts of the world at that time.

Those jobs are completely different to the way we do production here in Dubai. So they are a great learning curve and offer a different way of working, in essence. Why not travel the world when you can, and get to call it work?” she says candidly.

Varghese believes the broadcast industry has been very kind to her, keeping her commitment unwavering, though people initially did have reservations. They would ask for a male engineer – but this hiccup didn’t last long. “Eventually they started asking for me; can we get Christina

“One of my responsibilities is to fix a problem even before it occurs, and this involves anticipating and logically troubleshooting faults”

Christina Varghese, Senior Technical Operations Manager, BBH

on the job, she’s already worked with us and knows everything.”

Regardless of where she is working, now she only receives respect and professionalism. “I've only been welcomed with open arms wherever I have gone. I'm quite surprised that there aren't as many women in the industry.”

Although it's more common to see women in broadcast tech in Europe and America, the Middle East is catching up, with visa processes becoming simpler for female crew members, especially in Saudi Arabia and Oman. “People first assume I am on the organising team, but when they see me plugging in cables, they're surprised I understand tech – and then there's huge respect.”

As we go to press, Varghese has just hopped onto a plane for another big shoot in Mexico. - Vijaya Cherian and N Nomani

TURNING PASSION INTO PROFIT

How do broadcasters offset the stratospheric ticket cost of sporting rights? Can sports subscribers be converted into entertainment consumers? And how can value leaks be plugged? A panel of MENA industry experts at the Future of Sports Broadcasting Summit discussed how to bring sport to regional viewers without breaking the bank.

Keith J Fernandez sums up the action

If there’s one segment of broadcast keeping regional audiences glued to their screens, it’s sport. The recent World Cup further moved the goalposts. Official broadcaster BeIN Media Group recorded more than 5.4bn cumulative views across 24 MENA countries over the course of the tournament.

The region is home to myriad sports, from cricket and golf to horse racing and martial arts, and hosts several categoryleading international events. But those numbers don’t always translate into broadcast success. Nor is the case for monetisation quite as straightforward as converting a penalty. While big sporting events serve to bring in viewers, retaining those eyeballs is another matter altogether, particularly when there are more ways than ever to access content. Further, balancing the high cost of rights fees with the need to sustain profitability can keep executives up at night – and the events’ rights holders may not be inclined to help. In addition, issues such as piracy act like an ongoing case of bursitis, limiting performance at the most inopportune moment.

BroadcastPro ME brought together industry executives for a panel at the recent Future of Sports Broadcasting Summit. Titled Cracking the Monetisation Code, the dynamic session featured Danny Bates, Chief Commercial Officer, StarzPlay; John-Paul McKerlie, VP Marketing & Sales, TOD; and Zahra Zayat, Chief Commercial Officer, evision and e& life. Joe Morrison, a live TV anchor and commentator for Facebook and Sony ESPN, moderated.

Morrison opened the conversation by comparing monetisation to the Holy Grail. The recent World Cup widened viewership considerably, both as a result of being hosted by Qatar and because so many Arab teams performed well.

Shifting consumption patterns in a dynamic market

Those expanded numbers offer an opportunity to acquire new viewers, said Zayat from e&, pointing out shifting market dynamics at the same time. “So far we’ve invested a lot in sports; obviously it’s a great monetisation opportunity and the opportunity to bring in customers at a lower acquisition cost, and to scale at a faster pace.”

She noted, however, that in the race for larger audiences and greater earnings, it’s worth understanding if there is a limit to how much revenue can be generated from sports. And if there is, at what point do additional investments in sports start to become less profitable? Here, shifting viewership patterns require careful consideration.

“However, we also see a change in the viewing behaviour and customers’ viewing trends. We saw more customers going towards public viewing instead of watching from their home. So while we quadrupled our numbers on public viewing venues, the growth was below expectations in the directto-home (DTH) and the individual household segments.”

For the industry, then, the 2022 World Cup served to spotlight a dynamic market. “I think a careful selection of what sports rights would work at and what is the ticket size becomes crucial at this stage. It's good to have it all, but it's not feasible to have it all. The market is very fragmented,” Zayat said.

Part of that segmentation has to do with the burgeoning volumes of sporting content now available. In that context, where do broadcasters draw the line? How much is too much? At what point do revenues begin to tail off? Fragmentation is leading broadcasters to rethink what they’re paying for the rights to air events in the region.

“When we look at the rights that are available in the region today, some of it is way beyond what you could ever

monetise on that content. When I look at the rights fees, say for the EPL or the Champions League today, I think we would make a loss if we acquired those rights,” said StarzPlay’s Bates. “So, I think monetisation comes down to what you pay for the rights originally. That's one of the most important steps in this whole process.”

He cited a recent conversation with a sporting league he didn’t name that wanted $175m a year in licence rights for its product. “That’s just insane,” he said.

StarzPlay follows a simple equation, Bates added. “If you can pay the right cost at the start, then you have a chance to monetise those rights and get a return on them. If the number doesn't make sense, we won't buy those rights.”

Zayat, whose company evision/e& life owns a majority stake in StarzPlay, added that it is important to establish clear routes to revenue before committing to purchasing the rights to sports events. Rights owners are often inflexible because their expectations are shaped by previous receipts, and there is no regard for considerations such as market demographics or piracy protection expenses.

“I think the key change happening

“We’ve invested a lot in sports; obviously it’s a great monetisation opportunity and the opportunity to bring in customers at a lower acquisition cost, and to scale at a faster pace”

Zahra Zayat, Chief Commercial Officer, evision and e& life

now is that we are only making calculated and measured commercially viable decisions. So, in the last year, we've tried

to establish and build monetisation opportunities [for] those rights before we commit to them ... We did let go of rights where we could not justify that investment or where there was not enough commercial opportunity to support it,” she said.

Not all players have the same considerations, however. For TOD’s McKerlie, monetisation follows brand awareness. Morrison noted that during the World Cup, BeIN Media Group put out a significant amount of free-to-air content.

“Sport is a social event, so it doesn't surprise me that when you have an event as big as that one in region, people share that experience,” McKerlie said.

As a local-first company, TOD was able to use the World Cup to build a stronger position. “I thought it was a fantastic outcome for TOD; we saw a lot of adoption and we saw a lot of monetisation models. We were building them as they were rolling out, and we just couldn't do enough, fast enough. That was the experience that we had.”

The streaming platform has several benefits from being part of a larger network. The fact that ARPU values may be different for North America and the MENA region may be balanced out by target KPIs.

“You need to recognise you will have your loss leaders when you build a sports bouquet. So, you'll end up with some that may be over-indexed. They may be your acquisition tools, but your monetisation model comes in through the others and you end up with a portfolio of assets,” he explained, adding that those decisions are taken on a larger level by the acquisitions team. “Our challenge with TOD and the vision for this business is how do you approach and create a proposition that serves that segment without cannibalising that high-value market that you have. People are prepared to pay for sport, always have been and probably always will be.”

Moving the subscription goalposts beyond sport

Sport, unlike entertainment, serves as a first point of access for many viewers on a streaming service. Live sports events especially are significant demand drivers, and piggybacking on the interest in them can grow subscriptions. Bates explained that it is this organic reach that led StarzPlay to engage more closely with sport. From there, it’s a matter of converting viewers to other offerings such as entertainment.

“An entertainment show is not a success overnight, or it’s rare that entertainment is a success from day one. The difference with sport is that almost overnight, subscribers come in when a league starts. There’s that passion for sport

“You need to recognise you will have your loss leaders when you build a sports bouquet. So, you'll end up with some that may be over-indexed”

John-Paul McKerlie, VP Marketing & Sales, TOD

that brings the subscriber on board.”

The platform has opted to bundle entertainment and sport over longer periods so that entertainment’s higher ARPU balances out the higher cost of sporting properties. “One of our biggest costs in this business is CPA, and being able to reduce that CPA and sell that customer other products has been very important,” he said. For the World Cup, StarzPlay squared its costs by giving sports customers its entertainment product for free over the duration of the event. Similar tactics have worked for the Cricket World Cup.

“We kind of use the combination of our products to retain customers. Now obviously we didn't retain everyone, but we were able to reduce those losses and retain a further lifetime value on that subscriber over that period. When it comes to churn, it's also how you set your business model. You shouldn’t assume a 12-month subscriber – that’s not [necessarily] going to be the case.”

Zayat takes a slightly different view, given her company’s joint-service business model. “We try to offer an ecosystem to the customer and be part of the different moments of life of a customer, not only on TV but also on other adjacent products. That helps keep the customer on board so that he stays with us longer. Whether this is mobile or data or e-commerce or gaming or FinTech, we are keeping that customer within that ecosystem.”

For his part, McKerlie advised thinking along the lines of mobile services providers when looking beyond the prized but small pool of high-value subscribers that pay for services on an ongoing basis.

“You need to think almost like prepaid recharges … How often can I get that user to top up their credit so that they have access to our service? And so immediately you'll see some of the propositions that are coming up with access for intervals, accesses to a match or a league, something that’s a very much cut-down version of the all-in service.”

It’s a principle TOD will rely on as it enters its second year of operations, he added. “You'll see substantial changes in the way we set ourselves up to extract

“When we look at the rights that are available in the region today, some of it is way beyond what you could ever monetise on that content”

Danny Bates, Chief Commercial Officer, StarzPlay

value out of the assets that we have, and retention will take on the form of subscriptions, not subscribers.”

Tackling piracy to reduce value erosion

Discussions about monetisation inevitably swing around to piracy and how value leaks can be tackled. Piracy has become a growing problem in recent years on the back of emerging technologies. Bootleg operations are now more sophisticated, and users can find and access pirated content more easily. Price has traditionally been viewed as the major reason consumers turn to illegal services. But as Zayat pointed out, it also comes down to consumer behaviour. “I think some people are just not used to actually

paying for content, even if that was premium sports,” she said.

E& life has been successfully working with ecosystem partners to combat piracy. In the UAE, for example, the Ministry of Economy and the Telecommunications and Digital Government Regulatory Authority have helped bring down pirated websites to combat the issue.

“We managed to bring down more than 200 sites this year. But the reality of the Middle East market is that people are leaning towards piracy, specifically for sports,” she said.

Now the challenge is to get other parties involved, Bates said. It’s difficult to fight web piracy because of new links and quick spin-ups, but a larger problem is that pirated content is available on mobile apps in the App and Play stores. During the last Cricket World Cup, he

“Piracy is unmet demand. Not all piracy is free. Nowadays, people often subscribe to a pirate site. They are paying someone for access to that service”

John-Paul McKerlie, VP Marketing & Sales, TOD

explained, five of the top-10 rated apps there were pirate cricket apps. Social media networks also allow such products to advertise on their platforms, which goes against their stated policies.

“Rights owners don’t take the problem as seriously as they should,” Bates said. “They need to be clear with the Googles and Metas of this world about their expectations, and the platforms need to stick to their claimed standards. That's another part of the equation that really needs to change.”

McKerlie turned the discussion on its head with a different perspective. “Piracy is unmet demand,” he said.

“Not all piracy is free. Nowadays, people often subscribe to a pirate site. They are paying someone for access to that service.”

Piracy can fuel innovation, he added. Pirated content platforms operate in a legal grey area. By bypassing regulations, they can be more flexible and can experiment with new business models, pricing strategies and user experiences, as well as innovative technologies and approaches to deliver content to users in new ways. In that sense, distributors must look at how their own offering compares.

“The sort of functional requirements that your content provider puts on – those don't exist in a pirate universe. So, you can, for instance, have six screens

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for where you might be going.”

McKerlie acknowledged that pirate platforms may suffer from other issues, such as sound quality. However, users may be willing to put up with these.

In recognition of the new ways of consuming content, TOD offered daily and event passes for World Cup matches, and over 26 games were broadcast for free on YouTube. “The group’s immediate ambition with TOD is to address the lower-value segment. Our challenge is building awareness … We don’t have that brand equity yet to break down the piracy network at this point in time, but I suspect strongly over the next couple of years we will. And then the game may pivot … because we don't have any bugs.”

Predicting the future of monetisation in sport

With the world of sport having undergone a massive transformation in recent years, what might the future hold? Morrison closed out the panel by asking speakers to anticipate how the monetisation of sport might evolve.

Technological developments will have the biggest impact,

Middle East market is that people are leaning towards piracy, specifically for sports”

Zahra Zayat, Chief Commercial Officer, evision and e& life

the panellists agreed. Zayat pointed to esports and the metaverse as potential areas where sport could soon be monetised virtually. “This is an area that is advancing and progressing very quickly, and I think execution is going to

watch sports, the way they do so is changing. Short-form content has become more popular, and people are engaging with sports beyond just watching the entire game. Consequently, engagement could pivot towards access-based propositions, such as virtual seats at the stadium or fantasy tipping. The key to monetisation will be to build all the necessary parts around the product to generate revenue. While this is a tough challenge, it’s an interesting dynamic that will change how value is generated from sports broadcasts.

For his part, Bates sees monetisation as dependent on region and market. Outside the MENA region, DAZN has hired its CEO from a sports betting background, he said, a clear indication that the OTT service could be moving into sports betting to compensate for revenue losses from rights acquisitions. But what works for DAZN may not work in the MENA region, and generating a return on rights investment is an evolving process.

“It will be a lot of testing by everyone on this panel and finding the things that work and then doubling down on that,” he concluded.

Well-known live TV anchor and commentator Joe Morrison moderated the panel.

CREATING CRICKET FOR A MULTI-PLATFORM VIEWERSHIP

The Future of Sports Broadcasting Summit 2023 brought together a panel that discussed cricket's meteoric rise in the sports industry today, and steps to leverage innovative measures for enhanced commercial gains.

N Nomani sums up the discussion

The ‘Creating Cricket for a Multi-Platform Viewership’ panel at The Future of Sports Broadcasting Summit was helmed by industry stalwarts Ashok Namboodiri, Chief Business Officer, Zee Entertainment Enterprises, and Yasar Khan, Media, Broadcast and Entertainment Specialist & Chief Operating Officer, ARY Digital Network. Popular Indian sports commentator Radhakrishnan Sreenivasan, aka RK, moderated the panel.

Cricket continues to rule the heart of the subcontinent. Whatever form the sport has taken, whether ODIs, test cricket or Twenty20 (T20), audiences have been unwavering in their love for the game. In recent years, the T20 format has been especially popular. ARY's Khan recalled buying the broadcast

rights of the newly launched T20 series for the Middle East for less than $100,000 – last year, the rights for the Indian Premier League’s (IPL) T20 World Cup sold for a staggering $6.2bn. The TV and OTT options reached around 426m people, possibly the highest viewership ever achieved in IPL history. It’s obvious the sport has grown massively.

With cricket now consumed via TV, OTT and digital platforms, broadcasters are being pushed to think of ways to present the game in a format that appeals to all platforms and viewers. According to Zee's Namboodiri, the sport and the media industry are both in flux because of each other.

“It’s not that the media is influencing cricket, or cricket is influencing media. It’s an exciting phase where both are

evolving because of each other.”

The role of TV in altering the game – the emergence of new formats

The introduction of multiple platforms for viewing the game has changed its valuation, the way it is consumed, its financials and its programming. Despite the introduction and rapid growth of digital and OTT platforms, linear television remains the unchallenged leader.

“Cricket has grown on the strength of linear television,” said Namboodiri. “Today in India, it commands 900m viewers. From a revenue monetisation perspective, brands know it is the best way to get maximum reach and awareness. A lot of the unicorns in India have been built on the strength of cricket, particularly the IPL and linear television. So that’s not going away in a hurry.”

In Pakistan too, linear television is “here to stay”, agreed Khan. “Sit-down viewing in front of a television with the family is still related to news and live sports. Mobile consumption cannot replace the place of linear television on these two fronts, and audiences will continue to watch them on TV.”

While television still leads, the impact of digital cannot be ignored. Conventionally, media planners would design hybrid campaigns that put 75-80% of spending into linear television and 15-20% into digital. But this ratio is changing, with digital now being offered free of cost. Namboodiri gave the example of the recently concluded football World Cup, which JioCinema provided free to viewers. In response, linear television opened its FTA (free-toair) channels for the first time.

In Pakistan, the digital realm is relatively new and the valuation has yet to reach Indian levels. However, digital viewership is rapidly growing, as is mobile viewing, Khan noted. For example, between the 2021 and 2022 editions of the Pakistan

“Digital adoption for cricket is going to be banking on three pillars: accessibility, affordability and language”

Ashok Namboodiri, Chief Business Officer, Zee Entertainment Enterprises

Super League (PSL), the country’s mostwatched sports tournament, the platform’s viewership grew by nearly 200%. “There are over 120m mobile broadband users in Pakistan. We had about 180m accumulated live views during the PSL last year. This year’s data is still coming in, but we expect it to be substantially higher this time.”

Bridging the gap between linear and digital is connected television. With the advent of low-cost, high-quality TV sets, it is booming and boasts nearly 100m viewers. As a result, Namboodiri anticipates that a lot of new players will enter the fray in India. As far as cricket is concerned, there will be a “wonderful interplay between linear, digital and connected television, causing a huge explosion in viewership for cricket”.

Leveraging new technology and other innovations to enhance the game for viewers With cricket audiences increasingly going digital, broadcasters must ensure that the shift from linear or connected television to digital platforms is seamless and engaging.

“Digital adoption for cricket is going to be banking on three pillars: accessibility, affordability and language,” opined Namboodiri.

Thanks to massive progress in broadcast tech, games are being aired in 4K or HD. Additionally, with digital networks offering high-quality viewing experiences free or next-tofree and linear television networks opening FTA channels, cricket is now more accessible and affordable than before. There’s also a change in perception of how digital and linear TV platforms are classified.

“There was a time when digital was considered premium and linear, mass. But we are seeing a switch from that with free digital and therefore becoming more mass,” said Namboodiri. “We are going to see a whole lot of rural viewers coming into the fold with regard to the IPL and with regard to cricket in general, while linear television will continue to be the lean-back, immersive group viewing experience.”

On linear television, language has already revolutionised the way people consume cricket. In countries like India, where the vast population does not have one common language, broadcasting in regional languages has a massive impact.

“In certain pockets in India,

consumption in local language has gone up to 95% – that’s a staggering number and is reflective of the way people like to consume cricket,” said Namboodiri. “Regional networks have already introduced commentary in regional languages, and now digital operators are talking about increasing the number of languages from three to five to ten.

“There is a clear affinity to consuming cricket in an audience’s language. For regional networks, it’s not just the language delivery that matters. It’s also the product you design with the consumer’s psyche in mind. You must consider their ethnicity, culture, popular lingo and local passions – these help drive a product. So whether it’s humour that you refer to in Tamil or over-the-

“Digital allows more opportunities for innovation, customisation and customer interaction, but its full potential is yet to be tapped”

Ashok Namboodiri, Chief Business Officer, Zee Entertainment Enterprises

top entertainment when it comes to Telegu, these are some of the bigger drivers you don’t find in the traditional English broadcast.”

For Namboodiri, cricket commentary naturally gives in to the elements of herobuilding and storytelling. “When you bring in people from various parts of the country who are doing the storytelling and herobuilding in the audience’s language, there is immediate resonance and connect. Therefore, it’s the broadcasters’ ability to spot some of these things and then fine-tune the product to audiences, that’s where success lies.”

In Pakistan, cricket broadcast has suffered setbacks due to international cricket not being hosted in the country for quite some time. As a result, the game’s valuation has been affected and broadcast innovations such as adapting commentary for regional languages have been delayed. But things are looking up thanks to the PSL, Khan pointed out.

“Since we started hosting the PSL, international players and bilateral cities have started coming. Right now, English is still the dominant form of commentary consumption. However, there is a bit of Urdu commentary that we have recently started introducing to various broadcasts, which is doing well. We expect there will be a move towards regional languages over the next few years.”

Khan also pointed to the financial impact of regional commentators. “When I was looking at the viewership numbers in India in terms of matches with regional language commentary, it’s something which ARY Digital would love to do, because among other things, it’ll cut significant costs of our commentators that come in from various parts of the world.”

Exploring new commercial models

While a better visual experience remains the backbone of any sport’s growth, price remains the dominant factor in driving cricket subscriptions and viewership in the subcontinent. “While there is a demand for broadcasters to keep innovating to curate an enhanced viewing experience, there is only so much that somebody can do,” said Khan. “We already have multiple camera angles via Spidercams and HawkEye camera systems, and broadcast in 4K and HD. But we have a highly price-driven audience, especially in the subcontinent. Our audiences want free or cheap viewing, when

“Our audiences want free or cheap viewing, when they want it and in the way they want it. This is their basic ethos”

Yasar Khan, Media, Broadcast and Entertainment Specialist & Chief Operating Officer, ARY Digital Network

they want it and in the way they want it. This is their basic ethos.”

Namboodiri echoed Khan’s views. “The willingness to pay in a market like India and across the subcontinent is actually very low. For example, in India, it is $3 a month compared to the global average of about $37. In the USA, it is upwards of $90.”

Paid subscriptions will always be a bone of contention for broadcasters in the subcontinent, and they have to look at other ways to drive subscriptions. One way to counter this, according to Namboodiri, is innovation in advertising. He cited the example of cryptocurrency exchange Coinbase’s 2023 Super Bowl ad, which involved a QR code that changed colour as it floated across the screen. When viewers scanned

the code, they were directed to a promotional page that promised $15 of Bitcoin for creating an account.

“Innovations like this are going to come up in a big way. Digital also overcomes some of the constraints of fixed schedules of linear television by allowing broadcasters to insert ads dynamically,” said Namboodiri.

“Pakistan too is an advertisingbased market,” added Khan. “There isn’t a subscription model in place for viewing, and the only way to drive revenue is to keep innovating and creating various advertising gimmicks. So ARY Digital has been toying with several ideas, elements and technology to make it more interesting.”

Cricket, surround programming and fantasy gaming as differentiators Studio shows on and around cricketing have little impact in the

subcontinent, compared to similar models for other sports globally. “One of the main reasons for this is the ever-changing nature of the programmes. The panel and hosts keep changing. So it’s like a new show every time. Sometimes the viewers like it, sometimes they don’t,” said Khan.

The way cricket is consumed has also been an important factor in the consumption of surround programming, he continued. “Now, if audiences are watching cricket on television, they are also busy on their mobile sets, communicating with friends, posting on social media or playing fantasy gaming. Therefore, how viewers consume cricket has changed. So it’s debatable if somebody would watch a 90-minute pre-show on their mobile screen.”

“At the end of the day, a sports channel is driven by the live content that it has and peripheral programming around that content doesn’t do much justice to the channel,” added Khan candidly. Both

panellists agreed that for cricket, live broadcasts remain the “last bastion of impact properties”. However, social media clips could emerge as game-changers in the future. Namboodiri gives the example of the NBA, which has become a lifestyle sport with the league turning a blind eye to fans posting game clips on social media. “Posting a clip of your favourite sport is perhaps no longer a violation. Instead, it’s probably veneration that the fan is showing towards the sport. Therefore, there is a need to relook at the entire ecosystem, including the new element of social media that can’t be ignored anymore.” Khan pointed to chatroom discussion and the need to converge it with winning shots on social media: “We need to learn to commercialise and monetise these.” Both panellists also pointed

out the cricket gaming gap in the market. Other sports such as football and basketball allow fans to “be players and play the sport” on Xbox or PlayStation. No cricket equivalent exists now, but one can be expected in the future.

Enhancing the stadium experience and addressing fan engagement

The stadium experience is another factor broadcasters must look at while building an outstanding multi-platform viewing experience for fans. Khan highlighted how ARY Digital Network/A Sports has been working with advertisers to enhance and monetise fan engagement. “If fans can show certain elements of themselves in the stadium, for instance, images of them taking selfies, or are spotted with a cup of tea while watching the game, then broadcasters can work with the tea brand to relay that image on screens within the stadium, on national and even international television. This is just one instance of a gimmick to enhance fan engagement as well as rake in advertisements.”

Namboodiri also highlighted the personalisation capabilities of digital platforms. “In the future, perhaps viewers will be able to choose which camera angle they would like to see. So for instance, someone would want to view the match from over the top of the bowler, while another viewer would choose to look at the mid-wicket view. Not only does this change the entire dynamic of the match-viewing experience, but also allows broadcasters and advertisers further monetisation opportunities.”

However, for Namboodiri the fan experience is “ultimately a function of infrastructure”. He pointed to the innovations around how fans can dynamically book and upgrade tickets. “These elements can potentially become a welcome delight for fans. But at the end of the day, being in the stadium and being part of the

experience is a lifetime memory. Through innovations like helmet and Spidercams, digital providers are trying to make the experience more snacky and intrusive vis-à-vis the stadium experience. But being a part of history being made in the stadium is going to be the mainstay of that experience – something that television or digital cannot match.”

Advertisers’ preferences

Regarding advertising, Khan believes digital platforms give users more control over ad breaks than television, but at the same time allow advertisers to reach a more targeted audience via direct advertising for the demographic subscribed to the platform: “Digital allows more opportunities for innovation, customisation and customer interaction, but its full potential is yet to be tapped.” Namboodiri agreed that while “digital lends itself to innovation and personalisation”, linear television will remain advertisers’ “first choice when it comes to driving reach and engagement”.

Countering piracy

Despite massive improvements in broadcast tech, piracy remains a sore point for broadcasters. “I believe that not enough has been done, neither from a legislation point of view nor from a technology point of view,” said Namboodiri.

“More collaborative action between statutory bodies, stakeholders like media and broadcasting companies, as well as boards, federations and franchises, can address this legislatively in terms of how pirate sites can be regulated and how quickly they can be blocked. There has to be more talk about awareness and penalisation measures. Work is being done, but there’s too little progress right now.”

Given the obstinacy of the issue, Khan believes piracy is something broadcasters will “have to learn to live with … the main reason for piracy is cost, so as broadcasters we will have to find cheaper ways to relay the games to viewers”.

The future of cricket

As the panel concluded, the panellists agreed that radical change led by technological innovation would become the norm. Technology will not just enhance the viewing experience but also improve the game. “It has popularised the sport even more and enabled hero-building for players,” said Namboodiri.

Even with the mushrooming of OTT and digital platforms, the large screen or television will remain the preferred form for mass viewing of live cricket. Again, technology will play a critical role. “There is going to be a lot of technology that will come up and be added into the entire live broadcast of the game,” said Namboodiri, and Khan concurred.

In summary, creating cricket for a multi-platform viewership demands the confluence of a variety of factors, including accessibility, affordability, innovation in technology, broadcast customisation through language and personalised advertisements, and curbing piracy. As broadcasters bring them together, these factors promise an elevated viewing experience for cricket fans in the time to come.

Popular Indian sports commentator Radhakrishnan Sreenivasan, aka RK, moderated the panel.

THE POD SQUAD: STUDIOS TAKE THE LEAD

From end-to-end digital podcasting platforms to self-service recording studios, several podcasting services are emerging in the MENA region. Micah Aguilar speaks to industry insiders from Amaeya Media, Podeo, Warehouse Four and Poddster to understand the bigger picture

The podcast industry has been gaining momentum in recent years. Market research company eMarketer estimates that by 2025, approximately 504.9m people around the world will be listening to podcasts, roughly 23.5% of all internet users, and according to the Business Research Company, the international podcasting market is expected to exceed $66bn by 2027. Behind these numbers are emerging podcast studios and services cultivating the industry, fuelled by their passion for storytelling.

In simple terms, podcasts are audio shows available in digital format that can be downloaded or streamed. The Middle East and North Africa (MENA) region is no exception to this intimate form of audio content creation. One of the

most notable trends here is the rise of local podcast creators and services emerging to address the market, from beginnerfriendly self-service podcast recording studios to a multiservice podcasting platform for podcasters and listeners.

Over the past few years, we have seen support and recognition for local podcast talent. The increasing number of listeners and creators in the podcasting community has prompted various media stakeholders, including creatives, government bodies and business leaders of all shapes and sizes, to take an interest in this budding industry. In response to the increasing popularity of podcasting in the global digital content landscape, the Dubai Press Club launched Dubai PodFest, a podcast convention bringing together listeners and leading members of the community to

connect and share knowledge. The third edition of the festival is due to be held on May 16 in One Central, Dubai World Trade Centre. Similarly, the Ignite the Sound conference organised by the Saudi Digital Content Council took place in October 2022, hosting a series of panel discussions and workshops to support digital audio content and podcast creators. In addition, a growing number of podcasting networks and communities in the region provide support,

resources and platforms for podcasters to showcase their work. Chirag Desai, a regional podcast host and the founder of Amaeya Media, recognises the podcasting community as an independent space where creators can engage in open conversations that foster trust between them and their listeners. He further notes that the accessibility, convenience and credibility of the medium are contributing factors that encourage people to enter podcasting and tune in to their favourite shows.

“Many brands today look at podcasting as a way to communicate with audiences and that brings more people to the medium. We also see a lot of creation here. As more creators come into this space, we will begin to see more evangelists for the medium,” he says.

Amaeya Media is building a portfolio of branded and original audio conversations that focus on creating content for listeners within the region. Some of the network’s most notable podcast shows include What I Did Next, which was featured as an Apple Podcasts Editor Top Show in 2021 and 2022, and Tales of the Trade, a show about conversations with some UAE entrepreneurs who share their personal stories and journeys in the region.

With a growing interest in local voices and perspectives, podcasters are creating content in Arabic and English, covering various topics from politics and current events to culture, entertainment and business-related discussions relevant to the Arab region. Its dynamic landscape and growing economies open up opportunities to highlight stories about communities that once did not exist in the area but are now thriving today.

Desai says: “When we first started, there were three or four companies operating in the podcasting space regionally. Today we’re in the double digits. As the medium grows, and the creation grows, the industry will follow. We are seeing more and more interesting content that represents the region.”

Stefano Fallaha, founder and CEO of podcasting platform Podeo, notes: “We identified that society and culture are the most listened-to category. That includes personal stories and journals, relationships and documentaries set under that category. Under spirituality,

Islam is a big category. Other big categories include health and fitness, art and design, and fiction.”

Stefano believes Podeo is set to become the Arabic Netflix of podcasting. When Podeo first launched the platform, it was intended to function as a listening app focused on Arabic content. Eventually it grew to over 250 original shows, but Fallaha and his team recognised a more significant opportunity to enable and encourage more creators into the space: “You have around 50m creators, and less than two million are podcasters. So on average podcasting represents less than 2% of the output of content on a daily basis. So around 15,000 hours of podcasts, versus 800-900,000 hours being uploaded on YouTube on a daily basis.”

Podeo thus worked towards simplifying the process by building a digital podcast studio for creators to record, distribute, manage branding, do post-production and monetise their podcasts all from one place. By diversifying the offering rather than just remaining a listening app, it created a platform to enable and support the entire podcasting ecosystem. In addition, Podeo integrated creation abilities into the listening app to make it even simpler for listeners to become podcasters.

“We dived deeper into the problem, and what we noticed was that creators were using six to seven different tools to create a podcast. One tool to record, another to host, another to do the post-production and another for branding. So the process was very fragmented,” says Fallaha. Since its launch, Podeo has registered over 20,000 new podcasters.

Ian Carless, one of the owners of Warehouse Four, an event and rental space company in Dubai, acknowledges the attention podcasting has received over the past few years as an alternative to conventional media like video but observes that there is still a lot of space for adoption and for brands to fully accept it. “We’re

“Different colour themes, lighting styles and techniques lend themselves to creating different atmospheres”

Marwan Mohamed, Poddster Studio Manager

in a similar space now in terms of adoption and persuading companies to adopt podcast as we were 10 years ago in persuading companies to adopt branded content, video content.”

Carless has a background in television production and worked for ESPN and MTV before venturing off to Dubai and starting Warehouse Four in 2016. In 2020, it made an addition to its facilities: a podcast recording studio. Although it had a rocky start due to the lockdown measures imposed earlier that year, the company eventually saw a positive response in demand for the space. “We’ve set up the studio in a particular way that’s got a certain look and feel to it, but that’s not to say that it can’t be adapted. In most cases, clients book us because of how the studio looks. I don’t necessarily think we offer anything different in terms of equipment,” he says.

Known for its contemporary setting and versatility as an events venue, podcasters looking to book a space with Warehouse Four can expect a similar aesthetic and professionalism with their recording studio, which may be of interest to those looking to incorporate video into their podcasts. In addition, it recently introduced a mobile podcast studio concept with the launch of its Airstream4 Podcast Studio trailer, putting its modern and contemporary aesthetic on wheels.

“It’s an old, converted Airstream trailer that we’ve stripped out, refurbished and turned into a studio. The plan is to be able to rent this out for big conferences

and big events where people want to have a dedicated podcast studio that content creators can use to come in and do their podcast,” explains Carless. As opposed to typical recording studios, Carless explains the concept as an alternative to the traditional black-and-grey set-up. “I think that our aesthetic is very conducive to creativity. I’ve worked with many recording studios and they’re great, but you walk into the room and it sucks the life out of you just because of how it has to be. It must be completely silent and the acoustics have to be near as perfect as possible, but that’s not a creative environment.”

Getting started with podcasting does

not necessarily require expensive equipment and high-end sound recording, as we have seen with Podeo’s products. The process can be made simpler and does not require a high level of production value to produce. “You don’t need dead air. You can have a little bit of background noise and it’s perfectly acceptable. It’s obviously not in a Hollywood movie or a television commercial, so you get away with a lot of things,” says Ian.

Stefano of Podeo advises investing in advanced equipment if podcasters are seriously looking into levelling up their podcasting game, “It’s very similar to YouTubers. You have those with advanced equipment and then you also have those that just don’t have equipment at all, but still the content is great or the content goes viral. That’s when they start getting into more advanced equipment.”

Regarding pricing, we see a joint approach with podcast recording studios in the UAE charging an hourly

“Many brands today look at podcasting as a way to communicate with audiences and that brings more people to the medium”

Chirag Desai, regional podcast host and founder, Amaeya Media

The Poddster facility in Dubai.

rate, with rental prices ranging from AED 150-450. For individuals who want additional services and are ready to pay a premium, other studios provide various packages. Studios typically include operators and sound engineers prepared to assist with recording, except for self-service podcast recording studios, which only offer the space and equipment. Alternatively, some organisations mainly focus on podcast creation, like Poddster, a video podcast production company built with high-end audio and video equipment to help brands grow their podcast.

Speaking on behalf of the company, Marwan Mohamed, Poddster Studio Manager, says: “Poddster is the first 360 video podcasting solution in the region. Basically we help businesses and individuals create and curate content for their online platforms by offering a multitude of services that a content creator would need.” The studios include a complete kit of Netflix-certified Sony FS5 cameras, SM7B mics, audio interfaces, lighting and services to support creators’ podcasting journey. “Our services offer them a sort of journey. We offer services ranging from concept strategy, branding, guest sourcing, content development, and then we move on to audio and video post-production, micro-content development, distribution and promotion.”

Poddster boasts four different podcast sets to choose from in the Dubai Media City branch, the Voyager Studio, Midnight Studio, Focus Studio and Nostalgia Studio, and four brand-new sets at its recently opened flagship location in Al Barsha. Using these, podcasters can select the mood according to their creative direction. “Our set-ups have different themes to invoke different atmospheres out of the shows that we are helping produce. So when we’re meeting with a client for the first time and they want to choose a set for their show, or maybe

they’re looking to change that or integrate elements from different sets into their own set-up, we have to understand the tone and how involved the conversation is in certain facets of life. Different colour

“I think that our aesthetic is very conducive to creativity. I’ve worked with many recording studios and they’re great, but you walk into the room and it sucks the life out of you”

Ian Carless, co-owner, Warehouse Four

themes, lighting styles and techniques lend themselves to creating different atmospheres,” says Mohamed.

Located in Dubai Media City and Al Barsha, Poddster’s studio rental pricing starts from $65, with a selection of packages and bundles that offer postproduction, micro-content extraction, content distribution, branding and other production services.

Podcasting is an increasingly popular medium in the Arab region, with many individuals and businesses venturing into the space. As a result, we have seen a rise in podcast studios providing creators access to the gear and resources needed to produce highquality audio content, making it easier for creators to start their own shows and share their stories. Alternatively, there are also platforms such as Podeo that are designed to make podcasting more accessible regardless of whether people have access to recording equipment or not. As podcasting continues to grow in popularity, there are many opportunities for creators and businesses to explore the potential of this medium. And as the region’s podcasting industry continues to evolve, there is no doubt that we will see even more innovative and creative uses of this dynamic platform.

Warehouse Four recently converted an old Airstream trailer into this impressive podcast studio.

Viaccess-Orca addresses monetisation, security and premium delivery at CABSAT

Viaccess-Orca (VO) is focused around three axes at CABSAT: monetisation, security and premium delivery. This will be showcased through its full suite of data-driven solutions, including its AI-based targeted TV advertising, FAST channels, personalised TV, secure video player with value-added features,

and anti-piracy services. By adopting VO’s solutions featuring advanced capabilities such as targeted TV advertising, content aggregation, FAST, QoX monitoring, behavioural analytics and multiscreen apps, TV operators and service providers can offer a secure and engaging viewing experience on

any screen. VO’s solutions are all fully supported through a unified backend that ensures seamless, cost-effective content, service and device operations. The firm will also showcase its full-scope security framework, focusing on its anti-piracy services.

“The Middle East is seeing a surge in video consumption along with a substantial increase in different forms of sophisticated piracy. Customer churn, engagement and satisfaction are core elements of sought-after business models,” said Sammer Elia, VO Business Development Director for the MENA Region. “At CABSAT 2023, we are excited to show how our framework of microservice components, with either joint or independent adoption, can enhance video

platforms in operation without affecting existing workflows –ultimately enabling operators to quickly adapt to the ever-evolving TV and OTT landscape and deliver a premium, personalised and safe experience to any device.” VO will also be introducing a new educational tool, a personalised guide that allows operators and service providers to better comprehend the current world of TV advertising and FAST. The guide includes a Revenue Projection Simulator, which uses an algorithm to evaluate the potential earnings of TV advertising by combining input factors with various variables including CPM and fill rate. Attendees can try it out at VO's booth.

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PlayBox Neo elevates broadcast channel management to new level of flexibility and efficiency

PlayBox Neo will bring the latest additions to its range of products and services. A fully-featured system including new softwarebased routing capabilities with an expanded choice of optional modules will be demonstrated on the company’s stand.

PlayBox Neo staff attending will include founder and CEO Pavlin Rahnev, Area Sales Manager Detelin Georgiev and Broadcast Engineer Plamen Chardakliev.

“The EAME region broadcasters, like their colleagues throughout the world, demand reliability, easy and flexible operation plus futureproof expandability as essential features of their television channel management systems,” commented Rahnev. “Modularity has been a key element in our product development strategy for

23 years. PlayBox Neo systems can be configured to match any kind of TV media application from a single terrestrial, satellite or internet-streamed channel up to fully international networks transmitting in multiple languages. Workflow can be fully automated to support roundthe-clock programmes while retaining the ability to transmit

live content whenever necessary. Scheduling, whether regionspecific or global, is a breeze.

“Many broadcasters favour an owner-driver hardware approach centred on our PlayBox Neo server with their choice of software features. Others prefer a service-based solution such as our Cloud2TV. A third option is the hybrid approach with

any desired level of mix-andmatch. We support them all.”

CABSAT will host the EAME market launch of TS Time Delay, which gives broadcast channel managers efficient control over programme playout to multiple time zones. It can be operated in hands-off mode or switched at any time to alternative offsets, including a zero delay output for each input. Features include built-in decoders and encoders, plus the ability to transcode output stream parameters such as data format, video resolution and frame rate. Channel-specific playout can be delayed from 1 second to several months. Multiple channels may be controlled within a single AirBox Neo-20 server.

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Argosy brings more partner products to MENA customers

Argosy Middle East will demonstrate its fixed installation and deployable solutions that simplify IP and 4K infrastructure. It also recently formed a partnership with IT and AV connectivity products and solutions company Lindy Electronics. As an authorised distributor of the Lindy portfolio, Argosy can offer a new range of signal splitters, converters and extender devices to the broadcast industry. At CABSAT, Argosy will be showcasing a range of Lindy’s USB, HDMi DVI and DisplayPort converter cables, plus Category 6 data patch cabling, fibre patch cables and intelligent power distribution units.

KVM technology from Guntermann & Drunck (G&D) will also be on the Argosy

stand; designed to save costs on redundant hardware, reduce cabling and infrastructure, consolidate desk space and increase performance, KVM extenders and switches allow users to operate several hundred computers from one workstation or extend access to computers located up to 10km away.

“Our portfolio is richer than ever with a diverse and high-quality range of active and passive products and solutions. Newly formed partnerships with the likes of Lindy Electronics and G&D are really helping us to simplify our customers’ installations and operations when it comes to their SD, HD, 4K, IP

TAG Video Systems plays matchmaker with Content Matching

Visitors to TAG’s stand will get a sneak peek at Content

Matching, the company’s newest technology. This mechanism detects similar content across two different streams to ensure correct and uninterrupted delivery to the intended destination. It is accomplished by creating a unique fingerprint for each video frame and

audio envelope and matching them across the entire media distribution path against a userdefined reference point. This new technology dramatically reduces workflow complexity and eyes-on-glass, and enables media companies to deliver quality content with fewer resources and more confidence.

Content Matching can

identify and correlate audio and video uniqueness accurately, regardless of resolution, bitrate or framerate, thus enabling a match between any two or more points in the workflow. Even after the content has been processed and manipulated, TAG can identify the match and confirm that the content is identical, correct and behaving as expected.

The new technology reaches the root cause of problems faster and troubleshoots more efficiently, even in complex, elaborate workflows. Based on a sophisticated real-time frame-to-frame correlation engine, the user is notified when the first mismatch occurs, and combined with TAG’s rich probing and monitoring, they can easily identify and resolve the source of the errors. The ability

and cloud-based infrastructures,” said Razi Baig, Regional Sales Manager at Argosy Middle East.

“Our expanded Middle East stock facility has allowed Argosy to serve the region more efficiently and we’re now looking to recruit across our local sales and warehouse functions to support the business even further.”

He added: “Argosy is here to ensure that our customers’ journeys across new platforms, e.g. from linear to OTT, and formats, e.g. from SDI to IP, go as smoothly as possible. We’re seeing every indication that 2023 will see MENA continue to transform and adopt new broadcast and production technologies.”

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to identify, match and correlate content to content anywhere in the workflow empowers users to measure a wide variety of parameters, make comparisons and quickly identify issues.

TAG will also be highlighting its partnership with Nevion and integration with VideoIPath and Virtuoso toolsets.

“Combined with our flagship software-only monitoring and visualisation platform, Cntent Matching is a powerful tool. The technology adds yet another layer of monitoring to TAG’s robust MCM, a system that manages alarms and alerts operators of 500+ user-defined event thresholds,” commented Micky Edwards, Director of Sales –EMEA at TAG Video Systems.

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Cineom to showcase Alexa 35 and Trinity 2

CIneom Broadcast DMCC will highlight two products at its stand. The Alexa 35 is a 4K Super 35 camera that elevates digital cinematography to unprecedented heights. ARRI’s first new sensor for 12 years builds on the evolution of the ALEXA family over that period, delivering 2.5 stops more dynamic range, film-like highlight handling, better low light performance and richer colours.

The new REVEAL Colour Science takes full advantage of the sensor’s image quality and provides a fast, simple workflow, while ARRI Textures enhance in-camera creative control. Easy operation, robust build quality, new

electronic accessories and a completely new mechanical support system round out the ALEXA 35 platform.

Cineom will also demonstrate the second generation of Trinity 2, a fiveaxis fully-stabilised hybrid

More monitoring options with Wohler

Wohler Technologies will demonstrate its latest audio and video monitoring technologies at CABSAT 2023. Ideal for complex monitoring environments, Wohler IP signal monitoring products include the iAM and iVAM, providing a number of multichannel audio and video monitoring and metering options to meet a wide range of customer requirements, including the support of Dolby Atmos and MPEG-H, which can be supported in the iAM-12G-SDI.

The overall variety of audio and video metering options supported by Wohler Products

includes analogue, AES3 and MADI inputs, and options for VoIP formats (SMPTE 2110, SMPTE 2022), AoIP formats (Dante, Ravenna, AES67), 12G/3G/HD/ SD-SDI, and a growing range of additional I/O options via its small form-factor pluggable (SFP) interface. All iAM and iVAM Series products use SFP slots to enable simple adaptation of interfaces and a wide selection of signal I/O. In combination with other software-defined features, this creates a smooth upgrade path to new and emerging audio and video protocols.

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camera stabiliser system with roll +/- 360°, tilt + 60°/-110°, payload up to 30kg, 12V & 24V high-capacity system power supply, LBUS, CAN Bus, tally and battery communication, 12G video, 12G reclocker, intuitive GUI and touch panel-

based remote controller, highcapacity battery management with battery communication, interchangeable BMS-2 battery mounts and optional wireless radio modules.

Cineom opened its office in Dubai in 2019 as an ARRI distributor and official service centre for camera systems. Now it is expanding its service centre and it will be ready by mid-2023. The centre will offer lens servicing with state-of-theart equipment and is a strategic move to enhance its offerings and provide convenient access to maintenance and repair services for cine lenses to Middle East customers.

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Ateme creates greater audience awareness

Ateme is bringing its audience-aware streaming solution to CABSAT. This delivers more sustainable streaming while optimising the quality of experience. The combination of audienceaware encoding and audience-aware elastic CDN results in a powerful tool for optimising resources to reduce energy consumption while increasing quality.

The solution addresses two key concerns of the streaming industry: optimising quality of experience and minimising carbon emissions. It does this by making both video encoding and video delivery more efficient. It addresses video encoding and elastic CDNs. While delivering on viewers’ service expectations around video quality, audience-

aware streaming also enables operators to reduce their overall environmental impact.

“This last year has thrust the MENA region into the spotlight, with Qatar hosting the World Cup,” said Christophe Stigas, Vice President South EMEA at Ateme. “The need to contribute and deliver video at the very best quality, with the lowest latency, has been the driving force behind many innovations, and we are thrilled to have been part of that – for example, enabling ultra-high definition, immersive-audio experiences. We’re excited to share at CABSAT, in booth S1J30, how our technology can help companies in the MENA region achieve this, and more.”

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Interra brings Orion to the table

At CABSAT 2023, Interra Systems will be showcasing the latest updates to its solutions, including the Orion and Orion-OTT monitoring platforms. Recent enhancements to Orion include improved support for localisation, more HDR and SMPTE ST 2110 checks, and support for scheduled monitoring that enables automated, time-based monitoring of feeds. Upgrades to Orion-OTT offer enhanced support for

localisation, as well as Dolby Atmos audio and monitoring of low-latency streams. Interra Systems will also highlight its Orion 2110 Probe and the Orion Central Manager (OCM) for enterprise-wide visibility. OCM has multiple new features, such as new support for localisation, endto-end ad insertion monitoring, RHEL 8.4, and new options to schedule database backups for disaster recovery.

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IHSE to promote KVM range of solutions

At CABSAT 2023, IHSE USA will introduce its new ScalabeLine 4K extenders for DisplayPort 1.2. This new line of extenders supports 4K/5K resolutions with perfect 4:4:4 colour space. It can be configured as a point-to-point extension set or, combined with a 10G network switch, provide ultra-low-latency KVM switching for many-tomany connections or be used as a single source for multiviewer wall displays supporting up to 16 sources in full HD or 4K resolutions. Additionally, IHSE will promote the new IHSE G-Flex KVM matrix with integrated 10G interface lines

to create shared links between multiple KVM switch frames. Frame sizes range from 16 to 160 ports, supporting up to eight channels simultaneously distributed across a single duplex fibre connection for

Brainstorm brings virtual production to CABSAT

Brainstorm will showcase the latest version of its InfinitySet, the company’s most advanced virtual set and XR/ AR solution. Version 5.2 of InfinitySet comes with advanced features designed to enhance virtual production (VP) and XR workflows, streamlining users’ ability to boost their content creation, whether they are using LED video walls or chroma sets to produce virtual content. Fully compatible with Unreal Engine 5 (UE5) Vanilla, InfinitySet now includes full integration of objects created in

InfinitySet or Aston within the UE environment and vice versa, including shadows, reflections, and AR with Unreal Engine, providing greater flexibility for content creation. InfinitySet can seamlessly control UE5 from its own interface while improving the user’s ability to manage, edit and control UE blueprints, objects and properties. It also makes the combination of the Unreal Engine render with Brainstorm’s own eStudio render engine fully transparent.

Stand PD05, PD06

up to 10km separation.

“It is very exciting for IHSE to participate in the CABSAT 2023 because it serves as the perfect venue to introduce our kvm-tec line of KVM over IP solutions to the Middle East, where we

see great potential for this product line,” commented Dan Holland, Marketing Manager, IHSE USA. “2023 is an important year for us in the Middle East as we can now further strengthen our regional presence beyond pre-pandemic growth opportunities. We see increased technical advances in broadcast and post-production in the MENA region that is changing the way content is captured and delivered. This is creating new areas of opportunity for integration of KVM to improve enterpriselevel efficiency and versatility.”

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Prysmian Group touts Draka fiber

The Draka IP MediaLine Fiber, based on the SMPTE ST 2110 standard, will be shown at CABSAT this year.

The product line includes non-metallic, gel-filled fibre optic central duct cables with 2-24 fibres for indoor broadcast applications. With its FireRes sheathing, the non-metallic, gel-filled cable is designed for indoor installation. It complies with CPR fire protection class Cca

and features dielectric glass yarn armouring for rodent resistance and high water insulation.

The cable series IP MediaLine Fiber also includes the fibre optic cable MFC OS2 for mobile outdoor applications. The tightly buffered 9/125 cables are equipped with the patented BendBright technology, which makes them very resistant to bending and robust.

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Rohde & Schwarz focuses on transmitters

Rohde & Schwarz will show how its products and solutions are designed for performance, resilience and sustainability. Emphasising that terrestrial transmission plays a vital role in broadcasting, Rohde & Schwarz will discuss the new TH1 software-defined transmitter. This provides agile support across a range of formats, including 5G broadcast, while

providing a reduction in power consumption of more than 40%, transforming the sustainability of terrestrial television.

Each morning at 11am there will be a special presentation on TH1. This will focus on the core values of the transmitter platform, which is designed with efficiency in mind.

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Nxtedition empowers content creators with AI-powered workflows

At CABSAT, visitors to the nxtedition stand will see its special microservicesbased production solution, which offers a seamless end-to-end environment designed to make compelling storytelling fast, first and accurate. The platform offers an efficient and accurate microservices environment regardless of an operation’s size, with access to an entire toolset including thirdparty functionality and AI features such as the Whisper speech-to-text service, from a single user interface. Today’s audiences demand information and analysis on emerging news as it breaks, and they want to access content online, on air and on social platforms.

In this landscape where outlets are vying to attract and keep viewers engaged, production teams need agile tools that enable creativity but still get content out fast.

By streamlining repetitive, time-consuming tasks, nxtedition’s ‘microservices for physical kit’ approach helps consolidate hardware

into software to address the challenges encountered in traditional production workflows. The company will demonstrate how it has further extended the potential of AI aids by embedding the OpenAI environment into its core software via the unique virtual assets feature, which simplifies technical API calls.

With nxtedition, users can directly access the APIs of stock libraries, newswires, social media and emails, simply and seamlessly from within the familiar nxtedition user interface. When an external domain is identified in search, virtual assets automatically switch to the third-party API, fetching all the data, content and metadata, which is then displayed for the user. If a user switches to the newswire services domain, then nxtedition's search facility can review the entire news services API and ingest the required content directly without leaving the nxtedition UI.

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Actus Digital's new launches promise better OTT monitoring

Actus Digital will be back at CABSAT to show how OTT monitoring can be a part of the broadcast intelligent monitoring platform. It will particularly highlight its new launch for OTT monitoring, OTT StreamWatch, targeted at any OTT provider including content owners, broadcasters, and service providers.

Actus OTT StreamWatch analyses OTT content at the manifest level, encryption level and HTTP level. It displays quality of service (QoS)

information clearly and users can evaluate bandwidth usage, streaming media download times, SCTE and buffering issues

within OTT streams (for one or multiple renditions, MBR). It also summarises data so operators can recognise and

TVU Networks to feature RPS family of REMI solutions

TVU Networks will show the latest member of the TVU Remote Production System (RPS) family of multi-channel REMI solutions, TVU RPS One, at CABSAT. Introduced at the NAB Show in April, TVU RPS One is an all-inone hybrid cloud and studio remote production solution. The new offering combines RPS field-tested synchronised multi-camera encoding and transmission functionality in an ultra-compact and rugged form factor with six integrated 5G modems for wireless transmission.

In conjunction with TVU's live cloud production platform or TVU RPS decoders, RPS One delivers an end-to-end cloud-based or on-prem live video production solution from field capture to distribution. RPS One's ability to transmit wirelessly to the cloud and an on-prem decoder enables production teams to simultaneously create distinct programming using the same

sources or set up a mirrored production environment for backup purposes.

TVU RPS One supports six next-generation embedded 5G sub-6 GHz modems. It boasts a 5G MIMO antenna array that claims seamless operation of all built-in 5G modems at peak performance simultaneously. This feature is complemented by six next-generation 3GPP Release 16 modems, which provide comprehensive support for 5G SA and NSA modes as well as compatibility with the most widely used 5G,

LTE and 3G bands across the globe. The dual WiFi modules, equipped with MIMO antennas, ensure connectivity with local devices and multiple available networks concurrently.

RPS One has four 3G-SDI inputs that support 1080P/1080i/720p HDR remote production. It also supports up to 16 channels of embedded audio (SDI) and up to eight channels of embedded audio (HDMI). It supports a low-latency, single return video feed from an SDI or IP input on any TVU

address potential issues before they impact viewer quality.

Live OTT video streams can be displayed on multi-viewers (with one or many workflow probe points) highlighting affected renditions/probe points as issues occur. Email/SMS/SNMP and other notifications can be sent when alert parameters are violated for QoE issues, including missing/frozen video, audio too low/too high/missing, and missing SCTE, captions/subtitles.

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transceiver or TVU cloud service, allowing virtually any source to be routed to the field.

Rafael Castillo, GM/Vice President of EMEA and Latin America, TVU Networks, stated that CABSAT is a key show for the company. “In the past, we’ve seen great interest in our remote production solutions. It’s a very dynamic and growing show that we look forward to every year.”

TVU Networks has worked with many customers recently in the MENA region, including the Al Araby Network. Media service provider Total Media Cast (TMC) and TVU Networks live streamed coverage from fan zones from each of the 31 countries competing during the world football championship in Qatar. TVU has agreements in place with Dubai-based MEBS (Middle East Broadcast Solutions) and AMS Taswer in Doha to help serve its MENA customers better.

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Transmitters from DB Elettronica Telecomunicazioni

DB Elettronica Telecomunicazioni will bring its PFG NEXT/MPA line of medium- and highpower FM transmitters to CABSAT. Its modular hotplug power amplifiers were designed by DB Elettronica R&D with an intelligent system of paralleled hot-plug power supply units. These have been designed to keep service and maintenance simple while ensuring redundancy.

The toolless instant installation from the front panel makes the transmitters ideal for critical environment systems where no downtime can be tolerated. Lightweight PA modules simplify the shipment, reducing the cost of delivering spares and allowing easier maintenance with a single person involved, thereby reducing maintenance costs and spare parts. No user adjustments are requested, and they are fully interchangeable in PFG NEXT/MPA transmitters. Each unit has a software-

controlled automatic current balancing system (ACS) for perfect load distribution and best power supply operating conditions. With multiple power supplies installed in the transmitter, the system always works without any current overload even in the case of failure of one power supply, also guaranteeing a perfect balance of load for three-phase systems.

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FIRST-TIME EXHIBITORS

New exhibitor DIGINGZ joins CABSAT

DIGINGZ, a reseller of set-top boxes and streaming solutions, will be at CABSAT for the first time. The company is primarily

looking for distribution partners in the region.

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Knotty to make first appearance at CABSAT

Knotty Ash Woodworking, which develops broadcast control room furniture, will be exhibiting for the first time at CABSAT. Designed and manufactured in the UK, the AURA broadcast desk is the latest innovation in ergonomic broadcast furniture.

Available in either light or dark, the modular AURA is

built with durable bio carbon neutral finishes and is fully customisable to suit all types of broadcast environments.The company recently completed two projects in the region, one of them for Bahrain, and is now looking to expand its products into the MENA market.

Net Insight promises greater reliability for live IP streams with Nimbra Edge

Net Insight will showcase its Nimbra Edge distributing platform for live IP streams. This ensures media content delivery from the source to all geographically dispersed destinations across unmanaged and public IP networks.

The platform is focused at its core on reliability and performance, providing multiple combinations of stream protection mechanisms to deliver live media content to all destinations under different network conditions.

All active routing services

are secured using encrypted media transport protocols within the entire platform. Usability plays a key role in

Nimbra Edge and the platform offers an intuitive interface that minimises overheads for operators in large-scale

Stand S1-G41

deployments. Operators can easily monitor live media routing workflows with a graphical visualisation dashboard that provides advanced live transport monitoring metrics for each single node across the routing chain, from the source to all destinations.

The open platform design allows Nimbra Edge to be deployed on cloud-agnostic environments, whether on any public cloud provider, on-prem data centre or hybrid cloud setup.

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Aveco to demonstrate power of hybrid automation and MAM

Aveco will be at CABSAT 2023 with three solutions: ASTRA V, its new generation core platform for news and sports production automation (ASTRA Studio); master control automation (ASTRA MCR); and a preview of its upcoming second-generation media asset management (GEMINI MAM).

ASTRA Studio offers significant flexibility in producing and broadcasting live news and sports. It does not restrict or dictate the workflow. Users can start with minimal features and grow into ASTRA Studio's full capabilities,

or jump right in and take full advantage to reduce costs and improve quality. Aveco has the industry's largest library of

interfaces and implemented APIs in production, graphics, playout and MAM. Aveco lets you decide your workflow and equipment.

FOR-A to showcase live production ecosystem at CABSAT

FOR-A will demonstrate a fully NDI-compatible live video production ecosystem at CABSAT. The new HVS-190 supports high-bandwidth NDI and NDI|HX input and output and marks the expansion of the HVS switcher series. It is a one M/E version of FOR-A’s flagship HVS-490 video switcher and comes standard with 3G/HD-SDI and HDMI interfaces. It features frame synchronisation and processing amplification on all inputs and is available in two models.

The HVS-190S, with a control panel separate from the main unit,

comes with eight inputs and five outputs, expandable to 20 inputs and 11 outputs. The HVS-190I is an integrated control panel/main unit video switcher with the same standard I/O configuration as the HVS-190S, and is expandable to 16 inputs and 9 outputs.

Both HVS-190 models include a keyer, a chroma keyer, a multiviewer, a still/clip store, macro and event memory functions as standard. A simple browser-based control and setup is also supported for both. The HVS-190 switchers are easily expandable with additional multiview outputs, increased

storage with an added SSD, and optional auxiliary and tally units. NDI connectivity is provided via an optional card, the HVS-NIF. Each card provides four inputs and two outputs. Add up to three cards with the HVS-190S and two with the HVS-190I. With the HVS-190, users can add output from PTZ cameras, webcams, smartphone camera apps, computer content and other sources, and route video/ audio from a single switcher to multiple devices. It also provides two-way communication with multiple video, audio, control or tally systems using only Ethernet cables. SDI playout and IP streaming occur simultaneously, enabling mixed or coordinated broadcasts of both sources.

NDI connectivity enables packaged solutions to be assembled and operated easily. A typical configuration might be the FOR-A HVS-490 or HVS-190 production switcher teamed with the MFR-3100EX all-inone-production centre, Odyssey Insight server and ClassX graphics

ASTRA MCR, reportedly the industry’s most advanced master control system, provides on-premises, in the cloud and hybrid operations. Gemini, the new generation of MAM, is an open system for integration with third-party media processing devices, third-party systems and appliances. Gemini also offers third-party AI-enriched metadata, timeline annotations, editing, scheduling and distribution, media processing, complex search algorithms and more.

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– all of which have NDI options for seamless operation.

FOR-A’s software-based live production platform, SOAR-A, boasts an expandable IP-based architecture and supports the conversion and delivery of SD, HD, 4K and NDI to SMPTE ST 2110 signals. It is compatible with WebRTC and uses RIST (reliable internet streaming transport).

“The MEA market is very important to FOR-A, and we have strong sales and engineering resources in the region,” said Mohammed Abu Ziyadeh, Regional Manager (MEA) at FOR-A. “We have been successful not only with our products but through our ability to work with partners and deliver complete systems for broadcasters, universities and other professional users. CABSAT is a great opportunity for us to show some of our newest products, and to talk about how we can use them as part of a solution to our visitors’ real-world challenges.”

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There seems to be a mounting call for original, high-quality Arabic content – and global players are picking up on it. In an era of representation and diverse stories, the MENA content creation and broadcasting sector is seeing a rising wave of output and audiences.

Earlier this year, CNN Business Arabic officially began transmitting from the UAE to engage with a wider pool of Arabic speakers. Starzplay is deepening its roots as one of the region’s leading streamers with focused growth in its Arabic-language content. In February, it announced a multiyear partnership to make Watchit’s massive Arabic content library, which contains over 12,000 episodes of TV and 200 films, available on its platform. This is a trend we’ve been seeing in our Media Cluster since last year.

In March 2022, Warner Music Group acquired Qanawat Music, a regional music distribution heavyweight, as part of its plans to expand into the MENA region and build deeper relationships with Arabic artists and fans. Such investments and stories are part of a trend catalysed by Arabic speakers seeking out more diverse content. In this regard, Dubai is well positioned to be in the driver’s seat as the global foray into Arabic content gathers steam.

Dubai’s creative economy

Dubai is already the world’s gateway to the MENA region, with four billion people living within an eight-hour flight of the city. This level of connectivity has established its position as a melting

“It remains important that we continue providing the best environment and infrastructure to facilitate growth, partnerships and innovation"

Arab content on the cusp of global recognition

pot for global creators, suppliers and industries to collaborate with ease. Legislation to strengthen Dubai’s independent knowledge-based economy is helping align longterm investments in the broadcast, content and media industries.

The Dubai Creative Economy Strategy, for instance, aims to double the local creative industry’s GDP contribution to 5% by 2025, from 2.6% in 2020. It reiterates Dubai’s commitment from the highest levels of government to support the local creative industry long-term growth.

TECOM Group’s media cluster –made up of Dubai Media City, Dubai Studio City and Dubai Production City – has been at the cornerstone of the creative economy. By offering an integrated ecosystem to more than 35,000 creative professionals and 3,400 customers, we have helped reaffirm the city’s role as a global media capital for over 20 years. The cluster is home to regional and international businesses as well as entrepreneurs and freelancers. Its scope demonstrates how creative professionals at varying stages are increasingly choosing Dubai as a place to set up and create content.

The new visa categories add another pathway to empower freelancers and creative individuals, fuelling Dubai’s ability to lead in producing and exporting high-quality Arabic content. It remains important that we continue providing the best environment and infrastructure to facilitate growth, partnerships and innovation to acknowledge the significance of

authentic and targeted Arabic-language content to international audiences.

Offering infrastructure, such as boutique studios and soundstages at Dubai Studio City, freelance packages as part of GoFreelance, or a creativityfocused start-up incubator at in5, is just part of that effort. By enhancing the ease of doing business for major production houses and individual creators, we hope more brands will broadcast high-quality content suited to regional audiences.

What's just as important – if not more – is ensuring that this vast community of major media giants, such as YouTube Music, Spotify, BBC and CNN, engages, networks and partners with innovative emerging talent. This is where the future of the broadcasting and content creation industry lies.

Regional Arabic content creators are proving they have both the talent and the appetite needed to deliver high-value productions, be they feature-length films or viral TikTok videos, that can capture global attention. This makes fostering a holistic creator-friendly environment more critical than ever as Arabic content stands at the cusp of greater global recognition.

Dubai is already the regional leader for the broadcast, content and media industries. TECOM Group’s media cluster will continue to contribute to the city’s Arabic content export pipeline by ensuring its ecosystem empowers more creators to sustainably scale up and expand both within and beyond the MENA region.

Majed Al Suwaidi is Senior Vice President of Dubai Media City, Dubai Studio City and Dubai Production City, members of TECOM Group PJSC.

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