ISSUE 113 | NOVEMBER 2019
Licensed by Dubai Development Authority
AS GOOD AS NEW? Used broadcast equipment is big business. Three experts tell us how they make it work.
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GROUP Managing Director Raz Islam raz.islam@cpitrademedia.com +971 (0) 4 375 5471 Editorial Director Vijaya Cherian vijaya.cherian@cpitrademedia.com +971 (0) 4 375 5472 EDITORIAL Editor
Welcome
Vijaya Cherian vijaya.cherian@cpitrademedia.com +971 (0) 55 105 3787 Contributing Editor Paul Godfrey Sub Editor Aelred Doyle ADVERTISING Group Sales Director Sandip Virk sandip.virk@cpitrademedia.com +971 (0) 50 929 1845 +44 (0) 773 444 2526 DESIGN Art Director Simon Cobon Designer Percival Manalaysay MARKETING Marketing Manager Sheena Sapsford sheena.sapsford@cpitrademedia.com +971 (0)4 375 5498 CIRCULATION & PRODUCTION Production Manager Vipin V. Vijay vipin.vijay@cpitrademedia.com +971 (0)4 375 5713 Distribution Manager Phinson Mathew George phinson.george@cpitrademedia.com +971 (0)4 375 5476 DIGITAL SERVICES Abdul Baeis Sadiq Siddiqui FOUNDER Dominic De Sousa (1959-2015) Published by
Esports – This topic has consumed my mind over the last few months as I have gone about researching various gamers, the tournament organisers, and the TV channels and platforms that broadcast in this space, and all I can say is I have discovered a fascinating parallel universe with a completely different energy to it, one that broadcasters and solution providers must tap into. According to games and esports market analyst Newzoo, the esports industry was worth as much as $138bn in 2018 and we will see huge growth spurts this year and the next. All this research was, of course, to ensure that we could bring together a good mix of gamers, broadcasters and technology providers to the ASBU BroadcastPro conference on November 13 at the Habtoor Grand, Dubai Marina, and I can proudly say as this issue goes to press that we have successfully put together a fine mix of high-profile panellists for our first-ever esports panel. I’m equally proud of the industry champions we have brought together for our other discussions this year, to reflect changing market trends. With OTT becoming more mainstream and content owners distributing their content over multiple platforms, we see an integrated market that requires
ISSUE 113 | NOVEMBER 2019
Licensed by Dubai Development Authority
The publisher of this magazine has made every effort to ensure the content is accurate on the date of publication. The opinions and views expressed in the articles do not necessarily reflect the publisher and editor. The published material, adverts, editorials and all other content are published in good faith. No part of this publication or any part of the contents thereof may be reproduced, stored
AS GOOD AS NEW? Used broadcast equipment is big business. Three experts tell us how they make it work.
On this month's cover…
Muhammad Irfan Gondal, CEO of BS Broadcast; Thomas Bordier, CEO of Kitmondo.com and Walter van der Plas, MD of Skybrokers.
a fresh perspective on content creation and distribution, and this is what we have attempted to navigate through our panel topics this year. For the first time ever, we also have a Women in Media panel, where we hope to explore some of the opportunities and challenges that are unique to women in the workplace, with the hope of encouraging a more inclusive environment in the MENA broadcast sector. I also want to briefly touch upon our cover story this month before I conclude. The used broadcast and satellite equipment market is gaining traction in a world economy that is calling for cautious spending. We look at some entrepreneurs in this sector who have capitalised on the old-is-gold concept, and it makes for a fascinating read that will make you rethink your purchasing strategy. In the meantime, if you haven’t already registered to attend the ASBU BroadcastPro conference, I encourage you to visit www.broadcastpromeawards. com and do it now. See you at the Habtoor Grand, Dubai Marina on November 13.
Vijaya Cherian, Editorial Director
Let’s create a vibrant online broadcast community! @BroadcastProME www.facebook.com/BroadcastProME BroadcastProME
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November 2019 | www.broadcastprome.com | 1
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PROCONTENTS
Inside this issue 07 NEWS FGC and Canon join hands in KSA; Advanced Media opens new showroom; Turkish media house invests in Lawo; Mena. tv to raise capital on Eureeca; new appointments; and more
November 2019 ADVANCED MEDIA LAUNCHES SHOWROOM
ARAB STAKEHOLDERS DISCUSS DAB+
16 TUNIS LEADS WITH DAB+ Stakeholders from the Arab world convened in Tunis to discuss DAB+ opportunities
18 AS GOOD AS NEW? We bring you an exclusive story on the rise of the used broadcast equipment market, with special interviews with three industry champions
16
07 MENA PRODUCTION NOTES
THE UAE'S FIRST 4K OB VAN ARRIVES
28 THE ROAD AHEAD FOR
PRODUCTION IN MENA Phil Griffiths makes the case for brands setting up their own in-house production units
30 4K ON WHEELS An exclusive tour of one of the first 4K OB vans in the UAE
18
30
FACE TO FACE WITH ANAS TOLBA
THE NEUMANN NDH 20 TESTED
34 FACE TO FACE Egyptian American filmmaker on the making of his film Between Two Seas and championing women's issues
38 SOUNDCHECK Sound engineer Zaher Al Tamimie, who works with high-profile Arab musicians, puts the new Neumann NDH 20 through its paces
38
34 A NEW WAVE OF EGYPTIAN CINEMA
REMOTE PRODUCTION IS THE FUTURE
42 EGYPTIAN CINEMA Rasha Shokr on how Egyptian cinema is witnessing a return to its past glory with a raft of new action, war and nationalist films
44 REMOTE PRODUCTION Why remote production offers a win-win solution for broadcasters
42
44 November 2019 | www.broadcastprome.com | 5
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PRONEWS
Systems integrator First Gulf Company joins hands with Canon Middle East in KSA Canon Middle East has teamed up with SI First Gulf Company (FGC) to expand its professional video segment in Saudi Arabia. The partnership serves the larger vision of the Kingdom to develop a smart and sophisticated, digital infrastructure mandated by Vision 2030, to diversify the local economy, attract investors and enhance the competitiveness of the Saudi economy globally. The establishment of a thriving film and broadcast industry forms an integral part of fulfilling the
The FGC and Canon teams at the signing ceremony in KSA.
Kingdom’s objectives. Saudi Arabia has earmarked an investment of a little under $1bn for culture and media by 2020, according to Oxford Business Group.
Sam Barnett steps down as CEO of MBC Sam Barnett, who has been CEO of MBC Group for the last 17 years, has resigned from the broadcast network. In an internal memo, Waleed Al Ibrahim, Chairman of the broadcast network, lauded the "pivotal role" Sam has played since 2002 "in the development and great success of the Group" and added that the network is looking to identify a successor “from a pool of top industry executives with global expertise”.
The partnership with FGC will help professionals access the latest equipment and solutions essential to building the country’s film and broadcast sector.
“The strong line-up of Canon Cinema Series and the increased new line-up of the 4K range of ENG cameras will fulfil the growing requirement for high-quality content delivery within the Kingdom,” said Eng Naim Saidi, Group CEO at First Gulf Company. “First Gulf Company is a leader in the broadcast and pro AV system integration industry. The partnership with Canon will add important value to our Pro Video division, and we anticipate it will result in both Canon ME and FGC market share growth.”
Advanced Media expands presence in Dubai with Al Quoz showroom launch UAE distributor Advanced Media has opened a second 1,500sqft showroom next to the company’s warehouses in Al Quoz Industrial 1, Dubai. Edwin Hartounian, Advanced Media’s Technical Manager, has taken on an additional role as Showroom Manager at the new facility. Hartounian said: “Al Quoz is convenient for customers residing in that part of town. They often visit us at our showroom in Bur Dubai to check out the latest products and technologies presented
by Advanced Media. The showroom is open from 10am to 7pm, Sundays to Thursdays. In the near future, we hope to extend the timing for this location to include operations on Saturday.” Advanced Media boasts a full-fledged service centre at its
main showroom in Bur Dubai. It will soon launch a drop-off and pick-up service for equipment at the new unit. The distributor also opened its first showroom in Saudi Arabia last month, to service the professional video community in the Kingdom.
The new showroom in Al Quoz, Dubai.
November 2019 | www.broadcastprome.com | 7
PRONEWS
Operative appoints Said Bacho as Senior Vice President for EMEA region Operative, a major ad management platform for many global media brands, has appointed Said Bacho as Senior Vice President, EMEA. With immediate effect, he joins Operative on a full-time basis after engaging with the company as a consultant. During his consultancy period, he contributed to the development of Operative’s go-to-market strategy in EMEA, resulting in new international business opportunities.
He will be based in the UK. Bacho brings many years’ experience working in broadcast media technology. He held senior positions at Snell Advanced Media, Grass Valley and Imagine Communications, prior to joining Operative. In his new role, he will manage Operative's business in Europe, the Middle East, Africa and India, with a particular emphasis on growing its regional sales and account management teams.
Said Bacho.
New appointments at ZEE5 Global
Raad Haddadin joins Roya TV as Head of Engineering Raad Haddadin will be responsible for upgrading Roya TV’s facilities to the latest technologies, maintaining its current system and studios, and undertaking OB upgrades. He was previously Director of Broadcast & IT at HSE24, helping to build the shopping channel’s facilities in Dubai. Prior to that, he worked at AlAan TV.
ZEE5 Global is scaling up operations across international markets with two new hires. Rahul Vaz will head up the Product team, while Vinay Patodia joins as Head of Technology. Vaz most recently served as Senior Product Director – Voot and will be based in the ZEE5 Global office in Mumbai. He will be responsible for defining and driving ZEE5 Global's user experience in international markets as well as ensuring a seamless entertainment experience on the
Rahul Vaz.
8 | www.broadcastprome.com | November 2019
platform for its audiences. He is also tasked with building efficiencies towards a stronger user interface in terms of design, communication and more, while making improvements to the web and app. Vinay Patodia has 18-plus years of experience in driving technology strategy and operations across companies like Hungama Digital and Torchfi. He will be responsible for building out a scalable and customercentric platform.
Vinay Patodia.
BBC Studios renews distribution deal with MEASAT through Globecast MEASAT Satellite Systems Sdn Bhd (MEASAT), in partnership with Globecast, has announced that BBC Studios has renewed its agreement to distribute its BBC channels across Asia via the MEASAT-3 satellite. Globecast provides MEASAT satellite capacity, ground and uplink services to BBC Studios, carrying these channels to viewers across the Asian market. “With MEASAT and Globecast, we have found reliable partners for the distribution of BBC channels into Asia,” said Shad Hashmi, SVP of BBC Studios. “MEASAT and Globecast have addressed our business needs, and we look forward to continue partnering with them in the years to come.”
Talkback Communicate with camera operators and production staff.
USB Connection For updating switcher software and settings.
Program Mix Listen to the program audio mix.
Source Select Buttons Input buttons for PGM/PVW or cut-bus style switching.
Reference In Supports black burst or tri-sync reference for use with large broadcast systems.
Source and Control Downstream keyer, media players, fade to black and transition selection.
Source Inputs Connect up to 40 x 12G-SDI inputs for HD and Ultra HD or 10 Quad Link 12G-SDI inputs for 8K.
Spin Knob Control Scroll through on screen menus or adjust audio levels.
Independent Assignable Outputs 24 x 12G-SDI outputs for HD and Ultra HD or 6 x Quad Link 12G-SDI outputs for 8K.
Lock Button Locks front panel settings to protect against changes during production.
Multi View Outputs 4 multi view outputs for HD and Ultra HD or 1 Quad Link 12G-SDI multi view output when working in 8K.
Introducing ATEM Constellation 8K! The next generation 8K switcher with 8K DVE, 8K SuperSource, 8K chroma key and 8K MultiView! The new ATEM Constellation 8K is an Ultra HD live production switcher with so many features, you can combine them to make a powerful 8K switcher! You get 4 M/Es, 40 x 12G-SDI inputs, 24 x 12G-SDI aux outputs, 4 DVEs, 16 Keyers, 4 media players, 4 multi viewers, 2 SuperSource and standards conversion on every SDI input! Then you can combine everything for a powerful 8K switcher!
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You get 40 independent 12G-SDI inputs, with each input featuring its own dedicated up and cross converter That allows 1080p and Ultra HD sources to be upconverted to 8K on all inputs You can even loop out audio from SDI inputs 1 to 30 to MADI digital audio outputs, so you can hand off the audio from switcher sources to an external audio engineer for mixing
With a built in Fairlight audio mixer, the ATEM Constellation makes it possible to do complex live sound mixing You get a massive 156 channels, for the biggest audio mixer in a live production switcher! Each input features 6 band parametric EQ, compressor, limiter, expander, noise gate and pan Plus you can mix with an external Mackie compatible panel or full Fairlight Audio Console
ATEM Constellation features 4 independent Ultra HD DVEs that all work together as a single full resolution 8K DVE when you switch to 8K formats The DVE lets you create picture in picture effects with customizable 3D borders, shadows and lighting DVEs can also be used to create amazing DVE transitions with squeeze, push and swoosh effects for adding excitement to your programming
Includes 8K Multiview with Audio Meters The built in multi views let you view multiple sources in a single monitor You get 4 independent multiview outputs that can each be individually customized or transformed into a single full resolution 8K multiview when you switch to 8K Each multiview can be set to 4, 7, 10, 13 or 16 simultaneous views Each view also has on screen status including a custom label, VU meters and tally
Learn more at www.blackmagicdesign.com/ae
ATEM Constellation 8K US$10,645* *SRP excludes duties, shipping and sales tax
PRONEWS
Snap expands Discover in the region with 18 new shows Snap has expanded its slate of local content in the Middle East and North Africa. Airing on Snapchat Discover over the coming weeks are eight new shows and nine new seasons of shows available for subscription. The slate includes content from new partners such as Telfaz11, bringing two of its hit shows – Top5 and Al Khallat – to the platform. Saudi Broadcasting Authority is bringing highlights from the Saudi Pro League. Dubai TV and Online Lifestyle Network are launching new shows. There are
Shane McCarthy joins Irdeto as COO, Video Entertainment Shane McCarthy will be responsible for defining the strategy and overseeing execution within Irdeto’s video entertainment business. A developer by background, he previously held a number of roles at Pace, including as President of the International Business, where he achieved strong growth on the way to building a near-$1bn business.
several renewals of popular shows, such as The Tarek Show from Rotana Media Group, House of Comedy from TREND and Without
a Filter from Al Aan TV. The platform now offers more than 450 premium content channels worldwide, with major television networks, entertainment studios and content creators reimagining popular series for Snapchat. Shows are a full screen, madefor-mobile type of storytelling. They feature motion graphics, split screens and quick cuts. Rami Saad, Head of International Content Partnerships at Snap, said: “We reach over 90% of all 13-34-yearolds in Saudi Arabia, so it’s only natural for us to continue to expand what is available here.”
New appointments at VSN EMEA
Sergey Astakhov.
Sergey Astakhov has been appointed EMEA Sales Manager for VSN, and Alexander Kosushkin has joined as Pre-Sales & Solutions Architect. Astakhov comes with extensive sales, marketing and systems integration work experience in multinational companies, with a focus on professional audio,
10 | www.broadcastprome.com | November 2019
Alexander Kosushkin.
video and IT solutions in B2B markets. Kosushkin has worked in broadcasting for the last ten years, with experience in systems integration, design and implementation of numerous broadcasting systems in APAC, LATAM and EMEA, with extensive involvement in local work rules and traditions.
Choueiri DMS appointed exclusive MENA rep for ESPN Sports Choueiri Group’s digital arm, Digital Media Services (DMS), will be Exclusive Media Representative for ESPN Sports Media Ltd, the owner of both ESPN. com and ESPNCricinfo. com, for the MENA region. ESPN features the broadest portfolio of multimedia sports assets, with over 50 business entities. ESPN claims ESPNCricinfo.com and ESPNCricinfo.com are the most visited sports websites in the UAE, with the highest page and visit duration figures, attracting over 5m visitors from the GCC during the 2019 Cricket World Cup. Cricket is the second most watched sport in the world, with 2.5bn fans globally, and the second most watched sport in the UAE, with 49% of the population estimated to be cricket fans and 1.3m UAE residents regularly playing the sport. This fan base is skewed towards Asian expat males from India and Pakistan. Michel Malkoun, COO of DMS said: “With ESPN joining the DMS family of digital platforms, we look forward to furthering the audience engagement goals of our brand partners around the region."
PRONEWS
Turkish media house invests in Lawo Turkuvaz Media Group, which owns television channels, radio stations, newspapers and magazines in Turkey and is part of Çalık Holding, recently invested in a number of Lawo solutions. The investment is part of a major company-wide upgrade to an IP ecosystem amid moving to a brand-new facility in Istanbul. Turkish systems integrator and Lawo distributor Radikal will oversee the supply, deployment and integration of the systems for the media house, which aims to complete testing and commissioning by the end of November, with the aim of going on air from the new media facility by Q1 2020. “The client has built a totally new system using IP infrastructure with reliability and redundancy options. The Lawo products we have delivered
Seha Akbas, Project Sales & Technical at Radikal.
offer audio-over-IP and video-overIP, and there was absolutely no competition either in terms of products or reliability,” commented Seha Akbas, Projects Sales & Technical, Radikal. Radikal integrated eight mc²56
consoles with dual fader option as part of the audio. The installation includes a central Nova73 HD router, which comes with 96kHz operation, Dolby-E compatibility and clock-synchronised switching to video frames or internal DSP. The router serves as the main routing matrix for the audio consoles. Also provided are six crystal mixing radio consoles and two V__matrix C100 software-defined processing blades in one V__matrix chassis. V__matrix is Lawo’s IP broadcast video core infrastructure product. It can quickly transform a broadcast installation into a flexible, futureproof production facility, addressing a wide range of workflows and supporting a broadcaster’s transition to a totally IP-based environment.
BeIN Media Group CEO warns “media rights bubble is about to burst” In a strongly-worded address at the Leaders Week Sport Business Summit in London last month, Yousef Al Obaidly, CEO of beIN Media Group, chastised rights owners for not taking strong action against piracy and warned that their silence will negatively impact future media rights valuations. With more than $15bn in sports investments, Al Obaidly’s address was a clear warning that beIN will re-evaluate its sports rights investment. “We now regard all sports rights as nonexclusive and our commercial offers will reflect that. I am also confident that other broadcasters will make similar devaluations, while many once-premium rights
will remain unsold.” He warned that the “endless growth of sports rights is over” and decried the silence with which the industry has dealt with the “big elephant in the room”. In fact, he called “crazy” and “out of touch” the recent forecast made by Rethink TV, a British analyst – which reported that the total value of sports broadcasting rights is expected to reach $85bn in 2025, a 77% increase from today. “I simply don’t know where this money is going to come from! This is because every deal needs a combination of at least two bidders in a market, and a level of exclusivity in line with the investment made. And while sometimes there are headwinds outside
our control, these two factors do not exist. We now live in a world where exclusive broadcast rights are, effectively, wholly non-exclusive... if rights aren’t exclusive, Facebook and the FAANGs won’t be your saviour; OTT channels won’t bail you out; going direct-to-consumer won’t help; and established broadcasters won’t write another huge cheque. If you don’t protect your intellectual property, you have nothing.” He called piracy “a collective problem” requiring “an industrywide response”. “First, anti-piracy staffing levels, capabilities and budgets should be your biggest priority. Second, there should be cross-party
collaboration on major legal reforms, including the establishment of full copyright in broadcast signal. Third, CEOs of federations, leagues, clubs and broadcasters should all… be engaging their sports ministers and senior politicians on the same. Fourth, consumers should be educated through bold public awareness campaigns. They should know the direct implications of choosing a pirate service. Fifth, the pirates themselves should be shown that piracy cannot pay, and they should be publicly prosecuted.” He added: “If you don’t get your house in order and quickly, the sports rights market will disintegrate beyond recognition.”
November 2019 | www.broadcastprome.com | 11
PRONEWS
MENA production houses win awards at Cannes Corporate Media & TV Awards From left: Ahmed Al Mutawa from the UAE with festival director Alexander V. Kammel.
The winners of the tenth edition of the Cannes Corporate Media & TV Awards were feted at a special Awards Ceremony hosted at the Palm Beach Cannes on September 26. Out of 950 submissions from 51 countries, 206 entries were shortlisted and 149 of those were selected as winners by an international jury. “Due to the numerous high-quality submissions, we also decided to announce shortlisted nominations,” commented festival director Alexander V. Kammel. “In this way, creative and excellent productions could be highlighted and receive additional recognition.” For the first time since the establishment of the
festival, the Grand Prix, the White Dolphin, went to Germany. The family
business Dibbern convinced the jury with the corporate image film Traditional Craftsmanship Meets Contemporary Design. The Blue Dolphin for the most successful production company of the year, went to the British production company RD Content, as they received six trophies during the Awards Gala. The Awards Days started with the Welcome Evening at the L’Ondine Beach Restaurant. Festival guests had the opportunity to view all submitted productions at the Media Centre and attend workshops on 360-degree production, branded content and licensing music. In the evening, guests attended the Awards, which saw winners from
all around the world, including ABS-CBN, British International School of Chicago, LEGO, Media Zoo, PwC, Shell, as well as Swiss International Air Lines and Yakult. Two production companies from the Middle East, Double Exposure Productions (DXP) from the UAE and Forward Films from Saudi Arabia came out on top of all entries from the MENA region. DXP, run by Emirati filmmaker and CEO Ahmed Al Mutawa took home Silver, Gold and Black Dolphins for various productions including the Dubai Business Excellence Awards, Time to Care and Traffic Transformation. Forward Films from Saudi Arabia secured a Silver Dolphin.
The Forward Films team from Saudi Arabia took home a Silver Dolphin.
12 | www.broadcastprome.com | November 2019
PRONEWS
Argosy opens new stock facility in Dubai Argosy has relocated its Dubai office to Oud-Metha in order to hold more stock and deliver faster and more efficient services to its Middle East customers. The larger facility enables Argosy to locally stock higher volumes of its expanding product portfolio, such as racking and mains distribution units, video audio and data cabling, connectors and patching, SMPTE and fibre assembly equipment, along with KVM and network switches. “Countries like Oman, Bahrain and Lebanon have seen a recent growth in the sports sector, meaning more stadia and arenas have been built for boxing, football and tennis tournaments.
Raziullah Baig, Regional Sales Manager, Argosy.
This in turn has increased the need to produce local content, so we are positioning ourselves to be able to deliver orders quickly and provide immediate assistance for such projects through our new regional office in Dubai,” commented Chris Smeeton, Director at Argosy.
Headed by Regional Sales Manager Raziullah Baig and supported by Argosy’s sales, technical and logistics teams back at its UK HQ, the new Dubai office brings relevant and critical stock back into the region, offering Argosy clients reduced lead times and a facility to
supply to ongoing projects where specific products may be urgently required. “The beauty of holding more stock in the region is that our clients can begin their projects earlier, starting with the readily available products we stock in Dubai, while the rest of their order ships from the UK,” explained Baig. As the Middle East moves towards 4K, Argosy’s new partnerships with Mellanox Technologies, Canare, Allied Telesis, BarnFind, kvm-tec and other suppliers will prove indispensable to the region’s content producers and broadcasters as they implement their 4K technology upgrades.
Great events don’t happen by accident We are the one-stop-shop for all your broadcast requirements. Contact our Middle East team to see how our latest services make aggregating, routing and tailoring content even easier: Jorge SIMAO simao@eurovision.net +971 52 737 6615
Anas ATHAMNEH athamneh@eurovision.net +971 52 266 6817
November 2019 | www.broadcastprome.com | 13
PRONEWS
Yalla Yalla acquires Arabic remake rights to Intouchables Yalla Yalla, a joint venture between Dubai film distributor Front Row Filmed Entertainment and international sales and production outfit Rocket Science, has inked a deal with Gaumont for the Arabic-language remake rights to 2011 international box office smash hit Intouchables. The project will most likely be a Saudi/Egyptian co-production,
with the director and cast set to be announced soon. The Arabic adaptation will be Yalla Yalla’s second production after Perfect Strangers, which is currently in pre-production. Front Row Filmed Entertainment will handle all MENA rights for the title, while Rocket Science will be responsible for international sales.
Mena.tv launches fundraising campaign on Eureeca Mena.tv, an online content marketplace for the MENA region, is inviting industry professionals to become shareholders in the business through the global equity crowdfunding platform Eureeca. The equity raise has already reported significant preregistration interest, aided
by the promise of discounts for early investors. The B2B platform has ties with most major international trade shows and claims more than 600 registered content buyers. It has so far attracted more than 40 regional and international vendors listing over 200 titles.
Ethiopia gets first dedicated TV platform A dedicated Ethiopian TV platform called Ethiosat now hosts Ethiopia’s local channels, thanks to an agreement between the Association of Ethiopian Broadcasters (AEB), the Ethiopian Broadcasting Corporation (EBC), and SES. Ethiosat is hosted on SES’ NSS-12 satellite at 57 degrees East.
London-based beoutQ seller brought to book A retailer in London has been convicted for selling illegal streaming devices (ISDs), which gave access to unauthorised Premier League broadcasts and other content. Ammar Al Silawi, 39, was found guilty on two charges of copyright and two charges of fraud, having been found to sell ISDs
which provided unlawful access to a number of channels, including those of beoutQ, from London. Al Silawi received the maximum 300 hours of unpaid community service and was ordered to pay legal costs to the Premier League. The defendant was also warned that failure to comply with the community
14 | www.broadcastprome.com | November 2019
order in any way would result in an immediate custodial sentence. This was the first case of its kind, with the Premier League successfully arguing that in selling the set-top boxes, Al Silawi was guilty of communicating infringing copies of copyright works to the public.
China-Arab film and TV distribution platform launched in Dubai Hala China’s second China Film Week in Dubai set the stage for the launch of a new Chinese film distribution platform. At the inaugural China-UAE Film and TV Industry Forum, Wisdom House Cultural Industry Group announced a collaboration with China (Zhejiang) Film and Television Industry International Cooperation Zone – China’s first national film and television platform – to enhance intercultural exchange with the Middle East by introducing films and TV shows from China into the region. The first three productions set for release are Eternal Love, a romantic fantasy starring Yang Mi and Mark Chao, which is China’s most-watched TV series; Red Flowers and Green Leaves, a love story exploring the fledgling romance of a Chinese Muslim couple; and Rubi, a 3D children’s animated TV show.
PRONEWS
GatesAir announces new appointment for MEA market GatesAir is looking to strengthen its global presence with the appointment of Graham Lay as Regional Sales Manager, MEA. Based in Dubai, Lay reports to Andy McClelland, MD, EMEA, with a focus on building GatesAir’s market share and brand visibility in the Middle East and eastern Africa. Lay comes to GatesAir with more than a decade of sales
and account management experience in the broadcast and communications industry. He spent most of this time with electrical cable distribution company IEWC, where he consistently took on roles of increasing responsibility. “GatesAir has built a reputation for expertly managing high-volume business opportunities and many of the world’s largest Graham Lay. digital
transition projects,” said Lay. “Their recent establishment of a new business and manufacturing centre in Europe, and aggressive sales and business development expansion, has magnified GatesAir’s presence throughout the EMEA region.” Lay expects to fortify GatesAir’s regional service and support presence through expansion of its channel partner network, in addition to working directly with customers to solve problems, reduce operational costs and create new opportunities.
Former Al Arabiya exec moves to Asharq TV as GM Veteran journalist and former Al Arabiya executive Dr Nabil Khatib has been appointed GM of the upcoming Asharq TV station, based in Dubai International Financial Centre. Asharq TV is the result of a cooperation agreement between Riyadh-based SRMG and Bloomberg, and is intended to be a multi-platform Arabiclanguage business and financial news service.
November 2019 | www.broadcastprome.com | 15
PRODAB+
TUNISIA LEADS THE WAY ON DAB+
Stakeholders from the Tunisian radio industry and broadcast experts from across the Arab world convened in Tunis last month to discuss the opportunities DAB+ brings to the radio, manufacturing, retail and automotive sectors. We bring you a detailed report Hosted by the Arab States Broadcasting Union in partnership with WorldDAB, the workshop featured speakers from the Tunisian Ministry of Communication, the Ministry of Commerce, the National Broadcast Network Operator in Tunisia, and the Office National de la Télédiffusion (ONT), as well as representatives from the audiovisual regulator, retailers, receivers, car manufacturers and ASBU directors. Abdelrahim Suleiman, Director General of the ASBU, opened the workshop by highlighting the importance of the digital revolution across the Arab states, touching on the Arab Spring and other key turning points in recent history that have brought about significant changes to the audiovisual industry in Tunisia and beyond. He pointed out the benefits of a move towards DAB+ digital radio, particularly in terms of its offering more value-added services at a lower cost, emphasising that the time is now right for the radio industry to commit to a digital future. Highlighting its reduced costs compared with FM broadcasts, and the growing number of DAB+ receivers available to consumers both in and out of the car, Suleiman stressed the importance of developing an Arab model for the rollout of digital radio, one that includes a suitable marketing strategy capable of convincing officials, introducing the technology to consumers and facilitating collaboration across the industry. Also addressing the audience was Dhaker Baccouch, CEO of ONT, who confirmed that the digitisation of Tunisian radio is part of a national strategic plan to
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ensure additional services for broadcast, reduced costs and new opportunities for investment. He stressed that collaboration and coordination across government ministries, industry and commercial players would first require an increased number of listeners, and more importantly, increased education and interaction with the audience. Baccouch reiterated the desire for the Independent High Authority for Audiovisual Communication (HAICA) to extend national services and have a total of 30 national DAB+ services on air by January 2021, and touched on the need for increased coordination and better use of frequency. Sofian Jelili, Deputy Director of Implementation at ONT, spoke about a national multiplex that is already on air, covering 51% of Tunisia’s 11m inhabitants, while the second phase of the expansion – set to bring population coverage to 75% by July 2020 – is already underway. The multiplex currently hosts 18 DAB+ stations and covers Tunis as well as other regions in the northeast of the country – including Ariana, Ben Arous, Nabeul, Sousse, Monastir, Manouba, Zaghouan, Bizerte and Mahdia – while the second phase will see DAB+ expand to cover four new sites, namely Ain Draham, Goraa (Beja), Trozza (Kairouan) and Ghraba (Sfax). The importance of getting DAB+ in cars throughout Tunisia also featured among a number of key topics on the agenda, with the EU’s recent introduction of the EECC directive – which will require all new car radios in the EU to be capable
PRODAB+
From left: Bernie O’Neill, Project Director of WorldDAB; Dhaker Baccouch, CEO, ONT; Abdelrahim Suleiman, ASBU Director General, Bassil Zoubi, Tech Director, ASBU, and Hichem Snoussi, board member of HAICA.
of receiving digital terrestrial radio – referenced throughout the day to illustrate this point. To that effect, Ibrahim Debache, CEO of Ennakl Automobiles, the official importer of VW brands in Tunisia, highlighted that DAB+ is an opportunity not only for the company, but for the wider automotive sector in a country in which 95% of transport is private, and where the percentage of new cars per year reaches 17%. Pointing to the shifting consumer behaviour of car buyers, and their increasingly diverse expectations, including more interest in touchscreens and all things multimedia, Debache argued that Tunisian consumers are ready to reap the benefits of DAB+ digital radio – more stations and improved sound quality and reception, at no extra cost and with no subscription for the listener. Hichem Snoussi, board member of HAICA, Tunisia’s audiovisual commission, acknowledged the benefits of DAB+ and stressed the importance of broadcasters being able to choose from various network operators, instead of relying on one single operator. WorldDAB Project Director Bernie
O’Neill also took the stage to present the audience with an update on the rollout of DAB+ from an international standpoint, emphasising the growing number of DAB+ stations in Europe (over 1,500 stations across 31 markets in the EBU area) and underlining the willingness and effort of Arab states (DAB+ trials on air in Algeria, Qatar and Bahrain, and regular services in Tunisia and Kuwait, among other countries) and countries in Southeast Asia (trials in Thailand, Indonesia and Vietnam) in driving DAB+ adoption. WorldDAB France representative Jean-Marc Dubreuil discussed radio’s place in an increasingly IP-dominated world, and reiterated the importance of broadcasters retaining control over their audience in light of growing
competition from tech giants. Dubreuil also reiterated the benefits of DAB+ digital radio. Using Norway as an example, he emphasised listeners’ appetite for new and diverse content – as the first country to have completed a digital switchover, 35% of all listening in Norway is on new digital-only stations. Highlighting the importance of educating listeners on the value of DAB+ digital radio, Dubreuil also reminded the audience of the free marketing toolkit available to manufacturers and retailers via the WorldDAB website, which can be used in promoting DAB+ in Tunisia and throughout the Arab world. A useful case study on Italy’s successful rollout of DAB+ was outlined by the Director of DAB Italia Sergio Natucci, advising that the extreme congestion of FM in Italy has driven take-up of DAB+. With in-car radio listening particularly high, he advised that Italy has passed a law stating that from January 1, 2020, all devices sold to consumers by the automotive industry have to be capable of receiving digital radio. In conclusion, Stan Baaijens, CEO of antenna manufacturer Funke NL, provided an overview of the challenges of including DAB+ in cars already on the road, and outlined some of the key lessons from other DAB markets that will be helpful to Tunisia as it progresses with the national rollout of DAB+.
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AS GOOD AS NEW?
Used broadcast equipment is a compelling option for budget-conscious operators globally. Yet, it’s an unregulated market with quality and service standards set by a cluster of industry champions. BroadcastPro ME takes an in-depth look at the markets, the moguls and the metrics in this touchstone sector “When quality and reputation are constant, price will determine the sale” Philip T. Kotler & Gary Armstrong, Principles of Marketing At an auction in New York on 26 October 2017, a secondhand Rolex ‘Paul Newman’ Cosmograph wristwatch sold for a world record price of $17.7m. It was a classic example of the pre-owned market being able to appeal to customers on the basis of both rarity value and availability – here was an item that you simply couldn’t get anywhere else: there was no new equivalent. But while a glamorous timepiece sale in New York might seem something very exotic, it’s not a world away from how most secondhand markets work. They make something available in a way that the retail and resale markets simply can’t. Take used broadcast equipment. It’s a global market worth more than $4bn. Right now, you can visit any number of highly evolved websites and buy virtually any kind of second-hand equipment: from mixers, routers, microphones, patch panels, time displays and storage systems, through to large-scale satellite and VSAT equipment – just about anything you’re looking for. The sellers (generally) offer good-quality, tried and tested goods at prices that might only be 20% of what you’d pay for the item new. You’ll also find spare parts for discontinued systems, or rare legacy pieces (the Rolex Cosmographs of their sector). BroadcastPro tracked down three extraordinary entrepreneurs in the used equipment business. But before we tell you what they said about the market and how it works, let’s set the record straight on a few myths you might have heard about pre-owned equipment sales. Myth One: The second-hand equipment sector specialises in emerging markets unable to pay for new equipment. No, it doesn’t.
Myth Two: The second-hand equipment sector isn’t liked by the manufacturers. Wrong – manufacturers themselves often source out-of-stock components from the pre-owned sector. In fact, manufacturers are making money from selling the software and hardware upgrades for the equipment sold by used equipment dealers. Myth Three: The second-hand equipment sector isn’t used by well-resourced broadcasters who can afford to buy new. Yes, it is – in fact, these are some of the sector’s biggest customers. Far from being the home of a ‘second-best’ solution, the used broadcast equipment market has industry power, extraordinary product availability and global reach. There’s no better example of that reach than a recent project completed in September 2019 by Skybrokers, a major specialist in used satellite equipment, that brought connectivity to one of the most desolate and isolated places on Earth: Easter Island. Located 3,500km from the coast of Chile, even reaching Easter Island poses severe logistical challenges. No wonder then that for decades islanders have had zero connectivity with world networks – in fact, when a racing yacht from the 2016 Volvo Ocean Race was forced to seek refuge here for repairs, it took four days before anyone knew its whereabouts. That level of isolation is now a thing of the past. Skybrokers was able to install an 8.1m Vertex antenna, providing an end-to-end service from its storage hub in Europe and managing every aspect of the equipment sourcing, flight logistics and set-up – a delivery trail of more than 20,000km. So who’s buying? Muhammad Irfan Gondal is CEO of BS Broadcast MFZE. “Our goal,” he says, “is to be the biggest company in the Middle East providing used broadcast and satellite
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Muhammad Irfan says his web site features 145 brands with more than 1,700 products, some of them with more than 100 units in stock.
equipment. But to be honest, one of the challenges in the region is that it’s not fully aware of the secondhand equipment sector. There’s this idea that used equipment is bought by developing markets, but sales in France, the UK and the Netherlands are massive. “The reality is that we need another four or five competing businesses to come here, to really raise the industry profile and awaken local markets to what we’re offering. We sell to customers in the UAE, Saudi Arabia, Jordan, Egypt and Iraq, and we’re only limited by the fact that some regional markets here are prohibited from buying second-hand equipment: Turkey is a key example.” The profile of Western countries as big buyers is supported by sales figures from Kitmondo.com, one of the world’s largest online equipment brokers. CEO Thomas Bordier reports that of his site traffic of 5,600 visits per month, 14.7% are from the US and 7.3% from the UK. He emphasises: “Buyers are really worldwide, but sellers, both final users and dealers, are from mature markets in which sourcing products is easier. The trade in
“One of the challenges in the region is that it’s not fully aware of the second-hand equipment sector. There’s this idea that used equipment is bought by developing markets, but sales in France, the UK and the Netherlands are massive” Muhammad Irfan Gondal, CEO, BS Broadcast MFZE professional equipment is international, with 85% of sales made from one country to another; we currently have 7,735 active accounts of professionals in broadcast equipment. To a certain
extent, we do indeed help fill the technology gap in some emerging markets. However, we target more developed countries where the use of equipment is mastered already, meaning we don’t have to educate them on how to use the equipment.” In such an established market, different suppliers have their own specialisations. For example, the camera market is very much a key niche for Kitmondo.com. “On our site,” says Thomas Bordier, “you can definitely see the general interest is in cameras and lenses.” Indeed, as Muhammad Irfan says, “People looking for cameras, for example, know exactly where to source the best deals. We wouldn’t try to compete with those specialists, because there’s such a multiplicity of dedicated lens options – and technology is also changing very fast in this sector. Similarly, you tend to find that because dealing in satellite equipment is a very high capital business, there’s a whole tier of specialist satellite dealers.” Skybrokers – the company managing the installation on Easter Island – is a classic example. Managing Director Walter van
BS Broadcast MFZE has a significant inventory at its UAE warehouse and sells extensively to customers in the UAE, Saudi Arabia, Jordan, Egypt and Iraq.
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Tandberg encoders, Sony equipment and spectrum analysers are all part of the inventory - photos from BS Broadcast and Skybrokers.
der Plas explains: “We currently have 10-20% of the Earth station antenna market and 10% of the used broadcast equipment market. In general, there are just a few brokers that deal with used satellite equipment and not many companies that deal with used and refurbished Earth station antennas in the way we do. “There is a market for used and refurbished antennas now that customers have restricted budgets and cannot afford new equipment. The used antennas that we provide are delivered and installed worldwide, and meet OEM standards when properly installed by professionals. In terms of stock profile, we have an extensive
“Often, the equipment is outdated but some markets will still be interested. This takes a little longer to sell, but eventually it will move if it’s well-priced” Thomas Bordier, CEO, Kitmondo.com stock of broadcast, RF and antennas from 3.7m to 16m range that we can release quickly after refurbishment.” Reaching the market Irfan continues: “My customers are more often than not experts in what they do, and I ensure that their sales queries are handled by experts too, and
supported by an expert website, BSbroadcast.com. Our site features 145 brands, including the likes of Tandberg and Harmonic, with more than 1,700 products, some of them with more than 100 units in stock – and for every single one, we thoroughly detail product reference numbers and features. “To reach our customers, we do a significant amount of email marketing, covering Facebook, Twitter and LinkedIn. We also pride ourselves on our search engine optimisation (SEO). Given that we always list product reference numbers, anyone who searches on Google for something of this exact type will find our products straight away. Plus we
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Thomas Bordier says Kitmondo has a team of account managers who are in daily contact with both buyers and sellers with the aim of helping the deals come through.
have a variety of partners based in different countries who both source and sell on our behalf, working on a commission basis.” While being a broker with different purchasing dynamics, Kitmondo.com is also well-known for proactively reaching out to its key markets and promoting particular items if they fit a known purchase history. Thomas Bordier explains that here, SEO is again imperative – the quest to come up first in Google Search is a doorway to purchase. Then there is a sellers' database which provides a list of professionals that can be actively searched for specific offers; extensive targeted mailing; and paid campaigns on Google based around specific keywords. Whereas, for Irfan of BS Broadcast, “A priority is to let people know that our stock will often include items that simply aren’t available anywhere else, and people may literally have scoured the Earth to find them. This is why I’m prepared to keep stock for 12 years or longer. If I wondered how I will ever sell it, I’d clearly be in the wrong business! “I had a customer who’d searched everywhere for a certain kind of DigiCard, and he found that we were the only supplier who had it. It cost him $35, but he paid $140 for it to be delivered to Italy! Another customer has had a Tandberg 1260 decoder for 20 years, and he knows that we can source any of the parts he needs. This is the kind of dedicated specialist we appeal to. “Of course, this also works at scale. Some of our biggest customers are leading broadcasters who want to expand into another studio without facing prohibitive costs, but who want to match existing performance exactly; and others need a temporary studio solution. We can sell them equipment with identical specifications for less than a third of the price
“For us the main challenge is to always make sure we work with reliable sellers, protect the interests of all sides and make sure we only have positive feedback after a complicated deal is concluded” Thomas Bordier, CEO, Kitmondo.com that they’d pay for new kit.” What do the manufacturers make of all this? “We also sell to the manufacturers,” Muhammad explains, “typically when they no longer have stock of old componentry and can’t service an existing customer’s equipment without it. We’ve had some of the largest and most respected brands in the world come to us.” BS Broadcast is downstream of a business like Skybrokers. As Walter van der Plas comments: “The main challenge is how to source the high demand for parts/systems that will enable us to support our clients. We check constantly whether there are still sufficient spare parts around to secure that critical customer support.” Caveat emptor? ‘Buyer beware?” Not really. “We’ve had zero returns for three years,” continues Irfan. “When the equipment arrives, we power it up for 72 hours and check it thoroughly. If anything is faulty, we don’t repair it,
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we keep it for spares. The stock is kept in a cool, air-conditioned environment to avoid any issues with overheating (one of the key risks of working with broadcast equipment in the Middle East). On all our sales, we provide a 90-day warranty, and in some cases, a 190-day warranty. Of course, there is shipping insurance to cover any damage incurred en route.” Van der Plas concurs. “We provide shipping insurance when we send equipment, and we provide a warranty period with all the equipment we sell. All of our broadcast and RF equipment is tested by professionals in professional test centres. A test report is provided, as well as a warranty period. Earth station antenna are refurbished to a high level, and all parts and elements are checked out. Critical parts are replaced with new. “We have a professional installation team that installs the antennas and aligns them so OEM specs will always be met. During the install we involve the client, who can actually witness the alignment and tests. Then, after the purchase, we always provide remote support by phone or email. In case of a warranty request, we request the client to return the unit so we can troubleshoot and repair/ test. In case of an Earth station antenna, one of our engineers will make a visit to troubleshoot if this cannot be done by phone.” What guarantees do you get from a leading online broker like Kitmondo.com? Thomas Bordier explains: “The dealers usually bring much more service and guarantees, but they are, naturally, asking for higher prices. In fairness, final users will be more flexible on the price but expect the buyers to take higher risks. In reality, there is no checkup for the equipment other than the one the buyer arranges for. Of course, we work with many different
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types of sellers and they may offer differing levels of support. In terms of after-sales service, we work on a per-case basis. This usually depends on the sellers and the terms agreed prior to the purchase.” Kitmondo assists in the communication process. “For example, we have a team of account managers who are in daily contact with both buyers and sellers, help the deals come through, and update the offer. So apart from a few automatic emails, our clients are in touch with a physical person, which is necessary to finalise complex international purchases. We serve as an intermediary, but for us the main challenge is to always make sure we work with reliable sellers, protect the interests of all sides and make sure we only have positive feedback
“There is a market for used and refurbished antennas now that customers have restricted budgets and cannot afford new equipment” Walter van der Plas, Managing Director, Skybrokers after a complicated deal is concluded.” Muhammad Irfan also believes provenance is important. “You definitely need to consider where the equipment comes from. We purchase a large percentage of our stock from key broadcast auctions in Los Angeles, New York, London and Amsterdam. It’s been pre-owned by world-class businesses working to the most professional standards. Our international partner network helps
Walter van der Plas says Skybrokers has a professional installation team that installs the antennas and aligns them so OEM specs are met.
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us source particular pieces and specific categories of equipment. “This procurement aspect of the business is very important for me personally. Our working day is structured around Western market timings – we are usually up until late in order to deal with procurement or customer issues in the United States or Europe.” Good procurement is a theme shared by the leading players. Van der Plas comments: “We buy surplus equipment from established companies that go out of business, or companies that change their business model and want to get rid of their stock.” Bordier notes: “We work with 1,115 sellers of broadcast equipment, both dealers and final users, out of which 285 have
SK 6212
Setting the standard for size. Again.
Huge expectations meet a compact design. The SK 5212 once defined the industry standard for compact wireless transmitters. Its digital successor, the SK 6212, is now heralding a new era. This mini bodypack provides 12 hours of operating time, and its intermodulation-free transmission concept enables more reliable channels, even in congested frequency ranges. Size matters — performance counts. sennheiser.com/SK6212
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If systems do not find another home after a few years, Walter van der Plas says the company disposes of them in an environmentally friendly way.
currently some equipment on sale. They usually get to know our services through the internet, a previous deal or our active search for new partners. They source us by reputation and online visibility. “We are very keen to protect the interests of our customers by establishing the credibility of these sellers and their merchandise, and we work from three angles to validate their seriousness. For example, an account manager is in charge of validating the lead, talking to both parties before organising direct communication between them. The account manager remains in the discussion all along the deal, to prevent any misunderstandings. We dig for information about the companies (as we work almost exclusively in B2B), and warn in full transparency about any dangers that any of the parties might be taking. We offer escrow payment through our partner escrow.com (they also add a further layer of compliance).” Irfan mentions another benefit of good-quality procurement. “In terms of how the leading players in the sector manage their procurement, the reality is we’re actually protecting the
We currently have 10-20% of the Earth station antenna market and 10% of the used broadcast equipment market. In general, there are just a few brokers that deal with used satellite equipment” Walter van der Plas, Managing Director, Skybrokers environment and helping out with sustainability issues. Many types of broadcast equipment contain dangerous acids and batteries, which can be major environmental pollutants and very hard to dispose of,
Skybrotker's test lab.
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whereas we ensure that equipment isn’t scrapped unless there is absolutely no other solution.” Van der Plas says these issues are also paramount for Skybrokers. “If systems do not find another home after a few years, we will dispose of them in an environmentally friendly way and involve professional scrap companies who understand and manage the pollutant risks.” Interestingly, even a broker like Kitmondo.com – essentially an intermediary, not a stockholder – will work for a sustainable solution where possible. Thomas Bordier explains how: “Often, the equipment is outdated but some markets will still be interested. This takes a little longer to sell, but eventually it will move if it’s well-priced. Sometimes the equipment is very specific and either a) there is no time pressure, so we can just wait for the need to pop up; or b) there is a time pressure, and in this case we recommend using our auction partner’s network. This guarantees a sale at the current market price.” Costs and margins While second-hand dealers might often offer good value, it’s sobering to realise that much of the stock they buy in bulk has cost them virtually nothing. They offer it at a perceived value and add on a margin which is often highly subjective. To be fair, however, the entrepreneurs we spoke to were very open about their margins and how pricing works in this space. “Bear in mind,” says Irfan, “that in this kind of business, you can make a unique offer – because quite simply, no-one else has the stock that you do!” Kitmondo’s Thomas Bordier reveals that on his website, the commission charged depends on the overall product price:– • $5,000 or less: $500 • $5,001 to $50,000: 10%
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Above left is Skybrokers' ESA storage in Europe and below, the team installs a Viasat 11.3m antenna in Germany.
• $50,001 to $100,000: 9% • $100,001 to $150,000: 8% • $150,001 and up: 7% In other words, the more you buy, the less you pay pro rata. Muhammad Irfan, Thomas Bordier and Walter van der Plas all believe their businesses can source key legacy items that experienced practitioners regard as highly sought-after. This is the one area where the second-hand broadcast market can command high prices for sheer rarity value. “This,” says Irfan, “is a key activity of our partner network; the ability to identify and secure sought-after, iconic items, often in response to a specific customer request.”
“The reality is that we need another four or five competitor businesses to come here, to really raise the industry profile and awaken local markets to what we’re offering” Muhammad Irfan Gondal, CEO, BS Broadcast MFZE Bordier adds: “The most challenging part in the legacy market is that if you want to obtain the best equipment fitting your budget, you need to be ready to buy it abroad. This can be stressful for some clients, and we always recommend to visit the seller on-site before confirming a significant investment.”
But one last point… If all this sounds like a case of ‘so far, so good’, and you’re ready to start scouring the market for second-hand equipment, there’s one last factor to consider: customs clearance. This is a key risk for every international purchaser of used equipment. It is the buyer’s responsibility to ensure that customs regulations will not block the equipment they have bought during import. But then again, ensuring paperwork is in order may be viewed as a small price to pay, given that perhaps the buyer has just saved 75% of the cost of buying new. Or even better, the buyer has found exactly what they wanted – without having to go to the ends of the Earth.
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PROVIEWPOINT
BRANDED DIGITAL VIDEO CONTENT: WHERE ARE WE HEADED?
With data analytics and audience profiling offering tangible results, several brands are shifting much of their ad spend to the digital domain. Phil Griffiths, founder of UAE-based Nomad Media, looks at why the time is ripe for brands to set up in-house production units to cater to this increasing demand for branded video content As I went through a recent report from the Interactive Advertising Bureau (IAB), a particular insight caught my attention. It was the statement that advertisers will boost spending on their branded digital video content by more than 25% in 2019, to an average of $18m per company in the survey. My initial thoughts were: no wonder the agencies and production houses are taking chunks out of each other when there’s such rich and fertile land at stake. Agencies are rushing to boost their video production capabilities and production houses are becoming ever more important in the creative and strategic process for brands. I haven’t been able to get that number out of my head ever since. 25% spending increase… in a year! That was no incremental adjustment to an established trend. It was clear evidence that when it comes to digital video content,
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saturation is nowhere near in sight. Quite the opposite, in fact; the brands are only getting started, and the consumers are all too happy to lap it up. A recent survey by Wyzowl reported that 87% of consumers said they’d like to see more content from brands in 2019. The brands are duly complying. This shift in spend has made for some interesting viewing in the way the agencies, productions houses and brands work together and interact. The traditional model is becoming redundant and new models are emerging. These are exciting times, where the best-in-class will flourish. But what I find really interesting is: what model is most likely to deliver this seemingly insatiable thirst for branded video content in the long term? The answer is one that delivers value for the brands, and is capable of devising and delivering content threads and campaigns that reliably stimulate the six canonical consumer
PROVIEWPOINT
needs: ‘Surprise me’, ‘Help me’, ‘Reassure me’, ‘Educate me’, ‘Impress me’, ‘Thrill me’ (Google & Kantar). I’m convinced that brands need to start looking at the possibility of setting up their own in-house fullservice production units, capable of satisfying this phenomenal growth in demand for branded video content. If the current rate of growth is anything to go by, outsourced alternatives are not going to be economically sound strategies over the long term. Now is the time for brands to steal an advantage on their competitors. Create an in-house production unit that is able to invent, create and engage, giving the brand the best possible chance to build a genuine following from an increasingly fragmented digital audience. A few CMOs will read this and say they already have in-house production capabilities. However, I am not talking about hiring an ex-agency exec to translate the jargon, combined with one or two disillusioned videographers that are over-worked, lack support and are starved of any freedom to truly create. This is not a solution. In fact, it probably does more harm than good. The set-up is all wrong, the content suffers and so too does the brand and its messaging. If you are going to make content that has a constant cadence and delivers a consistent, well thoughtout and structured message that supports the DNA of your brand, you need to commit. And in order to do that, you need a team with proven technical and storytelling abilities to devise and deliver a multi-platform content strategy, with a mind to turn your digital channels into broadcast platforms in their own right. The idea of an in-house production unit is understandably daunting. It is a language that many speak, but few understand. There are upfront costs in terms of equipment and a commitment in terms of hiring staff; and who wants a bunch of needy, self-entitled creatives mooching about
“Create an in-house production unit that is able to invent, create and engage, giving the brand the best possible chance to build a genuine following from an increasingly fragmented digital audience” Phil Griffiths, founder, Nomad Media the office making the place look scruffy? In terms of equipment – yes, there will be upfront costs, though you will make your money back quickly. Cameras and editing equipment required to make mid-range ‘always on’ output is becoming cheaper, and with some prudent acquisitions you will probably make the CapEx wash its face before the year is out through savings made from not having to outsource, as well as using and repackaging archive content. Technology continues to replace production personnel, resulting in more competent people available, capable of breaking down, experimenting with and ultimately understanding complex marketing messages and core brand attitudes, and in turn forming them into powerful video content. The key to the success of your production unit lies in the structure of your team, its leadership, investing in the correct equipment and, most importantly, your workflow. Once you have that in place, your team can grow as the demand for content increases. You can be lean and efficient, and at the same time create consistently valuable output. As for the agencies and production houses, my money is on quality becoming the differentiator. For me, digital branded content sits in two core categories: quality and quantity. The quality is the high-end, big-budget campaigns and marquee pieces of content. The quantity is the alwayson content that maintains an ongoing conversation with your audience – the so-called ‘disposable content’. (I hate that term. Can we please stop using that term? Who wants to make disposable content?)
The quantity content is what I am proposing brands should take in-house. The quality type of branded video content, on the other hand, I don’t expect to be brought in-house. To make truly affecting output, you need the freshest ideas from the best creative brains, executed by the most skilled professionals; and those people are very difficult to bring in-house, not to mention expensive. Outsourcing this is a wonderful opportunity to use external talent for a creative sense check. While they are working for you, they are thinking about your brand, and you should not waste the chance to capitalise on that. Further to that, if you’ve had the wisdom to set up your own in-house production unit, the in-house team can manage the whole process and at the same time learn, share ideas and ultimately enhance their own output. I believe the old agency model (or the current model that it has now become), driven mainly by winning awards, milking brands and maximising profit in order to survive, will no longer hold up. Brands with foresight will boost their in-house capabilities. Agencies and production houses will need to be brilliant, and consistently so. And as a result of the increased pressure to constantly reinvent and perform, I’m hoping they will combine, evolve and collaborate more, forming collectives of the best and brightest individuals and companies from all walks of media life.
Phil Griffiths is founder of UAE-based Nomad Media.
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PROCASESTUDY
The new 4K OB van is currently being used for UAE Pro League football coverage.
Key kit 13x Panasonic AK-UC4000 4K HDR 1x For-A FT-ONE-SS4K 3x X5A MiniCam 6x EVS XT4 SAM Sirius 288x488 router Video mixer GV Kayenne LAWO Vpro8 Glue from SAM Audio mixer Studer Vista V RTS intercom
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PROCASESTUDY
4K ON WHEELS
The UAE’s first 4K OB van has arrived in Abu Dhabi, and it promises to raise the level of live sports production in the region. BroadcastPro takes an exclusive tour and learns more from senior executives at Mediapro and long-term partner LIVE HD Spanish broadcast services provider Mediapro, which has been producing live sporting events in the Middle East for the last 15 years – including the UAE Pro League, the FIFA Club World Cup, the 2019 Special Olympics in Abu Dhabi and the 2019 Asian Cup – has built a new 4K OB van to join its fleet of vehicles for the Middle East market. Mediapro has an exclusive long-term partnership agreement for the GCC market with LIVE HD, the production arm of Abu Dhabi Media, and is first engaging the OB van for both HD and 4K production during the current UAE Pro League football season, which runs until May 2020. Dubbed OB52, it is one of 60 vehicles owned by Mediapro, and one of three in Abu Dhabi. The firm also has vehicles in Egypt and Turkey. “This represents a fantastic opportunity to develop 4K live production capabilities in the region, working closely with our valued partners,” remarks Omar Pleite Guerra, GM of Mediapro Middle East FZ-LLC. With 4K becoming a production standard for several live sporting events and demand for OB projects on the rise, Pleite is confident the vehicle will become a critical requirement for regional productions. “We realise channels are not yet producing or broadcasting in 4K, but the GCC is teeming with live events
and we see a huge opportunity in the live production market for 4K to grow, especially with Expo 2020 drawing close,” he explains. “Likewise, Saudi Arabia is now open for tourism and other economic activities, in line with Vision 2030. A 4K OB unit can amplify that vision by delivering the highest quality audiovisual imagery live to regional and global audiences, to share with the world what is happening on the ground in real time.” While the OB van, a Mercedes 1848 built by coachbuilder TECNOVE, is dedicated to servicing LIVE HD projects, Mediapro works closely with Abu Dhabi Media and Live HD to pitch for other productions in the region. The OB van is wired to broadcast in HD formats from 720i to 1080i or 1080p, all the way up to 2160p 4K ultra HD. It is presently equipped with 12 Panasonic 4K camera systems and four special cameras. These include the MiniCam X5A system from 4sky, part of Mediapro Group, as well as a For-A FT-ONE-SS4K, the world's first high-speed camera designed for superslow-motion acquisition at 4K resolution. The van is also wired to accommodate a mix of 26 4K and HD cameras. The interiors of the vehicle are stateof-the-art, with an improved interior to facilitate a smooth workflow for all live and recorded broadcast assignments. For production, it is equipped with a Grass Valley Kayenne vision mixer with
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PROCASESTUDY
With the addition of the 4K OB van, Mediapro now has three vehicles stationed in Abu Dhabi.
Talal Sulaiman is Associated Director at LIVE HD.
up to four MEs, 84 monitor lines, and Sony BVM-X300 and 40” KDL displays. For video control, monitors have displays ranging from the Sony BVM-X300, Postium 24” U-Series and NEC 32” HD, to Grass Valley Kaleido MX 3G 4K multi-viewer systems. Other key kit include the SAM Sirius 830 video matrix and IQ Modular range, the LAWO V_pro8 and LAWO VSM controller, and the FOR-A FA 9500; while digital glue is managed by the Miranda Densite series. For video recording, OB52 offers the Sony PDW-HD1500, AJA KiPro Ultra and EVS XT4k facilities, with 40 monitor lines and 10 Asus 24” HD displays. Audio features a flexible Studer Vista 5, 5.1 surround sound via a Genelec 8340, with RTS intercom facilities managed through RTS Adam Matrix. “The OB van was integrated in Spain with everything
from coach building and systems integration companies dedicated to delivering vans to the very highest tech specifications. We use our vast collective experience in OB van design to implement and integrate facilities as per our requirements. Even while the integration was going on and before its arrival in the UAE, this vehicle has already been assigned to numerous projects and events. This 4K OB van
“With the current set of events we are expected to produce in 4K, it is not likely to be profitable, but as a leading player in providing the best broadcast services in the market, we will be expected to have a 4K unit and eventually that will pay off” Omar Pleite Guerra, GM of Mediapro Middle East FZ-LLC
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is planned to be used in the live production for the UAE Pro League, but we are expecting to provide more 4K services as per LIVE HD’s requirements,” explains Mediapro Technical Manager Nuno Cabaco. “We have increased the airconditioning capacity within this truck to ensure it can withstand the heat in this region,” he adds. Integrating a 4K van is not without its challenges, with one critical element being lighting. “Lighting is so important in 4K production. We have been particular that we hire only the best CCUs/HDR operators to take the maximum harnessing from the cameras,” says Cabaco. With broadcasters choosing between HD and 4K based on the requirements of a shoot, they need to have flexibility and “the ability to switch easily from one format to the other, leveraging their existing
PROCASESTUDY
infrastructure”, explains Pleite. While it may be difficult to justify the cost of infrastructure required to support both 4K and HD live broadcast contribution workflows, Pleite says the investment will pay off in the long run. “With the current set of events we are expected to produce in 4K, it is not likely to be profitable, but as a leading player in providing the best broadcast services in the market, we will be expected to have a 4K unit and eventually that will pay off.” Video transport is also a challenge. “With limited and expensive satellite, fibre or MPLS links typically reserved for primary video contribution, broadcasters still need to transport video for
“Even while the integration was going on and before its arrival in the UAE, this vehicle has already been assigned to numerous projects and events” Nuno Cabaco, Technical Manager, Mediapro alternative cameras for backstage interviews, off-field coverage and return and teleprompter feeds. Typically, you need a 12GHz capacity for production and transmission and will need a big transponder even to accommodate one single 4K transmission. We can support the broadcaster for a transmission, although our primary objective is to record in 4K and hand over the signal to a broadcaster.”
In addition, bandwidth is a challenge. “The resolution, frame rate and pixel depth needed for 4K UHD content requires far greater throughput compared to HD. Live broadcasters are still struggling to accommodate the bandwidth required.” Mediapro has a team of ten technical experts to operate the 4K OB van. “A 4K van requires more skills and more infrastructure. First of all, there are more inputs and outputs going in and out from the OB. We need to be well organised on the router and video mixer to avoid mistakes, and that can be a challenge for those who haven’t done it before,” explains Cabaco.
Nuno Cabaco is Technical Manager at Mediapro.
Mediapro has a team of ten technical experts to operate the OB van.
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PROPRODUCTION
Anas Tolba (on the left with specs) is an Egyptian/American filmmaker whose works are mostly linked with social causes.
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PROPRODUCTION
A WOMEN’S CHAMPION
Between Two Seas, a film by Egyptian director Anas Tolba that champions women’s rights, has captured international attention by bagging awards at film festivals around the world. Tolba explains the experience of shooting his first feature-length film Between Two Seas shot to fame at the Brooklyn Film Festival 2019, where it bagged Best Feature Film and Best Screenplay. The film has won four other awards: Best Feature Film and Best Screenplay at the Aswan International Women’s Film Festival, and Best Director and Best Script at the Cinéma De La Diversité Taza (Morocco). The film, directed by Egyptian filmmaker Anas Tolba, is the result of a collaboration between Egypt’s National Council for Women, UN Women and Axeer, a production company, as well as other development partners. Between Two Seas follows a woman named Zahra. While on a short visit to her village, a small rural island near Cairo, her daughter is involved in an accident that leaves Zahra devastated. Following this incident, Zahra fights for her daughter’s rights and insists that she continue her education. The film sheds light on different societal issues faced by women, especially in rural areas. Tolba says the main aim of the collaboration was to produce a film for a mass audience in Egypt and the Arab world. “We wanted our film to shed light on the major issues facing women in underprivileged societies and give them hope and direction about how to deal with these issues,” he says.
“The film talks about many inter-related issues, but the most glaring problem and the cause for most of the issues facing women today is the lack of education and awareness. So the film tackles this by telling the stories of three different women and how their lives have been affected by education or the lack of it.” The title of the film has a close connection to the location. “The feature was shot on an island which its inhabitants informally call Between Two Seas. So I saw that as an opportunity to also reflect the state of being stuck between ignorance and awareness, which is the overall theme of the project,” Tolba explains. Since Between Two Seas was his first full-length feature, he admits it wasn’t all smooth sailing. “The whole process has been very challenging. It was my first time working on the writing process, working with actors, directing a set of almost 200 people. The whole film was shot on an island, so for the period of preproduction and the 18 days of filming we would go back and forth to the island every day, which was physically and logistically very challenging.” The director adds that without the support received from Executive Producer Abdulrahman Garawany and his team, the project wouldn’t have been half as successful.
November 2019 | www.broadcastprome.com | 35
PROPRODUCTION
Tolba wanted the film to be “visually competitive to mainstream films”, so he invested in an ARRI Alexa Mini with Master Anamorphic lenses. “The filming process was done in 18 days. We shot the whole film on an island in Cairo, and on the island we had about 25 locations. “For editing we used Premiere Pro, for colour grading we used DaVinci Resolve. I don’t remember how many hours of footage we had, but the first draft of the film was edited in about three weeks and the whole post-production process took about three months.” He explains that the most important element in the production of this film was the support of a great team.
“We wanted our film to shed light on the major issues women face in underprivileged societies and give them hope and direction about how to deal with these issues” Anas Tolba, director, Between Two Seas “I was keen on having certain crew members that had a lot of experience in feature films, so the entire directing team (first, second and third assistant directors) were all experienced and had worked on many feature film sets before. The production manager as well had a lot of experience in feature films, and that helped us a lot in logistics, budgets and so on. “The cinematographer, Fawzy
Darwish, is a very skilled DP and we have worked together on so many projects before, but this was also his first feature film. Having him on board was amazing because we already have a good rapport with each other, and he understands my vision. And his fresh eye was a great addition and made the film look extremely beautiful.” Despite the project having the backing of UN Women as a main financial supporter, Tolba says, “The budget for the film is below average relative to the Egyptian film market. However, we were able to pull it off because over the past nine years we have worked on various projects of different sizes and resources, so as a production company, Axeer was able to manage
Behind-the-scenes shots from the filming of Between Two Seas.
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PROPRODUCTION
Tolba says the making of Between Two Seas has led to his own transformation as a filmmaker.
that budget in a very efficient way.” Another key component of the film is music. Tolba chose to have a single melody throughout, “changed to fit the different moods of the film”. “The music composer for the film is a young Egyptian musician called Khaled Kammar. I’ve known Khaled for some years now, but I hadn’t had the chance to work with him. When I started to work on the film, even in pre-production, I knew I wanted to work with Khaled because he is very passionate about his work. “During the filming process, I would sometimes send him shots from the film or roughly edited scenes so that he could get a feel of the film. Once we had a full rough cut, we watched the film together and he started translating the scenes into music.” Tolba started his career in 2010 by co-founding media production company Axeer. He has directed music videos for singers and artists from across the Arab world, including Zap Tharwat, Hamza Namira and Cairokee.
“This project gave me the drive and passion to dig deeper into narrative work. As a filmmaker, I love storytelling, and I love human-driven stories” Anas Tolba, director, Between Two Seas “Some other projects that I’ve worked on with Axeer and UN Women included a music video called 'Nour' which went viral on social media, and a short film called Mariam and the Sun, which won several international awards. This collaboration model was the inspiration to do something on a larger scale that would reach the masses.” In 2014, he directed and produced his first 30-minute documentary, Extracurricular, which features a mother who believes in the power of travel to educate her children. In 2017, Mariam and The Sun was recognised by the Jury Selection Awards in the Accolade Film Competition and the Hollywood Film Festival. Working on several music videos allowed the director to experiment with
different techniques. He explains that he transitioned to narrative work when he shot 'Nour', which got about 10m views on YouTube and champions the cause of women’s empowerment in the workplace. The music video is based on a “dramatic narrative story”, says Tolba. “This project gave me the drive and passion to dig deeper into narrative work. As a filmmaker, I love storytelling and I love human-driven stories.” Between Two Seas was more than just a feature; it was a transformational journey. “Professionally, I learned a lot from this experience. I learned about the relationship between the director and the writer and how it should be managed. I learned a lot about directing actors and the room that is given for actors to improvise and give input, which was extremely beneficial for the film. And on a personal level I saw how I could learn from every single person around me, and that there is so much yet to learn in life,” he concludes.
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PROREVIEW
MUSIC TO YOUR EARS
The Neumann NDH 20 is Sennheiser’s new closed-back set of headphones, combining isolation with carefully balanced sound image and resolution. Eng Zaher Al Tamimie is the sound engineer at the private studio of HH Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai, and is also the founder and owner of Hajeer Film & TV Studio. He puts the headphones through their paces Eng Zaher Al Tamimie is an Iraqi who has worked as a sound engineer in the UAE since the late 1980s. As the owner and founder of Hajeer Film & TV Studio, he has worked with top composers and musicians from across the Arab world, including big names like Egyptian composer Walid Fayed; Iraqi artist Kadhim Al-Saher; Saudi artists Mohammed Abdu, Rashid Al-Majed and Abdul Majeed Abdullah; and Emirati artist and singer Mehad Hamad; and Ahlam and Hussein Al Jasmi. He is also the sound engineer at the private studio of HH Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, who publishes his poetry under the name Fazza. With so many celebrity singers, musicians and artists as clients, Al Tamimie has a number of different mics and studio headphones, as well as other equipment designed to cater to the individual artistic needs of his high-profile clients, who write songs, compose music or even make music videos. These solutions include different brands like Neumann/ Sennheiser, AKG, Ultrasone and so on. Last month, Al Tamimie tested the NDH 20 and gave us his take on the headphones. As a long-time user of Neumann studio microphones and monitors, my interest was piqued when I heard that the brand had introduced its first ever pair of studio
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headphones. With the Neumann brand having the backing of Sennheiser – which already has an established track record in the headphone market – I was keen to see how the NDH 20 would differentiate itself from the likes of iconic Sennheiser models like the HD 280 Pro and the HD 650, or some of the other brands I have in my studio. At the outset, at a $500 price tag, the NDH 20 sits in the upper tier of the studio headphone price range, so it’s no surprise that the design and aesthetics reflect this premium positioning. The orange colour on the inner part of the earcups is an eye-catching highlight. Unlike the HD 650, however, Neumann has gone with a closed-back design for the NDH 20, so that’s the first differentiation that comes to mind when you have a quick look. Given that these are designed for studio engineers who are likely to wear the headphones for hours on end, I was happy to see that the weight and the pressure while wearing them were well balanced. The earcups have been designed to swivel, which isn’t something I personally like, but this is only an annoyance when one is not actually wearing the headphones. The circumaural memory foam ear pads ensure your ears don’t heat up, so once they’re on they feel extremely comfortable and I could easily use them for hours without pressure on my ears or any discomfort.
PROREVIEW
The circumaural memory foam ear pads ensure the user's ears don’t heat up, so once they’re on they feel extremely comfortable, says Eng. Zaher Al Tamimie.
November 2019 | www.broadcastprome.com | 39
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PROREVIEW
As a long-term user of Neumann monitors and microphones in my personal studio, I have very high expectations in terms of the sound quality from these new studio headphones. Fortunately, they do not disappoint and the sound is both clear and balanced. The NDH 20 performs especially well in the mid to high frequency ranges, but performance is a bit wanting in the lower frequency range, with a very flat frequency response. This is a challenge if you are working with Arabic music. I work a lot with Arabic music and Arab musicians, and we prefer products that can capture low frequencies as we tend to use the tarabuka, cello, counter bass and other traditional instruments a lot. There are three or four different kinds of bass in Arabic music that you don’t generally
“I work a lot with Arabic music and Arab musicians, and we prefer products that can capture low frequencies as we tend to use the tarabuka, cello, counter bass and other traditional instruments a lot” Eng Zaher Al Tamimie, sound engineer, Hajeer Film & TV Studio, Dubai find with Western instruments. So we require headphones that can capture those different bass nuances. It’s clear that Neumann has done its best to ensure the most accurate replication of sound, rather than boosting superficial characteristics for a more pleasurable listening experience. I therefore find the NDH 20 to be ideally suited as a tool for monitoring and delivering true replication. Noise
isolation has also clearly been another area of focus, evident in the fact that Neumann has even listed the amount of sound isolation these headphones are capable of in the very detailed data sheet that accompanies them. While the fact that they vastly outperform open-back headphones in terms of sound isolation was expected, they are also among the best closed-back headphones in terms of sound isolation. All in all, the NDH 20 is a strong and compelling entry into the crowded studio headphone market for Neumann. I’ve been impressed with the choices the brand has made, as they help differentiate the headphones from other offerings. If you’re looking for closed-back headphones with great isolation and accurate sound replication, they hit the mark.
Eng. Zaher Al Tamimie has a range of headphones at his studio to cater to the varied tastes of his high-profile clients.
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PROEGYPT
FROM DEFEATISM TO VICTORY: A SEA CHANGE IN EGYPTIAN CINEMA
Egypt used to be a hotbed of Arabic film production, until political instability and other factors dethroned it. But new war and action movies are taking Egyptian cinema back on a path to regain its old glory, says Rasha Shokr A scene from Clash.
As we come to the close of a decade, it is fascinating to see the many ups and downs in the Egyptian movie market with all the political changes in the region, and how it has set itself on a path of self-correction in the last four years. Production trends are highly influenced by external and internal factors, and several domestic factors have contributed to changes at various levels, including movie production, in Egypt. As we step out of this year, we look at two production trends: one started at the beginning of the decade but has moved to the back, while the other is gaining traction as we head to 2020. We witnessed huge changes in content and quality in
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the 2000-2009 period, which was very different to the decade that preceded it. The average number of produced movies reached 40 movies per year, a breakthrough. The dominant genres at the box office were mostly comedy and social drama, reflecting the domestic mood and life in Egypt. Gradually, a few Egyptian action, crime and mystery movies were introduced. Despite the success of the romance genre between 2000 and 2009, it is always difficult to predict its sustainability due to the continuous changes of social norms and lifestyles in Egypt. Back then, there were also no period war dramas or historical
PROEGYPT
Rasha Shokr says festival cinemas hold no mass appeal.
movies to rouse nationalistic feelings in the country, a situation that has changed in the current decade. In the last decade, we saw a handful of producers, writers and directors emerging from a nonspecialised movie background and producing low-budget independent movies. While these films did not make much money, they did make a lot of noise. However, they remained low-budget and addressed a very limited audience. They were more into creating a buzz in the city in certain circles, and did not necessarily target the entertainment interests of the Egyptian public. Their interest lay in creating a buzz at film festivals, and some of them won awards. The Egyptian audience calls them ‘festival movies’. Sadly, this collection of independent cinema also had an air of defeatism. Movies like Cairo 678, Clash, Microphone, Asmaa and Rags and Tatters come to mind. Moviegoers questioned why Egyptian cinema had now been confined to low-budget movies and topics that Egyptian society could not identify with. Those movies served certain elite circles and did not bring any addition to the commercial movie industry as a whole or to mass moviegoers. They focused mainly on humanitarian issues and were not made for mass appeal. This wave came to an end in 2016, with Clash, the last of the movies following this train of thought. Recent years have seen some good productions that bring the glory of Egyptian cinema back to the fore. Movie production has started to pick up pace. One of the positive features of this decade’s commercial Egyptian movie production is that it has brought Egyptians from all walks of life together again to the cinema. Production trends are uniting rather than dividing, and box office revenues speak for themselves. Box office in 2019 has been unprecedented, with Blue Elephant 2, starring Karim Abdel Aziz and
“The new movie productions for 2020 are building on the success of the last three years and are once again raising the profile of Egyptian cinema” Rasha Shokr, writer, movie critic and vlogger directed by Marwan Hamed, raking in a record-breaking $6m. Comedies are still of big interest, especially those starring Tamer Hosni, Mohamed Emam and Karim Abdel Aziz, but action movies are finding a strong audience as well. Stars like Mohamed Ramadan are considered phenomenal. The Cell (2017), starring Ahmed Ezz and directed by Tarek El Erian, was a huge hit and started a new modern trend in the Egyptian movie industry, one that highlights more nationalistic movies with an
emphasis on heroes and fallen heroes in the police and armed forces. The success of The Cell paved the way for The Passage (El Mammar) from director Sherif Arafa, which raked in $5m in 2019. War movies have not been on the map for the last 20 years, but events since 2011 have led to genuine appreciation for the genre. As we close the 2019 movie season, a new war movie starring Mohamed Emam on the life of commando Ibrahim El Refai, who fought in the October 6 War in 1973, has been announced for production and scheduled for a 2020 release. Kira and El Gin from Marwan Hamed, another period drama full of action, is also aiming for a 2020 theatrical release. This movie, set in 1919, features two superstars, Ahmed Ezz and Karim Abdel Aziz. This trend of having more than one protagonist in a movie is also expected to grow in 2020. The new movie productions for 2020 are building on the success of the last three years and are once again raising the profile of Egyptian cinema. Despite a few unpleasant detours with an air of defeatism at the beginning of this decade, it is ending with amazingly positive news and great announcements for new movie productions for 2020, building on the success of the last three years.
Karim Abdel Aziz in Blue Elephant 2.
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PROGUEST
“The pressure is on broadcasters to find ways to produce more content, more affordably, without compromising quality”
Remote production offers a win-win for broadcasters Live events are a huge and critical driver in the global TV and video landscape, but the terrain continues to change, as the increasing cost of rights – especially sports – combined with the evolving interests and habits of audiences, is forcing content providers to adapt. The trouble with live sports events is that as the cost of producing more coverage is being driven up by surging demand, it is not being met by the price that consumers are willing to pay. When you add in the rising outlay for hotly contested rights – the global rights market is expected to be worth $55bn by 2021 – the pressure is on broadcasters to find ways to produce more content, more affordably, without compromising quality. The good news for broadcasters, OTT services and others feeding consumer demand is that the globalisation of TV and the proliferation of viewer choices has unlocked new potential. Growing audiences for sports crossing into new markets – such as English Premier League football in North America and NBA basketball in the Middle East – means there are opportunities beyond broadcasters bidding for big domestic rights contracts. What’s more, niche sports and now esports are reaching new audiences through syndication and direct-to-consumer models and are becoming mainstream. Still, as the world of sports opens up, rights holders need to find smarter and more cost-effective models to maximise live production budgets
while maintaining production values. Enter at-home/remote production. The ability to produce live broadcasts from remote locations by transmitting raw (ISO) feeds, audio and equipment control over network infrastructure to a central studio facility – where operators have the ability to remotely control cameras and other equipment at the event site – offers a compelling solution. By tapping into at-home/remote capabilities, content providers can centralise production at their home studio or at a dedicated third-party location. It provides a practical way of transporting signals over private fibre with high security and relatively low latency, while built-in redundancy eliminates disruptions. Dozens of camera feeds can be delivered to the central broadcast facility, either as uncompressed ISO feeds or lightly compressed feeds using JPEG2000, for example, to ensure the lowest possible end-to-end delay. Control of on-site equipment traditionally handled by the production crew in the OB van is now accomplished from the central studio. Production audio from the venue is either embedded in the video feed or sent as a discrete native audio file. In a typical remote production of a major sporting event in a stadium, the directors and production assistants, along with below-the-line staff such as camera operators and stage managers, can all work remotely from the central studio. Feeds from the stadium cameras are encoded at the venue and transported across an IP network as
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mezzanine formats. These are typically transcoded within a cloud platform such as AWS, using both AWSDX and ZIXI protocol, and fed into multiple instances of AWS Elemental Media Live across the globe. AWS Media Live then transcodes the 1080p 59.94 signal into multiple renditions and distributes RTMP streams to different receiving destinations. In this case, the hand-off would be via the closed Amazon network Direct Connect POP at the at-home/remote production facility. The clear benefits of at-home/remote production include the elimination of OB trucks and much of the equipment traditionally required at the venue, saving purchase, leasing and maintenance costs; reduced overall costs, including freight, transportation, accommodation and support for staff on-site; same-day production of multiple events, using the same equipment while maximising staff; and the ability to deploy dedicated camera feeds across various screens to produce more content that can be monetised in new ways – such as direct-to-social platforms, player cams and localised (dubbed) feeds. Finally, with at-home/remote production, the reduced need for OB trucks, shipping and travel substantially decreases the carbon footprint of a live broadcast. It also allows production crews to work in their own familiar environment, creating a better work-life balance – making careers sustainable and team members doubtless happier and more productive. George Lopez is Senior Vice President Operations at The Switch.
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