BroadcastPro ME November 2023 by CPI Trade Media

ISSUE 157 | NOVEMBER 2023

Licensed by Dubai Development Authority

RESHAPING ARABSAT’S FUTURE

New CEO Eng Alhamedi Alanezi goes for ambitious overhaul to launch Arabsat into the future

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PROINTRO

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

Welcome

Shiyas Kareem shiyas.kareem@cpitrademedia.com +971 (0) 4 375 5474 EDITORIAL Editor Vijaya Cherian vijaya.cherian@cpitrademedia.com +971 (0) 55 105 3787 Sub Editor Aelred Doyle ADVERTISING Group Sales Director Sandip Virk sandip.virk@cpitrademedia.com +971 (0) 50 929 1845 +44 (0) 7516 993 862 DESIGN Art Director Simon Cobon Designer Percival Manalaysay MARKETING & EVENTS Events Executive Minara Salakhi minara.s@cpitrademedia.com +971 (0) 4 433 2856 CIRCULATION & PRODUCTION Data & Production Manager Phinson Mathew George phinson.george@cpitrademedia.com +971 (0)4 375 5476 DIGITAL SERVICES Abdul Baeis Umair Khan

The ASBU BroadcastPro ME Summit and Awards is in its 13th year, and I am delighted to announce that we have 34 highprofile industry professionals joining us in this edition to speak about several topics that have become increasingly important in our industry. With OTT leading the entertainment brigade and multiple technologies as well as genres gaining prominence, we decided to expand our panel discussions to cover a wide range of topics, including AI, sports, virtual production, IP and cloud, in addition to our regular topics. We have also deviated from the norm of hosting the conference and awards at one venue and split it this year. As always, we prioritise the convenience of the media industry when selecting a venue, and this year we have partnered with Studio City to host the conference at the Dubai Knowledge Village Park Conference Centre, a prominent landmark within the academic area of Dubai Media City. It has always been our dream to host our

awards at an outdoor venue under a star-studded sky with the Dubai Marina skyline, and as the weather is pleasant in November, this year finally offered that opportunity. This issue of BroadcastPro ME, in keeping with our spirit and passion to always bring the best stories to you, also showcases Blinx, a new digital storytelling hub that has opened up in Dubai Media City, and the tech behind OSNtv, a new smart box that merges the worlds of linear and streaming for viewers. We look forward to welcoming you to the Summit on November 8. Attendance is free for industry professionals but registration is mandatory, as per Dubai government regulations. Please visit https://broadcastpromeawards. com to register.

Vijaya Cherian, Editorial Director

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ISSUE 157 | NOVEMBER 2023

Licensed by Dubai Development Authority

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RESHAPING ARABSAT’S FUTURE

New CEO Eng Alhamedi Alanezi goes for ambitious overhaul to launch Arabsat into the future

@BroadcastProME www.facebook.com/BroadcastProME BroadcastProME

Eng. Alhamedi M. Alanezi, President & CEO, Arabsat.

or transmitted in any form without the permission of the publisher in writing. Publication licensed by Dubai Development Authority to CPI Trade Publishing FZ LLC. Printed by Printwell Printing Press LLC.

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November 2023 | www.broadcastprome.com | 3

T R U E I N T E G R AT I O N

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PROCONTENTS

Inside this issue 06 NEWS MBC Group and TOKYOPOP announce first two anime productions; SRMG and WBD launch Asharq Discovery; Barajoun Studios joins hands with ORI Animation; Alamiya acquires Lyra Pictures; Advanced Media hosts CINE editions in Riyadh and Dubai; and more

November 2023 MBC AND TOKYOPOP INK DEAL FOR ANIME

AMT HOSTS CINE EDITIONS IN KSA & DXB

16 ARABSAT UNDERGOES

COMPLETE TRANSFORMATION When Eng Alhamedi Alanezi assumed the role of CEO at Arabsat, he began charting a new course for transformative growth and innovation at the company. He discusses the changes at Arabsat and his vision for the company with BroadcastPro ME

12 MAJOR OVERHAUL AT ARABSAT

BLINX DIGITAL MEDIA HUB LAUNCHES

20 VISIONARY VENTURE Blinx, a cutting-edge digital storytelling hub, has launched in Dubai to cater to a tech-savvy Arab audience. BroadcastPro ME explores this new-age facility

28 OSN'S SMART MOVE OSN recently rolled out its new hybrid box OSNtv, which integrates the pay-TV operator’s channels with a viewer’s favourite apps as well as other exclusive content. OSN execs tell us why the box is a game-changer

16 ENTERTAINMENT UNBOXED WITH OSNTV

LIGHTS! CAMERA! LAUGHTER!

34 COMEDY UNPLUGGED:

FILMING THE FUNNY Dubai media specialist WonderWeb talks about filming this year's Dubai Comedy Festival with BMD cameras

36 GUEST COLUMN Linear channels gain popularity in the OTT space

34 November 2023 | www.broadcastprome.com | 5

PRONEWS

MBC Group and TOKYOPOP announce first two anime productions MBC Anime – an MBC Group and TOKYOPOP initiative dedicated to the licensing, promotion and production of anime content in the region – has announced investments in two original anime productions scheduled to debut in Japan and worldwide this month: Kami. App and Protocol: Rain. The shows, from Fuji TV and TV Asahi, will stream exclusively on Shahid, MBC’s

Protocol: Rain tells the story of Shun Tokinoya, a high school student working part-time at an esports café.

streaming platform. MBC Anime is also now part of the production committees of both Japanese broadcasters. Streaming as a simulcast on Shahid, Kami.App was created by Yoko Taro (the video game director of Nier), written by Jin and directed by Hiroyuki Seshita. All 13 episodes of season one are set to stream this year, with a second season planned for 2024.

Protocol: Rain tells the story of Shun Tokinoya, a high school student who must participate in the Xaxxerion Championship to win prize money, which he needs to save the one passion that keeps him going after the loss of his father. Directed by Yasutaka Yamamoto and written by Katsuhiko Takayama, all 12 episodes will stream on Shahid this year.

SRMG and Warner Bros. Discovery launch Asharq Discovery Saudi Research and Media Group (SRMG) and Warner Bros. Discovery unveiled Asharq Discovery, a new free-to-view Arabiclanguage infotainment platform, last month. Asharq Discovery will showcase thousands of hours of premium content from Discovery’s catalogue, as well as hand-picked acquisitions from all over the region and a good lineup of original productions. The launch responds directly to changing viewer preferences and surging demand for Arabiclanguage content. The platform promises to offer a wide range of genres, including pop science and engineering, crime and mystery, motoring, adventure and travel, food and cooking, wildlife and nature, lifestyle and reality.

The collaboration will involve the co-production of up to 30 hours per year with Warner Bros. Discovery and HBO. The deals further aim to create authentic stories about MENA, offering opportunities for regional talent, since production will take place within the region. Furthermore, Warner Bros. Discovery has the option to globally distribute co-produced content through its

6 | www.broadcastprome.com | November 2023

platforms and services, thereby showcasing regional narratives to a global audience. Jomana R. Al-Rashid, CEO of SRMG, said: “The platform is the latest example of SRMG’s transformation strategy in action … with Asharq Discovery, we continue to redefine the viewing experience with seven distinct genres, each offering a fresh perspective on storytelling. The launch

is just the start; we have extremely ambitious plans for co-production, and I look forward to watching the platform’s growth.” Jamie Cooke, GM CEE, Middle East and Turkey of Warner Bros. Discovery, added: “The entertainment industry in the MENA region is an area of major global talent and transformative growth. I am excited to start developing Arabic content that can inspire viewers not just in the region but Arabic-speaking audiences around the world.” Asharq Discovery is accessible free-to-view across the region through satellite coverage on Arabsat and Nilesat, and through the catchup service Asharq NOW and Asharq Discovery’s social media platforms.

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PRONEWS

Barajoun Studios teams up with China’s ORI Animation KSA’s Barajoun Studios has announced a co-production alliance with Chinese company ORI Animation. The collaboration aims to enhance the quality of animation and offer local talent a platform to flourish and work alongside some of the best artists, writers and directors in the world. The alliance is expected

to be a major boost to Saudi Arabia’s vision of becoming a hub for creative industries and contributing to the country’s economic diversification and cultural enrichment. With a shared passion for storytelling and commitment to excellence and innovation, the partners envision a series of collaborations that will

From left: Feng Qian, President of Ori Animation, with Ayman Jamal, CEO of Barajoun Studios, and a team member.

resonate with audiences of all ages, across continents. Ayman Jamal, CEO of Barajoun Studios, remarked: “Aligning with ORI Animation is not just a business decision, it’s a melding of visions. Together we aim to create narratives that are universal in appeal yet unique in delivery.” Barajoun Studios has been striving to redefine the MENA animation landscape. It is renowned for its magnum opus Bilal: A New Breed of Hero. Its upcoming projects include Little Heroes (kids) and Star Chaser (sci-fi). ORI Animation has carved an indelible niche in the global animation scene. It has an impressive asset base and a portfolio boasting thousands of minutes of animated content broadcast across various territories.

OTTera and TV5Monde to launch FAST channels in MENA TV5Monde and OTTera have partnered to launch two free ad-supported TV (FAST) channels in the MENA region. They will be launched on Tarfeeh TV, a joint venture between OTTera and SAWA Rights Management, by the end of the year. Tarfeeh TV is the first FAST platform to be available worldwide and targeted at the MENA region with a list of curated FAST channels. The first channel,

TV5Monde Voyage, will air a curated selection of lifestyle series and programmes. The channel will focus on the culinary world. Both channels will feature programming enriched with Arabic subtitles. The partnership between OTTera and TV5Monde aims to provide MENA audiences with a diverse range of lifestyle-related content that appeals to a broad spectrum of interests.

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Stephen L. Hodge, CEO at OTTera, said: “TV5Monde has been a longstanding orchestrator of premium content, reaching global audiences with authentic and entertaining stories. We are proud to be chosen by TV5Monde as the partner to help power and deliver their FAST channels to Tarfeeh TV and other prominent platforms in MENA and across the globe.”

Saudi media house Alamiya acquires Lyra Pictures Alamiya, a Saudi live production and entertainment company, has acquired Lyra Pictures. The collaboration aims to deliver unprecedented cinematic experiences to audiences, blending production facilities with a forward-thinking approach to content creation. The move will further see the rise of a new film studio in the heart of the Kingdom, supporting the attraction of local talent and IP while also facilitating opportunities for international productions in KSA. It highlights the nation’s growing entertainment landscape and assures local cinema-goers of a promising future for MENA entertainment. Sultan Al Muheisen, CEO of Alamiya, said: “This acquisition ... is about setting a precedent in the regional and local film industry. With Lyra Pictures, we combine traditional and modern film approaches to create something unique.” Lyra Pictures was co-founded by media entertainment executive Wesam Kattan and Bassma El-Afghani, an experienced strategy and analytics management consultant.

PRONEWS

DICM gears up to welcome content market The Dubai International Content Market (DICM 2023) will open its doors to the global content industry from November 22 to 23, 2023, at Madinat Jumeirah. The event hosts more than 80 exhibitors from 16 countries ranging from content producers and distributors to service providers and start-ups, giving them the opportunity to showcase their content and offerings to regional and international buyers and visitors. DICM 2023 will host four country pavilions, two from Korea, and one from Turkiye and Russia, setting an opportunity to explore

diverse and rich content from a global market. Prominent content and production industry players include ATV, TelevisaUnivision, All3 Media International, Eccho Rights, Inter Medya, Dubai Studio City, Caracol Television, CJ ENM, OGM Universe, Sama Art, Fantawild, TRT, ABS-CBN, TV Tokyo, SMF Animation, HA International, KBS Media and ZDF Studios, which amplifies the event’s reach but also highlights the significance of DICM as a key player in the industry. This year, DICM will introduce ‘Producers Connect,’ a platform

dedicated to fostering coproduction opportunities between content producers, streaming platforms, investors and financiers. With over 20 companies already registered, participants will explore collaborative opportunities and create content that transcends cultural boundaries. Another new initiative this year includes ‘DICM Talks,’ which will feature a panel discussion agenda of more than 30 industry leaders and key players sharing their insights on emerging trends, challenges, and opportunities in the ever-

evolving content landscape. It’s a space where knowledge exchange, innovation, and creativity take centre stage. With less than three weeks to go, DICM 2023 aims to be a transformative event, offering a glimpse into the future of the global content industry with opportunities to network, explore, learn, and create content that captures the hearts and minds of audiences worldwide. The Dubai International Content Market is organised annually by INDEX Conferences and Exhibitions Organization – a member of INDEX Holding.

November 2023 | www.broadcastprome.com | 9

PRONEWS

Saudi female filmmakers win at inaugural AlUla Creates: Film Programme Hana Alfasi, Maram Taibah and sisters Raneem and Dana Almohandes were announced as winners of the inaugural AlUla Creates: Film Programme, a platform designed to nurture creativity and empower future generations in film. The winners were chosen by a selection committee comprising Saudi director Haifaa Al Mansour, James Richardson and Jane Moore of Vertigo Films, and Roua Almadani of Film AlUla, the Royal Commission for AlUla’s film agency. Film AlUla and the selection committee made their choice following a stringent evaluation of 85 submissions from Saudi women filmmakers. The concept submissions for a 10-minute short film were assessed on their originality, creativity, thematic depth, character development and potential to engage and captivate audiences.

AlUla Creates mentors Haifaa Al Mansour (second from left), Jane Moore and James Richardson of Vertigo Films (centre and back), and Roua Almadani (second from right) with Film Programme winners.

The winning submissions were chosen for their strong storylines, experimental treatment and robust direction. Featuring universal themes set against the cultural milieu of Saudi Arabia, the winning submissions pushed boundaries in subject matter and approach. Hana Alfasi’s social commentary on mental health, Raneem and Dana Almohandes’ live-action musical about human identity,

and Maram Taibah’s tale of female empowerment and independence steeped in magical realism offered refreshing takes on issues at the heart of the human experience. Charlene Deleon-Jones, Executive Director, Film AlUla, said: “A new generation of talent is on the rise in Saudi Arabia; they have the drive, perspective and potential to take the Saudi industry to the global level. AlUla Creates, as a

programme, facilitates that. By bringing together established talent with emerging Saudi filmmakers, we are enabling an exchange of experiences and knowledge. It is a two-way process of learning that will have a long-lasting impact on the trajectories of these filmmakers’ careers.” The first phase of the mentorship commenced with a series of workshops in AlUla, helmed by mentors Haifaa Al Mansour, James Richardson and Jane Moore, to help the young filmmakers further develop their concepts into 10-minute short films, aided by grants of $20,000 each from Film AlUla. The filmmakers will go to London to learn about the international marketplace, meeting with key sales, distribution, post and VFX companies. They will be supported through submissions to local and international film festivals.

Dubai Media Inc. launches new corporate identity and strategy

ID8 creates new look and feel for Abu Dhabi Media rebrand

Dubai Media Inc. (DMI), owned by the government of Dubai, announced the launch of a new corporate identity and strategy on the sidelines of the 21st Arab Media Forum, held in late September. It includes the launch of several

Abu Dhabi Media (ADM) has created a brandnew studio as part of its transformation strategy. The studio was designed and built by systems integrator Ideal Systems, while ID8 Media crafted its new visual identity. ID8 designed over 11 graphical packages

initiatives including Dubai Media Academy; Dubai Media Studios, a modern production company operating on a commercial basis; the Media Services initiative, which will service other production companies; and the Arts Events Company.

10 | www.broadcastprome.com | November 2023

and dynamic studio loops using Vizrt. Vizrt templates were optimised for video walls, ensuring that ADM’s on-air presentation is visually appealing and technically proficient. The project has empowered ADM journalists to create more engaging on-air stories.

PRONEWS

OSN hosts customer experience summit to discuss trends and challenges OSN recently hosted more than 100 leading industry stakeholders and decision-makers for focused discussions across pay TV, streaming and tech. The event was attended by guests from Google, Mobily KSA, Samsung, Apple, Virgin, du and Etisalat, among others. The summit began with a keynote address by OSN CEO Joe Kawkabani. He briefly touched on OSN’s transformational journey over the last year and how it has achieved a 40% year-on-year increase in engagement on the platform. He discussed key trends affecting the tech and entertainment industry, from rising content costs to building a sustainable business with the pressures of content economics, the benefits and pitfalls of technology and the aggregation opportunity.

CEO Joe Kawkabani addresses the gathering at the OSN CX Summit 2023.

He concluded on a positive note, stating that the outlook for the MENA region showcased immense growth. One of the highlight sessions of the summit, New Growth Strategies in a Divided Landscape, featured guest speaker Jamie Cooke, GM, Middle East, Warner Bros. Discovery, and Kawkabani. The conversation delved into innovative strategies for growth in a rapidly evolving media landscape,

such as personalisation, customisation and taking content beyond the screen. Cooke commented: “We’re focused on the customer, and it’s crucial for us that OSN shares the same vision and strategy in terms of making every decision based on how it benefits who is watching. It’s the strength of this partnership that has enabled us to deliver a fantastic array of content to the MENA region, with much more to

come this year and beyond.” He also stated that MAX parent company Warner Bros. Discovery would not go direct in the MENA region any time soon, while reiterating its partnership with OSN, which was renewed in a multi-year agreement earlier this year. Another session that garnered significant attention was led by Justin Hewelt, an industry expert who shared his insights on telco trends and the power of television. His presentation highlighted the evolving role of telecommunications companies in the entertainment industry and the impact on viewers’ experiences. Senior OSN executives also introduced attendees to OSNtv, the media entity’s latest home product, and some of the new content available on the platform.

Jordan opens first dedicated film studio complex Olivewood Film Studios, the first dedicated film studio complex in Jordan, has officially opened its doors. The facility has two soundstages spanning 16,145 sqft each, alongside a 10,764 sqft mill. Additionally, it features a levelled backlot sprawling across 731,946 sqft, a 43,056 sqft basecamp area, an on-site canteen, parking facilities accommodating 95 cars, and a dedicated space for technical vehicles.

Olivewood Film Studios is a 15-minute drive from Amman. It will operate as an independent entity with administrative and financial autonomy under the leadership of Raja Gargour, Executive Commissioner of the Royal Film Commission. “With the new studios and a 16-acre backlot, Jordan now has all the right components in place to service all international filmmaking needs, as

well as giving the local production houses the opportunity to produce their stories for the regional and international markets,” said Gargour. Jordan offers a cash rebate programme that enables film productions to recover up to 25% of local labour and supplier expenses. Furthermore, the government recently passed a law exempting both foreign and domestic productions from sales

taxes. In addition, the RFC has established a partnership with New York Women in Film & Television, aimed at nurturing and mentoring aspiring Jordanian women filmmakers. This collaborative twoyear lab programme will assist 30 selected women in securing funding, developing their craft and producing their work, further enriching Jordan’s film industry.

November 2023 | www.broadcastprome.com | 11

PROEVENT

Advanced Media unveils CINESeason in Riyadh and CINESchool in Dubai

At the Saudi Film Confex event.

Advanced Media Trading (AMT), a major distributor of professional video, photo, broadcast and cinema equipment and accessories in the MENA region, showcased the latest products and brands it represents at the first edition of Saudi Film Confex in Riyadh last month. The event also served as the launchpad for AMT to introduce CINESeason, the Arabic version of its CINE editions, a biannual community digital cinema event that helps aspiring filmmakers and content makers stay abreast of new technologies and craft better content through numerous workshops and seminars conducted by industry professionals. AMT received an average of 150 attendees daily at the exhibition, from a diverse crowd of filmmakers, rental houses, producers, content creators, film students and brand representatives. Saudi Film Confex provided an interactive space for AMT to reconnect with existing customers in the Saudi market and meet new ones. Alaa Al Rantisi, AMT’s co-founder and Managing Director,

remarked that “the Saudi market is young, vibrant and very eager to learn”. CINESeason also provided aspiring filmmakers, content creators and enthusiasts with a comprehensive learning experience in various aspects of cinematic filmmaking, and the opportunity to join industry experts in discussing the latest technologies, trends and solutions in digital cinema, broadcast and video. The immersive two-day event included four workshops conducted by industry professionals including cinematographer Fouad Aoun, media veteran Mostafa Salah and renowned Egyptian DoP Ayman Abou el Makarem. Each workshop brought together approximately 50 attendees. The event also created an opportunity for visitors and clients to interact directly with the AMT team in Riyadh and experience first-hand the importance of attending such workshops and seminars. Pooyan Farnam, Head of Marketing at AMT, said, “Advanced Media is committed to increasing the frequency and range of its

12 | www.broadcastprome.com | November 2023

workshops, product launches, events and exhibition participations in the region. Developing, organising and hosting training workshops, seminars and community events that educate, inform and familiarise consumers with new equipment and the latest technological advances is an exceptional feature that sets Advanced Media apart in the industry.” Last month, AMT, in partnership with the Prague Film School, also launched CINESchool, designed exclusively for university film students throughout the UAE. The three-day event offered aspiring filmmakers an opportunity to enhance their abilities, acquire fresh insights and cultivate the expertise required to produce outstanding film projects. AMT welcomed 50 university students from SAE Institute, Raindance Film School, University of Wollongong, Canadian University in Dubai, Amity University, Manipal Academy of Higher Education and the Higher Colleges of Technology to participate in the workshops and seminars.

PROEVENT

Conducting the workshops were two award-winning cinematographers and lecturers from Prague Film School, Gary Griffin and Thomas Krivy, as well as award-winning Telugu filmmaker and Prague Film School alumnus Raam Reddy. The two lecturers focused on more technical topics such as colour and exposure in the digital realm, operating a camera and choosing the right lens, and lighting and grip. Reddy, who has won several awards for his film Thithi, spoke about finding one’s voice as a filmmaker. He also took the students through the process of budgeting for a film all the way to post-production, and on the final day screened his film. Griffin, who teaches directing and camerawork at Prague Film School, remarked: “When I'm talking about the camera, I always try to talk about it from

an organic standpoint because machines were created based on how we see colour, exposure, framing and so on. So it begins with how I see colour, and then going from there to how the camera views colour, and how we must work with that with regard to lighting and colour balance to achieve what we are after. Obviously, different cameras see colour differently, so how we play with lights to achieve the desired effect is important.” Filmmaker Reddy showed attendees some fine examples of good movies and emphasised the importance of sound when making films. He took them through his own journey of making seven shorts before hitting upon success, and then making another three before creating the award-winning feature Thithi with a watertight script, “zero budget and non-actors”. He has now shot his new

feature in 35mm, but details were under wraps at the time of going to press. “Advanced Media is proud to be launching this exclusive edition in collaboration with Prague Film School,” said Farnam. “We have a demonstrated commitment to organising and hosting training workshops, seminars and community events that educate and inform. The reason for curating a specific digital cinema event for university students is aligned with that commitment, and it furthers our support for empowering tomorrow’s generation and lays the foundation for one of Advanced Media’s ultimate goals, which is opening a media academy in the future that caters to our full range of customers.” Advanced Media will kickstart 2024 with CINETomorrow from January 11 to 13 at its Dubai headquarters.

Advanced Media, in conjunction with Prague Film School, conducted a three-day event with workshops and seminars for university students studying film in the UAE.

Filmmaker Raam Reddy, above left; and below, the CINESeason edition in Riyadh.

November 2023 | www.broadcastprome.com | 13

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PROCOVER

RESHAPING ARABSAT’S FUTURE

A year ago, Eng Alhamedi Alanezi assumed the role of President and CEO at Arabsat, charting a new course for transformative growth and innovation at the company. Under his guidance, Arabsat introduced a revamped brand identity in September, aiming to reposition the company as a satellite solutions provider offering unique value across various industries. In an interview with BroadcastPro ME, he discusses the changes at Arabsat and his vision for the company Arabsat has long played the traditional satellite operator’s role in the Arab world to perfection. But new CEO Eng Alhamedi Alanezi is determined to alter the traditional perception, modernise the company and elevate it to new heights. One of the areas he addressed when he took the helm at Arabsat was changing the company’s brand identity. “We are in a race to be the key player in the region. With technology advancing rapidly, we need to grow at the same speed. Until we reach that stage, we will remain in a state of transformation,” he remarks. Part of this transformation has been addressing gender and cultural diversity within the organisation and recruiting more young talent. “The entire concept behind rebranding Arabsat was to adopt a more human-centric approach. As part of that, we are focused on empowering women. We recently hired approximately six women and plan to hire more. Market demands are evolving so fast that they require fresh expertise. So we’re not only hiring women but also sourcing experts from different countries. Currently we have experts from Portugal, France, various parts of the Arab world, India and Pakistan, to name a few. The more diverse our team is, the better we can accommodate the new vision and approach of Arabsat.” Alanezi is also committed to hiring more young professionals from different Arab countries to help develop the space industry. “We are hiring new graduates whom we can train and nurture. We are engaging with Arab youngsters and encouraging them to consider careers in the space industry. With this goal in mind, we’re working to establish a space camp in Indonesia and hosted one previously in Tunisia.” Alongside this, Alanezi hopes to change people’s

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perception of what Arabsat can offer. “There is a misconception that our satellites mainly focus on broadcasting and TV. However, we are involved in many other areas. For instance, ensuring connectivity is a core part of Arabsat’s business, particularly in rural areas to promote fairer distribution of broadband. We have successfully provided connectivity to schools in remote areas for e-learning. We completed a similar project in Saudi Arabia recently. “We offer multiple layers of solutions, services and commitment to the communities we serve. This is why we’re changing everything, from our hiring practices to our public image and our message to the community at large. We want everyone in the Arab world to feel that Arabsat is a part of them.” He explains that each community will be serviced based on its needs. “We tailor our services to meet the unique needs of each market. Market needs differ in Mauritania from those in Algeria, Tunisia or Saudi Arabia. One project that many Arab countries face challenges with is desert expansion, and we’re offering a monitoring service that provides analytical data to help them make informed decisions about managing this issue. With this service, we have assisted Saudi Arabia in planting trees as part of the Saudi Green Initiative, helping identify optimal locations within the Empty Quarter. Similarly, we assist with tasks like monitoring water quality along the Nile or addressing oil spills in Algeria.” Arabsat’s strategic vision for the future centres on key pillars that include a strong focus on enhancing connectivity for the Arab world, investing in new satellite technology and expanding data services to meet evolving market needs. He stresses the operator’s ongoing satellite initiatives,

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From left: Eng Alhamedi Alanezi, CEO of Arabsat, and Turki Badhris, Head of the Public Sector and Acting GM at Microsoft Arabia, shake hands on a tech deal they signed in Paris.

notably the launch of Badr 8 in May 2023. Arabsat also has Badr 7A and Badr 9 in the pipeline, set to be operational between 2027 and 2028/29. “We are one of the few satellite operators that have a backup satellite in orbit. In case one has issues, we can seamlessly transition our customers between the primary and backup satellites,” he explains. Several new initiatives have been announced in the last year. For one, the operator strives to enrich its broadcasting services to facilitate mutual promotion between its 600 partner TV channels. For this, it has encouraged channels to create three-minute videos highlighting their countries with the aim of cross-promoting them. Secondly, Arabsat has started providing training and certification services to people working for the TV channels on its platform. While these services are optional, Alanezi says they empower Arabsat’s clients to deliver top-notch content and be cognisant of the latest developments. A third initiative is the Arabsat Advisors’ team, comprising seasoned satellite professionals. Their role is to advise channels on entering new markets, distinguishing between linear and streaming services based on market suitability, target audience and commercial viability. This on-demand advisory service is meant to reinforce

clients’ presence in the market. Another initiative that Arabsat is now promoting is its Disaster Recovery (DR) centre in Cyprus, extending assistance to clients who want to have such an option. “Essentially, I want the industry to know that we are not just selling capacity but are here to enable knowledge transfer and improve the quality of services through these various initiatives. In this way, we nurture sustainable client relationships and improve market preparedness. If we are developing an advanced satellite but don’t have a highly skilled customer that can understand where it can take them, we will continue to remain in the same traditional space until the market matures and grows. But if your customers are well-informed, we will together move to the next level of At the launch of Badr-8 in May 2023.

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knowledge and experience, and all of us will be able to maintain the same advanced pace. I will have the tools they need to work at that advanced level, and they will have the ability to maximise its potential. This also creates stability in the market. When experts leave, the entire organisation doesn’t crumble; many resources will be capable of maintaining and delivering services to customers. “Currently, technological expertise varies depending on the region. To address this, we have collaborated with partners and hired advisors from different countries where space technology is more advanced, to provide knowledge transfer to our customers. This makes it a winwin for us and our customers.” He concedes that the broadcasting industry is undergoing significant transformation, shifting from traditional linear services to datacentric offerings, and explains how Arabsat has worked to address this for its customers. “There’s a decline in linear and more traction on the OTT side of the business, but we have a challenge in the Arab world because we are all at different levels of readiness. Arabsat therefore has services that address both linear and OTT needs

PROCOVER

The teams from Arabsat and Microsoft.

now. Within broadcast, our strategy has been to develop multiple services and solutions so we can offer the customer a range from conventional offerings all the way to those for newer platforms. So if the channel decides to continue with linear, or if they reduce their participation in linear and move to OTT, we are there for them either way. Secondly, we have already invested and developed solutions that reduce the investment on the customer side so they don’t need to make additional investments. They merely need to plug their channel in, utilise the solution, pay and go.” For some of the tech initiatives above, Arabsat has signed a memorandum of understanding (MoU) with Microsoft Arabia to accelerate its digital transformation and enable the development of its services. Arabsat will use Microsoft’s cloud services to improve its performance efficiency, and increase productivity and reduce costs. It will also use Microsoft’s latest technologies to enhance the digital capabilities of its own employees. The partnership aims to focus on developing value-added and quality services that combine Arabsat’s space

“We are in a race to be the key player in the region. With technology

advancing rapidly, we need to grow at the same speed. Until we reach that stage, we will remain in a state of transformation” Eng Alhamedi Alanezi, President and CEO, Arabsat expertise with Microsoft’s technological capabilities to develop infrastructure, adopt cybersecurity solutions and build digital capabilities, so countries that are part of its remit can make the most of what both companies have to offer. The MoU is also set to establish an innovation laboratory to develop new products in the satcom sector, as well as environmentally sustainable solutions that rely on cloud and satellite technologies to collect and analyse important environmental data. This will provide Arabsat with new tools for exploring climate change, weather forecasting and environmental monitoring. Arabsat also announced the launch of a Contribution Platform last month, designed to simplify global content sharing

for TV channels. It accommodates industry-standard video formats and networks, empowering TV channels and channel groups to broadcast from their studios to a global audience. The operator anticipates this platform will transcend traditional limitations and facilitate seamless content delivery to global audiences. As part of this project, Arabsat has forged partnerships with TVU Networks and Zixi. The former will help deliver cloud-based production and playout services while Zixi's software-defined video platform will help provide secure, low-latency, cost-effective and high-quality video delivery over any network. “We are rapidly engaging with industry partners while also making dynamic shifts within the company to expedite ongoing transformations, protect our assets, and elevate the skills and knowledge of our employees. Our goal is to drive development within the communities we serve. By addressing these challenges, Arabsat is poised to maintain its position as a key player in the satellite industry while fostering growth, sustainability and technological advancement,” concludes Alanezi. PRO

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PROMEDIAFACILITY

BLINX BLAZES BOLD DIGITAL TRAIL A cutting-edge digital media hub has emerged in Dubai, designed to meet the demands of a tech-savvy, digitally immersed Arab audience. With a strong focus on providing content optimised for online engagement, Vijaya Cherian explores this new-age facility, integrated by Ideal Systems Group, where every space is a potential production set In September, Dubai welcomed a fresh media venture designed to cater to the Gen Z and millennial demographic in the Arab world. Blinx, a brand-new digital storytelling hub that occupies the whole second floor of Building 2 in Dubai Media City (DMC), aims to produce and deliver engaging news and related short-form content across multiple platforms, from social media channels to the web, television, wearable devices and the metaverse. Central to Blinx’s vision is a 16,384 sqft, state-of-the-art facility that includes a pioneering metaverse/extended reality (XR) studio, as well as cuttingedge production facilities and control rooms. The whole office is designed as a set, with six studio cameras and around 15 ENG cameras. The studios are fitted with the latest live production tools, including AI-enhancement features aimed at helping content creators craft virtual media content.

Blinx is the brainchild of General Manager Nakhle Elhage, a well-known broadcast veteran. His core team includes Chief Operations Officer Ruba Ibrahim and Chief Creative Officer Fadi Radi, and they lead a team of 160 employees currently working at the Blinx headquarters in DMC. “Our aim is to attract Gen Z viewers and millennials who prefer getting all their information, whether news or entertainment, on social platforms today,” says Elhage. “We bring the live production experience to multiple smart devices and screens, creating a holistic on-demand social ecosystem where MENA youth audiences will be able to find culturally relevant content at their fingertips.” The core of Blinx’s operation relies on an end-to-end 4K-ready audio and video chain facilitated by the latest NDI and Dante tools. This system was designed and implemented through a partnership between Blinx and systems

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PROMEDIAFACILITY

Although the whole Blinx facility is set up to serve as a studio, it also has a dedicated studio floor.

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PROMEDIAFACILITY

integrator Ideal Systems Group, which worked closely with other solution providers as well. An essential aspect of the social media content hub is its focus on news operations. Given its target audience of digitally savvy young people, Blinx’s strategy hinges on modern infrastructure and high-end production workflows. It has used the potential of cloud, AI and data technologies to gain a strategic advantage over other media platforms. As a result, in just a month since its launch, the media entity has reported impressive numbers on its @blinxNOW and @blinxNEWS social media handles, with the former having an astounding digital footprint at 184m users. Early last month, the digital hub also launched @blinxNEWS to provide extensive, dedicated news coverage of events in the Arab world.

“Some of us at Blinx come from broadcast backgrounds and know the value of content,” explains COO Ruba Ibrahim. “We also recognise that a young, digital-native population requires content at their fingertips in a format they find palatable, and research supports this. A recent report from Vizrt shows that 84% of Gen Z viewers prefer to consume content that is heavy in graphics for storytelling, with 75% wanting it optimised for mobile viewing, as 37% consume all their content on their phones. In the Arab world, around 55% of the population is below the age

“Our aim is to attract Gen Z viewers and millennials

who prefer getting all their information, whether news or entertainment, on social platforms today” Nakhle Elhage, General Manager, Blinx

From left: General Manager Nakhle Elhage, Chief Operations Officer Ruba Ibrahim and Chief Creative Officer Fadi Radi.

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of 30 and they consume almost all content on their devices. They are our prime audience. Most of our staff and all our storytellers are also young and communicate best with our Gen Z and millennial audience.” CCO Fadi Radi elaborates: “Traditional broadcasters often use a one-to-many communication model. Digital platforms, however, can leverage personalisation and interactive features to engage their audience more directly and meaningfully. Blinx is datadriven and uses AI extensively to reach our audience through scientific methodologies.” Having conceived of a brandnew concept that did not exist in the Middle East, Blinx contracted Ideal Systems to design and deploy the entire broadcast system, including the lighting for the studios, a file-based infrastructure, IT infrastructure, IPTV, video

PROMEDIAFACILITY

Clockwise from bottom left: Lightpanel soft light panel, XR/VR studio, the KonVision view finder, and the Theater Studio, equipped with LianTronics Metago screen and professional studio lights from Chauvet.

walls, XR studio, production kits, graphics, MAM and NRCS systems, and edit suites. “They wanted something outstanding and unique to other projects in this market, and there are several firsts associated with Blinx,” explains Ayman Alkhatib, Managing Director, Ideal Systems ME. “This is the first NDI-based social media hub in the MENA region, for instance. They wanted their operators and journalists to be able to access the system and interact with their production tools remotely. In addition, rather than rely only on a traditional studio, they wanted to utilise any and every space in the Blinx facility as a potential shooting position with filming standards set to UHD quality, and they wanted studio production to be fully automated. Those were some of the mandates.” Blinx’s core video infrastructure leverages NDI technology for seamless transmission of video signals over an IP-based network. In parallel, Dante technology over IP underpins the audio infrastructure, ensuring a seamless and efficient

New technologies IP-based NDI infrastructure NDI-based production facility – on-prem or in the cloud Dante audio Dejero cellular bonding transmitter XR production Mosart automation Cloud-based MAM and NRCS Key brands Solid State Logic (SSL) audio mixers Dejero bonded cellular Liantronics LED displays Sienna NDI media infrastructure Lynx Technik infrastructure Densitron Sony UHD 4K cameras Fujinon lenses Autoscript hardware & software solutions Vizrt graphics and XR Unreal Engine Cisco switches GBLabs storage Chamsys lighting systems Sennheiser mics Samsung digital walls

production process. Sony 4K cameras with Fujinon 4K broadcast lenses power the studio sets. For audio, Blinx uses Sennheiser's Dante-based wireless microphones and IEM system, meeting the studio’s audio needs impeccably. The core video backend is anchored in Sienna NDI infrastructure, offering a comprehensive suite of NDI processing tools. Blinx’s unique integration of a redundant NDI router from Sienna and Densitron’s control system offers seamless routing capabilities, empowering customers to establish a redundant tier-1 broadcast core using NDI technology. In the audio domain, Blinx employs native Dante-based audio consoles and processing modules from SSL, delivering an agile and adaptable audio production platform. A notable feature of Blinx’s set-up is the inclusion of XR studio sets and LED screens from Liantronics, providing a cost-effective solution for XR/AR production. “We built an XR production studio with the help

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PROMEDIAFACILITY

Blinx is headquartered in Dubai Media City.

“Blinx is datadriven and uses AI extensively to

reach our audience through scientific methodologies” Fadi Radi, Chief Creative Officer, Blinx of fine pitch LED display supplier Liantronics, utilising the latest LED technologies and tracking system,” explains Alkhatib. To meet PCR production needs, Blinx relies on Viz Vectar, Tricaster panels and Mosart automation. The creative team’s production and operational requirements are fulfilled through graphics components from Vizrt. For seamless video transformation, Blinx uses NDI

gateways and converters from AJA and Kiloview, for smooth transitions between SDI, NDI and HDMI. Additionally, Blinx is equipped with a hybrid MAM and NRCS system that supports its story creation and media content production operations. For its media storage requirements, it relies on solutions from GB Labs and Object Matrix, ensuring that all media production needs are met with efficiency and reliability. The studio complex at Blinx is equipped with hybrid MAM and NRCS systems, supported by cloud and AI services from AWS. These systems enable Blinx to create and manage media content effectively and provide a better user experience. It can scale to any number of users, using the hybrid storage infrastructure between on-prem nearline storage and cloud-based archive. This part of the project, along with project management, systems

architectural planning and the implementation of the integrated cloud newsroom and media production workflows, was undertaken by Kunnusta, part of Fonn Group, with support from Ideal Systems. Mimir, a cloud-based video collaboration and production tool, forms the backbone of Blinx’s editing suite. Dina, a cloud newsroom tool, drives the news and editorial workflows, while Vizrt powers

“We recognise that a young, digital-native

population requires content at their fingertips in a format they find palatable” Ruba Ibrahim, Chief Operations Officer, Blinx

From left: Blinx HQ datacentre and the main PCR/control room.

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PROMEDIAFACILITY

graphics, virtual studio and playout automation tools. Videos and images are accessible from anywhere with an internet connection, allowing them to be reused across multiple applications within Blinx. This includes ingesting video content over NDI, searching and adding media to news stories in Dina, and publishing stories with video, graphics and images on multiple platforms. “Cloud-based infrastructure allows for cost-effective scaling to reach different platforms with customised graphics and video production to suit each platform, so our staff have access to their everyday newsroom and video production tools from anywhere in the world. NDI technology ensures flexibility and scalability at a lower cost than traditional broadcast infrastructure,” explains Radi. For video management and collaboration, Mimir reportedly offers robust functionality, scalability and integration with various AI and production workflow tools. The integration of AI into Blinx's operations helps with content recommendation and creation,

Ayman Alkhatib, MD of Ideal Systems ME, which undertook the systems integration for Blinx, calls this the first NDI-based social media hub in the MENA region,

personalisation, automatic tagging, metadata generation and enrichment. By enriching video and media assets with metadata, AI helps improve searchability and the optimisation of content for search engine ranking. Videos are easily transcribed into any language, making it easy to find assets based on spoken words in transcripts, object and face detection, and many more parameters created by AI. To cater to people who prefer graphicsheavy content, Blinx employs Vizrt tools to create high-quality virtual sets,

augmented reality (AR) graphics and interactive elements. Remote production and automation tools enable Blinx to produce 4K-ready content in the cloud, ensuring it can be viewed on various devices in the format viewers prefer, with different graphics set on each one to fit the device. With a futuristic, wholly digital infrastructure in place, Blinx represents the future of news and content consumption, offering a modern media hub that leverages personalisation and interactive features to engage audiences. Datadriven and AI-enabled technologies transform content consumption for younger audiences, making it more engaging and interactive. The workflow among Blinx's tools and automation supports easy virtual production and elevates the storytelling experience, making it suitable for live production. In essence, Blinx is a transformative force in the media landscape, catering to the evolving preferences of the younger generation and harnessing the full potential of technology and innovation. PRO

The Blinx Metaverse Blinx has introduced a new metaverse space spanning 16,384 sqft and designed by Tech Mahindra. This digital counterpart seamlessly mirrors the physical office within the metaverse, delivering an immersive and engaging experience for users. Central to the project are various elements, including precise 3D modelling for an authentic representation of the Blinx office space, the creation of realistic 3D assets and seamless integration of interactive features like voice

and text chats, screen sharing, video embedding and event hosting tools. Moreover, the metaverse space harmoniously blends with Spatial technology, ensuring accessibility across diverse devices and platforms. Users can interact with Blinx app content, including videos and sections, in a 2D format within the metaverse, and enjoy real-time streaming of events. Interactive nonplayer characters enrich the user experience, while an expanded amphitheatre space accommodates

large audiences for watch parties and events. The deployment process focuses on platform compatibility, rigorous testing to ensure performance, responsive content delivery from the Blinx app and robust security measures to safeguard user data and privacy, especially when user authentication and access control are involved. Combining visually appealing design and a tech stack featuring Unity, Spatial and VR/AR tools, the Blinx

office metaverse project creates a cross-platform virtual environment that aligns with its goals and offers adaptability and scalability. Users access this virtual space through a user-friendly interface, customise avatars and interact with NPCs. The space is further enhanced with realistic 3D models and animations, real-time voice and text chats, personalisation options for avatars, and project management tools that facilitate collaborative development.

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PROADVERTORIAL

ADVANCED MEDIA TRADING LOOKS TOWARD TOMORROW For over two decades, Advanced Media Trading, familiarly known as AMT, has been supporting its wide spectrum of creative consumers, artists, entrepreneurs, and professionals. As the largest distributor of professional video, photo, broadcast and cinema equipment and accessories in the Middle East and North Africa, AMT has earned the reputation of a powerhouse in the industry by offering and delivering exceptional services from consultancy, training and sales to installation, repair, and maintenance. Yet AMT is more than a simple distributor, but rather an added value reseller whose highest priority is delivering the technical necessities and demands of its diverse clientele. AMT’s main motivation is investigating, identifying, and adapting the latest technological trends and developments, and recognizing how these developments can benefit stakeholders. These objectives are not solely focused on pursuing profit but rather directed towards finding and offering solutions that encourage and contribute to future advancements in media. In recent years, AMT has expanded regionally with an official branch in Riyadh, Saudi Arabia and a service center in Cairo, Egypt. But the expansion has been more than just physical. AMT has focused on expanding its client base by appealing to a new audience. “We are grateful to every single one of our loyal clients and customers for supporting us through thick and thin since we founded the company in 2002, and we will always continue to offer the most curated service to every single one of them. We know the credit to our success must be shared with the whole community. At the same time, I believe that it is imperative that we focus our resources now to attract and empower the next generation of filmmakers, photographers, podcasters, and creatives at large. We want to align our values and energy to really focus

on tomorrow,” explains Kaveh Farnam, co-founder of Advanced Media. In 2021, AMT founded a department of corporate social responsibility (CSR) with a mandate to pay it forward, build lasting partnerships, and serve as an example for small and medium enterprises towards realizing the UN Sustainable Development Goals (SDGs) and in recognition and pursuit of the UAE’s commitment to sustainability and tolerance. Since its inception, the CSR department has signed agreements with several sustainable waste management companies, eliminated plastic bags and bottles from its premises, cut ties with logistics and procurement companies lacking clear CSR policies, and facilitated Advanced Media’s joining of the UAE Alliance for Climate Action (UACA) as the first and only SME. Additionally, AMT partnered with the SAE Institute in Dubai to empower aspiring filmmakers with financial support of a total sum of Dh50,000 every year to deserving students. These new initiatives and activations are the cornerstone of AMT’s new mission statements and visions of tomorrow. For instance, aligned with its continued efforts and ambitions to bolster the thriving film community in the UAE, Advanced Media launched CINESchool, an exclusive edition of the biannual digital community event curated specifically for university students pursuing a degree in filmmaking in collaboration with Prague Film School. CINESchool, the three-day workshops,

“I believe that it is imperative that we focus our resources now to attract and empower the next generation of filmmakers, photographers, podcasters, and creatives at large” Kaveh Farnam, co-founder, AMT

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seminars, and screening on October 11-13, attracted a diverse crowd of students handpicked by their instructors from the SAE Institute, Raindance Film School, University of Wollongong, Canadian University in Dubai, Amity University, Manipal Academy of Higher Education, and Higher Colleges of Technology in the UAE. “We of course have huge plans for the future but a dream that we both share is founding an Advanced Media academy that offers a wide range of workshops and seminars. This is the reason why we started the concept of Cineschool and launched Cineseason in Saudi Arabia as our very first workshop series that was fully conducted in Arabic,” added Alaa Al Rantisi, co-founder. AMT’s commitment to developing, organizing, and hosting training workshops, seminars and community events that educate, inform, and familiarize consumers with new equipment and the latest technological advances is an exceptional feature that set it apart in the industry. Most notable of the events is the biannual digital cinema community event, commonly known as Cine. After inaugurating a remarkably successful edition in commemoration of the company’s 20th anniversary in March 2022, AMT will be returning in January 2024 from the 11th to 13th with CINETomorrow, as an interactive platform where the future of digital cinema will be showcased, sustainable practices in production will be discussed, and the exciting world of virtual production will be explored to keep abreast of the rapidly changing future and spirit of this exciting medium. CINETomorrow presents a unique opportunity for filmmakers and enthusiasts, visionaries and industry experts who are interested in digital cinema’s tomorrow to discover cutting-edge technology, address green cinema practices, and witness how virtual production is revolutionizing storytelling.

PROCASESTUDY

The 24/7 monitoring centre at OSN.

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PROCASESTUDY

OSN’S SMART MOVE

OSN has unleashed a new entertainment experience with the roll-out of OSNtv, a smart box that seamlessly integrates the pay-TV operator’s channels with a viewer’s favourite apps as well as other exclusive content. In an exclusive interview with Vijaya Cherian, Devrim Melek, Senior Vice President – Strategy, and Melvin Saldanha, Director of Technology, talk about why the box is a game-changer OSN has enjoyed victories on multiple fronts in the last year under the leadership of CEO Joe Kawkabani, who took charge in April 2022. One big addition, alongside retaining premium content agreements such as those with HBO and investing in original productions, is the technical triumph of the OSNtv box. The hybrid set-top box (STB), which moves away from the traditional STB concept, is an all-in-one smart device that integrates the functionality of the smart TV with that of a traditional box. Essentially, with a single remote one can control both pay TV and OTT, providing the full experience on a single platform. OSN worked closely with Tata Elxsi, Skyworth, Amlogic and Synamedia to develop this hybrid box. “The OSNtv box today is an enabler of several experiences for the end user, but more importantly it has the ability to evolve as our design and technologies evolve,” explains Melvin Saldanha, Director of Technology at

OSN. “Previously, our linear channels were only delivered through satellite. If you wanted to step into the on-demand world or access a video/music app or YouTube, you would have to switch to a different platform. OSNtv now brings these two worlds together. It supports satellite TV channels (linearTV/pay TV) along with OTT (non-linear/video-ondemand) content and any number of apps, all in a single box. We called it a bridge box then, as it interfaced with the traditional CAS-based linear offering while also embracing the new world of streaming channels over IP and ondemand video using DRM and adaptive bitrate (ABR) tech. This is a product that puts content first, regardless of which channel and platform it is hosted on.” Devrim Melek, Senior Vice President – Strategy at OSN, elaborates further on the immense flexibility and personalisation the box affords each viewer. “The platform gives the viewer the opportunity to make the product their own, in that they can pick what they want to bring to

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PROCASESTUDY

With this box, subscribers can choose not to have a dish.

their box. It’s a new environment with a unique user experience. It’s also a different way of positioning ourselves, because with this box, people have the option to do away with the dish if they want to.” Although it is deceptively modest looking, with no card slots or frills to fiddle with, there is plenty of magic within the box. The cards themselves are now secure micros and part of the PCB board, leaving it less vulnerable to hackers. The plan to develop this hybrid box started back in 2021, but the actual project didn’t begin until March 2022, Saldanha explains. Although there were a lot of initial debates on whether to take the RDK or Android route, the team eventually opted for the latter. “Android enables faster time to market,” clarifies Saldanha. “With a plethora of 7,000-plus apps on the platform, the RDK world offers less feasibility. Android also offered easier access to upgrades, and the UI was highly customisable because we had operator-tier control.” Within a record six months from March 22, the first phase of the box was rolled out, says Saldanha proudly. “Typically, the roll-out period for any set-top box project is nothing less than 12 to 18 months.” An STB typically goes through three product generations and cycles – a pre-product sample,

a line production sample and the final production sample – before being deemed fit to enter the market. A sixmonth timeline for this entire process is therefore near to impossible, but with the help of partners like Tata Elxsi, Skyworth and Amlogic, OSN says it made the deadline successfully. Since then, OSNtv has been continuously evolving, with new modules and innovations added routinely to improve the viewer entertainment experience. Recognising that 80% of OSN’s target audience in core markets prefers hybrid and linear viewing, for instance, OSN further enhanced the OSNtv offering to a fully dishless product

with IP functionality in June this year. A new on-demand module was added seamlessly in September, with over-the-air upgrades making it a more robust one-stop shop. Today, the box serves both worlds – homes that rely on satellite channels and those that rely on the internet. For households without a smart TV, it also serves as one. “If you look at the product journey, it’s as simple as plug and play,” explains Melek. “You bring in the device, connect it to the internet and the journey is seamless. A custom operator-tier launcher walks you through scanning your channels and takes you to the welcome screen, where you have a mixture of linear channels and on-demand content/OSN+ content. The user interface can be personalised to a high degree by the viewer. The presentation of content can be personalised, segmented by region; it could be more generalised if that is preferred – all of these capabilities sit within OSN’s backend allowing complete flexibility within the editorial team, which controls the content presentation layer.” Interestingly, OSNtv’s backend components are based on the

The OSNtv box brings together OSN exclusive and curated live TV channels, as well as streaming and FTA entertainment, on a single Android device.

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PROCASESTUDY

architecture of its streaming platform OSN+, which was also built quite recently from the ground up. “This box is powered by the backend that we built for OSN+. Our aim is to bring all our worlds together and connect it to one common backend,” explains Saldanha. One of the box’s most remarkable features is its ability to collect various kinds of data, thanks to iCX (Intelligent Customer Experience), a software agent that sits on each box. iCX uniquely identifies the subscriber’s box and manages over 200+ factors that affect the overall quality of experience while he/ she views the content. In addition, a few other SDKs have been implemented: Conviva for real-time matrix and viewer insights, Irdeto App Watch for app monitoring and security, and Clevertap and GA for marketing engagements. “But we are very careful to adhere strictly to the GDPR data protection regulations,” Saldanha notes. Melek elaborates: “Within the GDPR framework, we have tools

“It’s a new environment with a unique user experience. It’s also

a different way of positioning ourselves, because with this box, people have the option to do away with the dish if they want to”

Devrim Melek, Senior Vice President – Strategy, OSN to monitor every movement within the platform, what people have watched, their navigation path, and we get all this data in real time. We have viewer insights of what content has done well, which apps are being used throughout the day, which is the most consumed app environment against a limited channel environment, and so on. We also have engagement tools to talk to consumers either via the app or in-screen messaging, through emails or SMS, so we have tools to do that monitoring as well. We have tools to monitor the 7,000-plus

apps. We can check video viewing (buffering, AV sync, subtitles, black screen, screen freeze, only video/ audio) etc, start-up time of the STB, even to the extent of battery level of the remote, to name a few.” The box also monitors the quality of the viewing experience, continuously sharing granular data on the overall function to the operator’s central controlling station, where data analysis enables problems to be fixed proactively and remotely before they even get reported. “Our remote monitoring and diagnostic tool helps with this task where, with a customer’s consent, we can troubleshoot their box live. In 90% of the cases, problems can be fixed remotely. This reduces the carbon footprint as well as costs associated with truck rolls (technical visits paid by service personnel in their trucks). In addition, data from multiple locations from a city can be analysed, to look for patterns causing degradation in the quality of the viewing experience and apply proactive fixes before the problem becomes widespread, etc. We have tools that can also block and ban rogue boxes which access content without paying for subscription, thereby plugging revenue leaks for the operator. Isolating compromised boxes can also save the network from threats of cyber-attacks and frauds,” says Saldanha. Melek says “knowing everything that is happening” and garnering this data helps the company make better decisions within different departments. “On every side, whether it’s the business or technical side, data or even marketing and communications, we are able to plan better strategies in terms of the box roll-out by understanding our customers’ consumption patterns better.” She also explains how different departments have contributed to improving OSN’s

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PROCASESTUDY

entertainment experience. “We have product functions in the company where people look at customer needs and design or translate that into a product idea. Our technology teams put all those dreams we have into reality. Then we have data teams who are working on data and data enrichment, recommendations, etc, and we have the content team that is responsible for curating all the content. We also had a lot of participation from our research and product departments. Even our sales teams were involved, because they’re the ones who sell the product, as was our call centre and customer value management department. We were trying to deliver a good experience at every touch point where we had to interact with the customer.” Saldanha adds that as a datadriven company, a lot of OSN’s decisions are now made based

on how people are consuming content on the box. He applauds Tata Elxsi for its critical role on the project. “They have been our partner on both the systems integration front end and the development aspect of things. They brought in a lot of knowledge on the Google common broadcast stack, which is the traditional CAS on an Android domain. They’ve done multiple projects like this,

“Our remote monitoring and diagnostic tool helps with this task where, with a customer’s consent,

we can troubleshoot their box live. In 90% of the cases, problems can be fixed remotely” Melvin Saldanha, Director of Technology, OSN

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and they brought both expertise and experience to the table. They were flexible, and if we needed to get some end-to-end testing done, they were easily available. They have added a lot of value, and that’s why they remain a partner in the development of this box.” One of the technical highlights of this box is its use of HEVC technology. “With this box, we are now transmitting channels at 4mbps,” Saldanha explains. “With this we have cut our CDN costs by approximately 35%, because we can deliver services at the same quality as satellite but at a lower bitrate. The box supports all video codecs, namely AV1, HEVC, 4K and all flavours of HDR, HLG as well as Dolby Vision, alongside audio codecs such as Dolby Atmos and Dolby 5.1 standards. So if any piece of content is available in any of these formats,

PROCASESTUDY

the box can output that. This itself is a big advantage, because most of the TV sets do not support that. So this becomes an aggregator in terms of technology to provide those services to the customer.” Another important addition was the use of AI for compliance and metadata enrichment. “The OSN team takes great pride in being able to localise the metadata. We have a skilled team that is effectively focused on creating rich local metadata for every piece of content on every channel. That’s our expertise. We get content from studios, and we use speech-to-text technology that is powered by AI. It assists in compliance and enriching metadata, thereby contributing to enhancing our search and recommendations.” There were many challenges in developing this box, the biggest one being black box/CAS testing. Saldanha explains: “The physical modules were in Shenzhen, China, and it went into lockdown for a month during Covid. This was during the six months of integration timelines we had at hand. So we had to build the whole black box with support from Synamedia, Amlogic and Tata Elxsi in an alternative city and continue with the development. The teams really thought through creative ways and went outside of general practices to ensure the project met its deadline. Once it was tested, it was migrated back to Shenzhen, where the actual production began. That was big.” The OSNtv box is a growing and evolving box with the ability to bring lots of new features to the viewer through software and over-the-air (OTA) upgrades. Saldanha clarifies that an OTA update is not the same as an app update, which is driven more through the Android Play store. “OTA refers to firmware updates that are available from various chip vendors that are released at different intervals of time or collectively as a bundle. These need

Above, OSN staff at work; below, the Central Apparatus Room.

to be updated on the boxes routinely to remedy the bugs, vulnerabilities or even enhance functionalities. It allows you to update boxes by region, segments, countries and specific IPs. All those tools are a part of the initial set-up. “These updates are critical, as each region is different. When you do upgrades, you do it by region and sometimes by a specific set of customers, because you want them to test the beta release first. These OTA modules help us to enable that action, where I can go to a pocket segment, do the testing on ground, conduct a few sessions live with customers and then roll it out to the remaining base.” With the box significantly enhanced since launch, OSN is ready to roll it

out more aggressively to its users within the next year or so. With OSNtv, customers have access to a whole ecosystem of streaming products that suit regional trends. With no installation required and enabling a dishless installation, it has made entertainment more accessible and inclusive, offering a superlative entertainment experience regardless of geographical location or technical expertise. Melek says that migration to the new box is being undertaken in segments, based on usage. She concludes: “We’re planning to migrate everyone to the new environment within 18 to 24 months.” PRO

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PROPRODUCTION

CAPTURING COMEDY When WonderWeb was roped in to film this year's Dubai Comedy Festival, which took place at different venues across the emirate, there were some prerequisites. Despite that, it is reported to have produced good footage for the organiser’s social media channels

Since its launch in 2015, the Dubai Comedy Festival has become an annual highlight of the city’s social calendar. This year’s 10-day programme started in May and took in venues ranging from the 17,000-capacity Coca-Cola Arena to the 2,000-capacity Dubai Opera to intimate shows in hotel bars. It featured global names like Jimmy Carr and Jim Jefferies, the best of local and regional talent performing in Arabic and Hindi, and even amateurs trying out open-mic slots. It’s perhaps unsurprising that when event organiser Live Nation sought content for its social media channels,

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both as an archive of this year’s event and as clips to tease for 2024, it demanded a producer that could ensure the results were just as memorable as the festival itself. The project came with plenty of challenges, from vastly differing venues to multiple shows and shoots taking place on the same day. To make things trickier, the organisers were typically only granted permission to publish one or two jokes from each comic’s set, and despite the larger venues lending themselves to a standard broadcast set-up, the sheer volume of shows to shoot, as well as the organiser’s desire for a more cinematic look, essentially ruled this out.

PROPRODUCTION

For the second year running, the task of solving this conundrum fell to Dubai streaming, production and broadcast specialist WonderWeb. Tarek Saneh, Technical Director on the project, takes up the story. “It wasn’t practical to bring an OB van and crew in to shoot each show for maybe two minutes of footage. So on average, in each venue we worked with three Ursa Broadcast G2 cameras on tripods and a gimbal-rigged Blackmagic Pocket Cinema Camera 6K Pro for roaming shots,” he explains. “The reason was Ursa’s versatility. Some of the venues were huge, and you can’t set up in front of the audience so the cameras are 25m or more away. You need close-ups, you need big lenses. Ursa can take a big broadcast lens, but also has the look and feel of a large sensor.” As the WonderWeb team was shooting someone else’s show, it also had little control over matters such as lighting and onstage décor and tech, which in other situations might be designed with the shoot in mind. “I’d maybe like ‘more light at the front, more from the back, don’t put the spotlight there’,” Saneh laughs. “But we were shooting in RAW and the camera is so versatile we can colour, tone and fix it all in post-production, so it’s not a big deal for us.” The decision to use entirely Blackmagic cameras for acquisition also paid dividends in post. “We were shooting on CFast cards, as we were already using the camera ports for zoom and focus. 2TB on each camera,” Saneh recalls. “At the end of each day, the cards were logged – venue, camera one, camera two and so on – and fed into our QNAP server, which is recommended by Blackmagic. Synching was simple, it’s all Blackmagic RAW and timecoded, so the next day it would be ready for our three editors, who would edit on a shared

“In each venue, we worked with three Ursa Broadcast G2 cameras on tripods and

a gimbal-rigged Blackmagic Pocket Cinema Camera 6K Pro for roaming shots” Tarek Saneh, Technical Director, WonderWeb 10GB network in DaVinci Resolve Studio.” The show’s colours were based on the DaVinci Wide Gamut workflow. Rec.709 is a colour recommendation primarily aimed at HDTV, but Saneh’s brief required something more cinematic. “Within the Rec 709 output colour space, we polished the look of the footage to achieve bright, colourful images that could convey the cheerful aesthetic of the comedy.

After we’ve finished correcting and checking the shadows, we can start to stylise – make shadows a little bluish, give some orangey highlights, albeit subtle. We still want the 709 look of broadcast, but with a touch of the cinematic to add value to the product.” The final stage was to denoise, which Saneh says is often overlooked. “When you shoot RAW, there’s no in-camera processing. There’s such a big dynamic range with plenty of latitude that you absolutely have to denoise, even if it’s just a little bit. I personally use the Chroma feature to add different amounts of noise reduction to each colour component.” Saneh has lost count of the number of hours he and the team shot throughout the festival, though he reports that around 80TB of footage made it back to WonderWeb’s server, giving some indication of volume. With post almost complete, Live Nation is already using the material on its social channels to start engaging audiences for next year’s event. Dubai is renowned for doing things bigger and better, and it seems certain that the next edition will be eagerly awaited.

Global talent like Jim Jefferies participated in the Dubai Comedy Festival this year.

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PROGUEST

“By making linear channels available alongside VOD, broadcasters are giving viewers the best of both worlds”

A symbiotic future with linear OTT and VOD The OTT industry is continuing to grow at an impressive speed, and demand for content is showing no signs of dwindling. This continued growth is hardly surprising given that consumers worldwide have engaged in cord-cutting en masse, rejecting traditional cable and broadcast linear TV in favour of OTT. Since its beginning, OTT’s unique selling point has been that viewers can watch what they want, when they want. Fast forward to 2023, and this may well be changing as more and more linear channels become available online. What does this mean for the industry? Will linear OTT continue to grow in popularity so that it coexists alongside on-demand content, or is it more of a short-lived trend? What’s driving the rise in popularity of linear OTT? There are several factors at play that are all converging to cause linear channels to gain traction in the OTT space. In a battle to adapt their service provision to meet changing viewer needs, broadcasters and pay-TV operators are launching broadcaster video-on-demand (BVOD) services that provide branded linear channels alongside on-demand content. This availability of broadcast linear channels over the internet makes it possible for consumers to watch their favourite shows when they are first aired, wherever the viewer may be at the time. Additionally, as consumers have responded to financial pressures over the last year by reducing the number

of streaming services they subscribe to, free streaming services such as FAST and AVOD have both grown in appeal. There has also been an increase in demand for niche content, and this is helping to fuel the growth of linear OTT. There are a growing number of FAST channels delivering a diverse range of content focused on interests such as classic cars, gardening, and food and drink, as well as genres such as real crime and documentary. Linear OTT also presents a great opportunity for broadcasters and content owners to monetise their content by dedicating a linear channel to a specific show such as Friends or Baywatch. Why is linear TV still relevant in the streaming age? Although traditional linear TV’s viewership is in decline overall, it still has a substantial audience and there are many viewers, particularly older generations, who have not fully embraced VOD. Linear OTT channels may well appeal to those viewers in a way that VOD does not. So by making content available in linear format, OTT service providers are extending their reach and appealing to a wider audience. There’s no doubt that linear TV offers something that VOD simply cannot, in that it provides the kind of laid-back, undemanding viewing that you only get when you switch the TV on and let the schedule run. Additionally, linear is still the format of choice for sports and other live events because viewers naturally

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want to watch live events in real time. Watching a match on-demand after the event just doesn’t have the same appeal. Linear OTT also allows highly targeted advertising, so it is attractive to advertisers and broadcasters alike. Unlike linear TV broadcast over satellite, cable or digital, where ad targeting is based on general factors like time slots, programme categories and demographics, OTT services collect and analyse huge volumes of user data so they are able to deliver highly targeted advertising specific to the user. Will linear OTT coexist alongside VOD? Viewers naturally want choice over how they watch content, and by providing both linear and on-demand content as a streamed service, broadcasters and video services are giving viewers freedom of choice. Broadcasters can personalise linear OTT channels to enhance user experience, and when done well, this improves engagement, which in turn leads to increased ad revenue. On-demand and linear each have their strengths and weaknesses, and by making linear channels available alongside VOD, broadcasters are giving viewers the best of both worlds. This is also highly convenient to viewers, so we may even attract some viewers who have already cut the cord. There is still a place for linear TV in the age of OTT, and even though on-demand will likely continue to be the preferred mode of watching for OTT fans, I expect that we’ll see linear OTT grow to coexist in harmony alongside it. Gatis Gailis is CEO of Veset.

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