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WELCOME
Last month was a mix of big wins and tragic losses. The ASBU BroadcastPro Summit and Awards brought the media and entertainment community together for a rewarding time of sharing knowledge and celebrating innovation. With a record 177 nominations, the entries were so competitive that we had to award multiple winners in some categories. I’m incredibly grateful to our jury, who spent days evaluating the entries, and to all the companies and individuals who shared in the celebration.
But this month has also seen its fair share of losses. We were deeply saddened to learn of the passing of a dear friend, Nicolas Hans, who suddenly became ill. Nicolas and I worked closely over the past three years on my conference agenda. He served as a moderator the last two years and let me know this year that he was in a hospital bed, and it was unlikely he would be well enough to join us. We exchanged notes just a day before our conference on November 6, with the promise that he would be ready for the next, so his death came as a complete shock to all of us.
It was Nicolas who introduced me to AI for the first time with transcription software that reduced my workload substantially. I have since become a Descript evangelist, recommending it to all my journalist friends. As a former journalist who had moved into the world of tech and broadcast, he straddled both worlds with ease and treated my need for editorial integrity with great respect. In fact, one of our conversations last month was about a potential story for the January 2025 edition. He will be sorely missed. We were also deeply saddened to hear about the tragic passing of Vivek Chopra. My interactions with Vivek were quite rare although he was a regular figure at our Summit and Awards.
While this issue celebrates the changemakers in our industry, it also pays tribute to the dearly departed. May their souls rest in peace.
VIJAYA CHERIAN, EDITORIAL DIRECTOR
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COVER STORY LEVELLING UP SPORTS
At the recent BroadcastPro ME summit, more than 300 industry professionals convened for a day of knowledge exchange and networking. A key highlight was the sports panel, where experts explored strategies for monetising sports, producing live events and engaging diverse Arab markets with tailored sports packages
2024 ASBU BROADCASTPRO AWARDS THE 2024 CHAMPIONS
The BroadcastPro ME Awards this year honoured 27 winners across multiple categories, including two in satellite, from a record 177 nominations. With outstanding entries showcasing the region’s dynamic growth, particularly in content, we awarded more accolades than originally planned
PRODUCT SHOWCASES NEW LAUNCHES
Fujifilm Corporation announces its first-ever filmmaking camera and Shure unveils Axient Digital PSM wireless inear monitoring system at Dubai event
UPDATE NEWS
TwoFour54 reveals new services at Global Media Congress; New UAE digital business newsroom Moniify launches; UAE’s 9Yards Cinema and Mega Matrix launch $100m production fund; AlKass Sports Channel to expand complex; TRT adopts Insys VT solution; and more
INTERVIEW
THE STORYTELLERS
How can Arabic productions maintain cultural integrity while appealing to a global audience as well, and what are the challenges of monetising Arabic content in non-Arab markets? Arab content experts weigh in
GUEST COLUMN CTV DRIVES CHANGE
Streaming television presents an immense opportunity for marketers, both globally and here in the Middle East, says Terry Kane, MD MEA at The Trade Desk
LATEST NEWS TECH FEATURES
NEWS
Global advertising spend to surpass $1tn for first time this year: WARC
COMMS
Viasat conducts first ever demo of direct-to-device satellite messaging in Saudi
TV
Fatafeat’s Matbakh Manal Al Alem: Halawiyat to premiere on December 2
FILM
Egypt hosts Korean Film Nights fest
SATELLITE
EshailSat adds two new channels to its video distribution
INTERVIEW: Shades of success
TECHNOLOGY: Broadcasting beyond borders
OPINION: Netflix is still on top – but what’s next for streaming profitability?
Let’s create a vibrant online broadcast community!
TV
e&’s new channel All Women Sports Network to promote women’s sports
The new AWSN channel will offer a comprehensive range of sports content, including live matches, highlights and exclusive shows
NEWS
Yalla TV launches student internships as part of capabilities upgrade
The upgrades underscore Yalla TV’s unwavering commitment to delivering high-quality content while fostering opportunities for emerging talent
FILM
Ajyal Film Festival reveals winners of 2024 edition
The festival, presented by Doha Film Institute (DFI), selected winners across three categories: Ajyal Jury competition, Ajyal in Gaza programme and Made in Qatar awards
NEWS
TwoFour54 reveals new services at Global Media Congress
These include the Studios at Yas Creative Hub, the rollout of a comprehensive suite of creative services and the introduction of a portable podcast suite
FILM
Dubai Motorcycle Film Festival to power up this December
The Dubai Motorcycle Film Festival celebrates the powerful connection between motorcycles and cinematic storytelling
TRENDING
SATELLITE
Speedcast achieves milestone with sale of over 10,000 Starlink kits
NEWS
Anghami records 28% surge in video streaming engagement
wedotv big stories now in MENA via Eutelsat
TwoFour54 reveals new services at Global Media Congress 12/24
Twofour54 announced three new additions to its portfolio at the Global Media Congress last month. These are the studios at Yas Creative Hub (YCH), the roll-out of a comprehensive suite of creative services, and the introduction of a fully customisable and portable podcast suite.
The studios, now fully operational, offer two 600sqm sound stages designed for TV productions, indie films, digital content
and other media projects. These facilities come equipped with green rooms, makeup suites and loading bays, providing the flexibility for year-round filming.
Twofour54 also introduced a refreshed portfolio of creative services. By providing bespoke creative and media solutions, the media hub aims to
NEW UAE BUSINESS NEWSROOM MONIIFY LAUNCHES
Moniify, a digital news platform for Zillennials, was launched in Dubai last month. Moniify will spotlight emerging markets with a focus on the industries driving the future, from tech and AI
to crypto and energy, and will cover a raft of topics, from the GCC’s techdriven initiatives to the rapid growth in Southeast Asia and India’s economy.
Dr Yaser Bishr, Advisor to the Chairman, said:
“Emerging markets, home to over 4.3bn people with a median age of 34, have their own unique stories to tell. These markets accounted for 50.1% of global GDP in 2023 and a staggering 66.7% of global GDP growth over the past decade. Moniify is here to change the narrative – a platform by Zillennials, for Zillennials – sharing the growth stories of emerging markets from their own perspective.”
connect businesses with the right partners from within its ecosystem.
The third addition is a professional-grade setup perfect for producing podcasts and videocasts across various locations. Outfitted with advanced noise-cancellation technology and high-quality audio-visual equipment, the portable set-up caters to content creators seeking an existing facility in addition to a mobile option.
EVISION BRINGS AWSN TO MENA
Evision, the media and entertainment arm of e&, has launched the All Women’s Sports Network (AWSN). Aiming to promote women’s sports, the channel will showcase an extensive range of women’s sporting events on TV through e& and Starz On, its FAST platform. It has been formed in collaboration with local distributor Magmedia and international streaming company JungoTV.
At twofour54’s new facility in Yas Creative Hub.
Hosts on Moniify.
DICM sees record number of visitors and exhibitors
The Dubai International Content Market (DICM) concluded last month with over 900 participants from 70 countries in attendance.
In focus were the DICM Talks, where experts discussed trends shaping MENA’s media landscape.
Mohammed Ogaily, VP Product at Anghami and OSN+, shared the platform’s commitment to blockbusters and originals while expanding into comedy and horror.
StarzPlay Director of Content
Farah Makarem spoke about investments in sports leagues, Arabic originals and familyfriendly content under e&’s ecosystem. Elena Brodskaya, Head of Content Strategy at Yango Play, highlighted AI-powered UX and original unscripted productions like Al Ghaleb Ghaleb
DICM Talks spotlighted Turkey’s role as the world’s second-largest content exporter. Discussions revealed how Turkish storytelling resonates
globally, driving new opportunities in partnerships and innovation.
Amit Devani from Parrot Analytics revealed how demand for animated content has tripled since 2021 while genres like crime and thrillers remain dominant in regional preferences. In the meantime, factors such as franchise fatigue are causing a decline in traditional blockbusters from Marvel and Star Wars, creating opportunities for fresh narratives.
DICM Talks also looked at key trends such as the rise of Arabic originals as the cornerstone of regional streaming strategies; evolving audience preferences, with anime gaining popularity in KSA and crime dramas wooing Moroccan viewers; and expanding opportunities for unscripted content.
UAE’S 9YARDS CINEMA AND MEGA MATRIX LAUNCH $100M FUND TO DEVELOP GLOBAL SHORT DRAMAS
Abu Dhabi firm 9Yards Cinema Production, a subsidiary of 9Yards Communications, has signed an MOU with Mega Matrix to jointly establish an investment fund focused on developing the global short drama and pan-entertainment sector. It provides for a
joint venture to establish a $100m investment fund that aims to support acquisitions, capture global investment opportunities and promote the development of the pan-entertainment sector, including short dramas production and distribution network worldwide.
The JV will establish a wholly-owned company to serve as the general partner to manage the investment fund, overseeing the execution and production of the fund’s investments and ensuring the successful implementation of the partnership.
TOD PARTNERS WITH LIVELIKE TO ENHANCE VIEWER ENGAGEMENT
TOD, beIN Media Group’s streaming service, has appointed LiveLike to implement interactive and immersive experiences on its platform to transform how fans connect with sports and entertainment. Launching early next year, this collaboration will leverage gamification, loyalty, rewards and live interaction to deliver a better streaming experience. Through a combination of new gamification tools and live engagement features, TOD will enable users to actively participate in their favourite programming, turning traditional passive viewing into an interactive experience that encourages fans to return to the platform.
“Our collaboration with LiveLike is about creating an environment where our audience can engage in ways that feel authentic. By focusing on interactive and social features, we’re building a community where every moment feels connected,” said James Walmsley, Director of Technology at TOD.
More than 900 professionals attended DICM last month.
AlKass Sports Channel to revamp and expand complex
AlKass Sports Channel Complex will be revamped under a new project initiated by the Qatar Public Works Authority, Ashghal. The project aims to enhance the existing facilities of AlKass Sports Channels, a group of eight sports television channels established in 2006 under the umbrella of Qatar Media Corporation. Ashghal is expected to award the contract in March
MMS ADOPTS KSA TAM TOOL
MBC Media Solutions (MMS) has announced that it will adopt the newly introduced TV and streaming audience measurement tool, KSA TAM, starting January 1, 2025. KSA TAM is an advanced data integration solution that provides an accurate and comprehensive view of audience behaviour across screens. By tracking granular audience engagement, it provides a 360˚ view of content consumption patterns and enables postcampaign evaluation, offering broadcasters greater insights into audience behaviour and demographics.
2025, with an estimated completion timeline set for Q4 of 2027. Estimated at a value of $50m, the scope of the project involves constructing two steel-structured hangars designated for OB van parking and maintenance office spaces. Additionally, three large hangars will be constructed to house separate technical storage areas.
A key feature of the
project is the construction of a new building, which will include two 4K-capable studios, galleries, audio control rooms, a cinema and open-plan offices. The new building will connect to the existing AlKass main facility at both the ground and first floors. Mechanical and electrical systems in existing buildings will also undergo renovation and enhancements.
SAWA SECURES DISTI RIGHTS FOR FIX&FOXI AND RIC.TODAY FOR MENA
Sawa Rights, in partnership with Your Family Entertainment (YFE), has signed up to distribute kids channel Fix&Foxi, and for the first time RiC.Today, known for its dynamic content, across the MENA region. The agreement covers commercial and residential sectors, including telcos and hospitality industries.
SNAP SETS UP CONTENT CREATOR HUB IN KSA
Snap Inc has established Saudi Arabia’s first creator hub, Majlis Snap for content creators. The company also opened its first office in the Kingdom. Both are in the JAX district of Diriyah, a suburb of Riyadh. Majlis Snap for creators will provide hands-on support, educational programmes and collaborative opportunities designed to nurture and grow the local talent that thrives on the platform.
YALLA TV ANNOUNCES MENTORSHIP PROGRAMME
At a workshop at Yalla TV.
Yalla TV has enhanced its production facilities with new studios, deploying new recording equipment and advanced digital infrastructure. As part of this project, it is also launching its inaugural internship and mentorship programme,
designed for Media, Mass Communication and Events students from across the UAE. Students will gain handson experience within Yalla TV’s facilities, work on live projects and receive mentorship from industry experts. The three-month project will provide students with insights into the media production process, content creation and broadcasting.
Katara Studios begins filming for original production Sari & Amira
Qatar’s Katara Studios has started production of its newest original production, Sari & Amira. Set against the fictional backdrop of Wadi Sakheema, this film follows the journey of two bandits as they search for a legendary treasure, encounter mythical beasts and navigate their
TURKISH RADIO AND TV CORP ADOPTS INSYS VT SOLUTION FOR CLOUD MIGRATION
Turkish Radio and Television Corporation (TRT) has deployed an Insys Video Technologies solution for its Tabii streaming service. TRT will encrypt eight 24/7 live sports channels, and has plans to extend protection to more live channels in the future. Additionally, Insys VT is to migrate and encrypt TRT’s extensive VOD library to the AWS Cloud using the Cloud Video Kit and Cloud DRM, relying on AWS Media Services and providing full technical support throughout the process. Tabii, TRT’s global streaming platform, has attracted over 4m subscribers in Turkey and globally since its launch in May 2023. As part of its global expansion and to better manage subscriber growth, TRT aimed to migrate to a scalable
cloud infrastructure with advanced video protection and encryption capabilities. However, with the Champions League, TRT also required dependable DRM software to meet the licensing requirements to live stream the matches.
Just a week before the first game, Insys VT implemented Cloud Video Kit to stream and secure eight of TRT’s 24/7 live sports channels, with plans to expand to more channels in the future.
Cloud Video Kit, powered by AWS Cloud and Media Services, is a modular one-stop solution for video processing, management and distribution. It facilitates the entire media workflow from upload and storage to transcoding, packaging and delivery, ensuring that live and VOD content is managed efficiently.
complex relationship. Under the direction of AJ Al Thani, it promises to deliver a cinematic experience with cutting-edge production values and stunning visuals.
Ahmed Al Baker, CEO of Katara Studios and Executive Producer of the film, said: “What makes
Sari & Amira unique is its mesmerising journey into the mystical deserts of Wadi Sakheema. This thrilling tale of love, greed and the quest for a legendary treasure will immerse viewers in a breathtaking fantasy world filled with mythical beasts and rich storytelling.”
MBC STUDIOS INKS $14M DEAL WITH AY YAPIM MIDDLE EAST
MBC Studios Projects Saudi Arabia has signed a $14m TV series deal with Ay Yapim Middle East for Media, Visual and Audio Production. The contract is for a 30-episode TV series titled Al Ashaa Street that is expected to be completed by 2025.
YANGO PLAY TO STREAM NOOR PLAY’S HIT TURKISH DRAMAS
Yango Play has tied with Noor Play to bring three popular Turkish historical shows to its platform. Noor Play’s The Founder Osman, Resurrection: Ertugul and Mehmed the Conqueror are now
available on Yango Play with Arabic subtitles for Middle East audiences. The deal ensures an exceptional ad-free viewing experience with high-quality content that caters to fans of historical dramas.
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Reson8 Media promotes datadriven storytelling at Doha seminar
Reson8 Media, a creative media services house with offices in Canada, Qatar and Turkey, hosted its first Media Fusion Day in Doha, in partnership with Vizrt and supported by Media City Qatar. The one-day seminar, held at the St. Regis Doha, brought together C-level executives from the top broadcast networks in the country.
“Our aim is to introduce attendees to our partner Vizrt’s new solutions as well as showcase the integrated solutions that Reson8 Media can bring to the table,” commented Rami Hosni, Managing Partner and CEO.
“We’ve had a great deal of success since we launched a year ago, and we’re excited to introduce solutions that will truly benefit the market.”
The morning sessions provided a strategic overview from Vizrt executives on the latest trends in remote virtual
production, with an in-depth look at the latest features of Pilot Edge and its HTML-based template creation tool, while the later sessions included more technical presentations on Viz NOW, Tricaster and Pilot Edge aimed at a more tech-focused audience.
Reson8 Media, co-founded by industry veterans well-versed with the Arab media market, has experienced significant success in the region.
Building on personal experiences and client needs, the media house is preparing for its next phase, with new market launches planned for Q1 2025. Co-founder and CTO Ali Husseini introduced the company’s mission to “revolutionise data and graphics integration in broadcast environments, especially in XR/AR/VR compositions”.
He spoke in depth about the company’s new R8 Data Platform
and ORA Graphics Control, which is designed to transform how broadcasters integrate and visualise real-time data. It addresses challenges in data aggregation, real-time processing and localised cloud deployment.
“Reson8 Media is currently focusing on four key verticals: news, finance, sports and social media. The R8 data platform bridges the gap between real-time data and realtime graphics, enabling broadcasters to deliver dynamic, engaging content with ease,” he remarked. The platform’s ability to rapidly integrate diverse data sources into broadcast graphics is one of its standout features. Whether updating sports scores or financial news, R8 facilitates the near-instantaneous delivery of relevant information. AI is at the heart of R8’s capabilities, streamlining
Clockwise from left: Ali Husseini from Reson8 Media addresses the gathering; the Vizrt and Reson8 Media teams; and Sheikh Ahmad bin Nasser Al Thani from Qatar Media Corporation.
content creation and enhancing decision-making. With its predictive analysis and scenario-building tools, the platform helps broadcasters aggregate data in real time, anticipate trends and adapt to rapidly changing situations, improving operational efficiency.
A prime example of its capabilities in action was during the recent US elections. Reson8 Media integrated realtime data from the Associated Press to track votes, key races and project results. Its intuitive, user-friendly interface allowed journalists to access election data quickly, streamlining the coverage process and ensuring timely, accurate information for viewers. Automated projections and live updates made it possible for broadcasters to deliver results with minimal delay.
The potential of data-driven storytelling is evident in several sectors, including sports. The team sees significant opportunities in horse/ camel racing and is preparing to launch a tool for the Qatari market by Q1 2025. “This solution will integrate real-time race data, including GPS tracking, sensor information and player/jockey and horse names, into a unified platform, offering a deeper
level of engagement for broadcasters and viewers alike,” said Husseini. Reson8 Media also leverages cloud solutions tailored to user preferences, whether AWS, Google Cloud or Azure. The platform facilitates the deployment of necessary processes and modules directly onto local appliances, creating a hybrid model that allows broadcasters to manage their own cloud environments. This flexibility enables broadcasters to integrate their preferred cloud service and seamlessly incorporate it into their existing infrastructure. Husseini provided a sneak peak into Project 12, a tool that Reson8 Media and sister company ID8 Media are developing to leverage AI to scan social media platforms and create stories based on public sentiment. Whether positive, neutral or negative, the AI generates relevant content and visual prompts that can be integrated into broadcast systems, automating content creation while ensuring that broadcasters stay ahead of trends and align with real-time public opinion. Additionally, the company is introducing tools to streamline the creation of video wall content. By
automating image resizing, cropping and adaptation to different display sizes, Reson8 Media aims to reduce the time and effort typically required for video wall production. AI-driven content analysis ensures that visuals are relevant to the broadcast, allowing broadcasters to focus on strategic content delivery.
“One of the R8 platform’s key strengths is its modular design, which allows broadcasters to tailor content and workflows to their specific needs. Whether for news, sports or entertainment, R8 is built to scale, growing alongside the broadcaster’s demands. The platform ensures that content can be created, managed and delivered seamlessly, whether on-premise or in the cloud,” commented Husseini.
With a forward-thinking approach, the team has already made significant strides in the Arab market, having successfully partnered with Vizrt for deployments at Abu Dhabi Media and other MENA media entities, stated Husseini.
The seminar concluded with Reson8 Media reaffirming its commitment to advancing AR, VR and other immersive technologies.
The event gathered key decision-makers from Qatar’s broadcast community.
STRATEGIC INNOVATIONS IN SPORTS BROADCASTING AND FAN ENGAGEMENT
At the recent BroadcastPro ME summit, over 300 industry professionals gathered for a day of knowledge sharing and networking. One of the highlights was our sports panel, which discussed monetisation strategies for sports rights, producing live sport, creating tailored packages for diverse Arab markets, and engaging Gen Z with niche sports content. We bring you the highlights
Beyond the popularity of short-form content and highlights grabbed on the go, sports broadcasting is predisposed to fluctuating pitches. As sports consumption revolutionises the globe, operators align digital strategies to match evolving habits. Understanding the paradigm shift in producing content and looking for technologies that fuel fan engagement helps sports broadcasters narrow down their target of consumers scattered across an array of devices.
Moderated by Dipesh Makwana, Business Development, Sports – APAC, Middle East, Vizrt, the speakers
were Amill Lone, CEO, Saudi Sports Company; Danny Bates, Chief Operations Officer and co-founder, StarzPlay; Jamal Abdul Nasser Ali, Broadcast & Television Production Director, UAE Pro League; Maite Ventura, Managing Director, MENA, LaLiga; and Saeed Izadi, President, NEP – Singapore, India, Middle East.
Setting the conversation rolling, Makwana delved into the challenges faced in producing live sport content, and how common they are to the industry as a whole. Budget constraints are a challenge for broadcast rights holders in every
sport. “It is an ongoing concern,” began Saeed Izadi, President, NEP –Singapore, India, Middle East. “And the other is infrastructure. Everyone wants to produce sport the way it is made around the world, and we struggle with the infrastructure prevailing. In the MENA, connectivity between countries is also a problem, unlike Europe where moving between geographies is possible. Since there are no open borders here, logistics is a huge challenge.”
Latency, which in the satellite days was much smaller between the live game and the broadcast, is another issue. In a day and age of so many sports apps, the customer gets the goal within a second of it happening in the stadium.
“On OTT, you have a latency of up to 15-20 seconds,” said Danny Bates, Chief Operations Officer and co-founder, StarzPlay. “It’s never good to get your goal on your phone before you see it up on screen. We are trying to overcome that gap between the live game and the feed, between compression, feeding the CDNs across the region and between encryptions.”
As international leagues become more exorbitant with their pricing, monetising sports rights and properties becomes tricky. Affordability is possible if the numbers make sense. Even at a very low price, the best of rights are hard to monetise in markets such as North Africa.
One solution doesn’t fit all, and a multi-tiered approach with a variety of SVOD and AVOD offerings opens more opportunities to rake in the dollars. Another area is rights syndication. “Work with other regional broadcasters to see how we can maximise the rights potential, get more viewership and ultimately look at more sponsorship advertising around that,” remarked Amill Lone, CEO of Saudi Sports Company. Increasingly, it is about taking games
We have gone through an entire revamp over the last season and a half to create an immersive ambience
MAITE VENTURA, MANAGING DIRECTOR, MENA, LALIGA
straight to an advertising model, even behind the paywall. “As a commercial company, pricing models are key and making sure those are right and flexible to give that access to the subscriber. OTT numbers recognised by bodies like Ipsos are very different to linear broadcast. But as the market evolves, that kind of research confirms the numbers, then it allows you to monetise the inventory properly,” said Bates.
In the UAE, with many expats, demographic dynamics also pose a challenge. “We are working hard to have English commentary for all our matches, producing tier
programmes and trying our best to attract expats and make them feel that the league is for everyone,” said Jamal Abdul Nasser Ali, Broadcast and Television Production Director, UAE Pro League. “When we produce matches for the league, we strategise in a way to support our sponsors and have different fan categories and entertainment facilities available for, say, children in the stadiums.”
Getting younger audiences engaged in sport with newer technology and products is something that leagues regularly improvise on, to transform the viewing experience for those who watch on the go.
“From camera angles, graphics and scoreboard, to even changing the name of the competition to EA Sports, we have gone through an entire revamp over the last season and a half to create an immersive ambience and to stay closer to younger audiences,” stated Maite Ventura, Managing Director of LaLiga MENA.
Younger fans are more into technology and numbers, so the old ways of producing a match with standard cameras and normal running order may be dull and uninteresting,
Danny
said Ali. “In the UAE Pro League, what we have done in the last three seasons is focus on increasing statistics and head-to-heads between the players. Earlier, we used very basic sets for information on-screen, but now we are integrating with service providers for more details by using AR to keep the match in touch with technology.”
Leagues such as LaLiga are breaking new ground with local projects, and it starts with the rights owners and the value they bring to their property. To
Dipesh Makwana, Business Development, Sports – APAC, Middle East, Vizrt.
Bates, Chief Operations Officer and co-founder, StarzPlay.
Maite Ventura, Managing Director, MENA, LaLiga.
create a hyper-local focus in the MENA, LaLiga has worked on 12 different projects over the last season with over 40 content creators across countries such as the UAE, Iraq, Jordan and Egypt, and has reached over 140m views.
A combination of what the rights holder does and how you can bring that to life with marketing and localisation on the ground adds momentum.
“We are doing a show with Serie A that we filmed across four countries to give young talent from the region
the chance to go and play with the club. We do a lot of work around UFC, podcasts, local production, commentary, etc to carry that content to younger audiences,” said Bates.
Bringing influencers into an event such as at the recent Power Slap in Abu Dhabi assures visibility. Content is immediately captured and posted, building interest among the younger audience. Youngsters follow sport on social media, driving engagement within TikTok, Instagram, shorts and the like. Absorbing data from these stats and engaging younger fans on a social level raises involvement and the number of hits and views.
“We need to focus on implementing the kind of social media engagement that people in other regions are doing. That second-screen experience must be part of the offering, so developing content in the way that they start interacting with it, which leads then to them having to subscribe to more of your services and the values that you offer,” said Lone.
Bringing events to the audience engages them more with that content, changing their perspectives on a particular sport. Until recently,
leagues and sport organisations didn’t approach the region seriously. With international associations having a local presence now, and local games happening in the UAE and in Saudi Arabia with the UFC and the NBA, the end customer or the end future fan of that league benefits hugely.
The Gen Zs want it portable, noted Izadi. “It is always vertical on their phone and so we decided to produce content in 9x16. It took us about two years to master the format and we launched it during the ICC Cricket World Cup. We had also incorporated readable graphics into the format and the response was amazing.”
With easy availability of sports
We need to focus on implementing the kind of social media engagement that people in other regions are doing
AMILL LONE, CEO, SAUDI SPORTS COMPANY
Jamal Abdul Nasser Ali, Broadcast & Television Production Director, UAE Pro League.
Saeed Izadi, President, NEP –Singapore, India, Middle East.
Amill Lone, CEO, Saudi Sports Company.
entertainment products from anywhere in the world, broadcasters in the region must adapt to match the aspirations of a demanding consumer or be left behind.
“NEP has been one of the drivers of innovation and that’s part of the reason we are focusing on the Middle East now,” continued Izadi. “To supplement growth, we need technology-driven, innovation-driven companies to make the possibilities available in advance, to have the same standards that the UFCs and WWEs demand or will not negotiate. For example, in LIV golf the drones are tracked through goggles than traditional handheld control, and the enhancement it brings to the broadcast is incredible.”
With demand initiated by viewers, AR and VR drones and technology are an absolute necessity to keep the fan base engaged, agreed Lone.
“And that grows into the earlier point about the international rights holders who are coming in and catering to the local sports federations so that they grow as well and use technology to enhance offerings to get an engagement coming out from the local fan base.”
Going from UHD to 4K is describing it as four times better, said Makwana, but better pictures cost more to produce. With advances in technology, amortisation of assets becomes a lot easier and remote productions are made possible. If it has a return, and
if it’s impactful enough to increase revenue and viewership and guarantee ROI, then you work towards that methodology, the panel agreed.
“We have seen production values go up with the use of AR,” said Ali. “As a league, we are between the TV rights holders and the production company, and we invest more to improve the production quality and value and our product.”
As sports investment in the region leapfrogs with the emergence of new regional players in the spectrum, technology holds significance.
From a rights-holder perspective, leagues are competing with regional players and with other forms of
entertainment such as the Power Slap. The key to differentiating businesses is from a technical perspective.
In the Middle East, like the rest of the world, viewership is the end goal while harnessing sports and advertising data. But how the viewership experience differs in this region is how much they watch on piracy, affecting monetisation.
LaLiga studies and data showed it was losing 700m euros a year to piracy.
“We are now addressing this topic very strongly in the company. And if we all do not join forces, we will see a dramatic turnaround in the industry in a short term,” said Ventura. LaLiga is in talks with global tech companies and in the UAE, it is partnering with the Ministry of Economy, “to open an anti-piracy lab that can tackle the problem with dynamic blockings and in other workable ways”.
Companies such as Google who place a piracy ad on a YouTube page must have added pressure to realise their responsibility, added Bates. “Where’s the control from the guys who should have control? On a big ICC World Cup, India versus Pakistan, you’ll see six out of the top 10 apps in the Apple or Google store are piracy apps. At the
recent UFC 308 event in Abu Dhabi, we did very well on the subscription side, but one Telegram feed alone showed 70,000 concurrent viewers in the UAE.”
“It is a huge challenge to the rights owners, because they need to monetise their product and they need partners like us to monetise their product. And if we cannot do that, it affects the whole economics of the business. 700m euros lost in a year is a huge number, and even those figures look conservative if you look at piracy in this region.”
Some of the Android boxes that exist in the market today open all the channels of all the products. But with a lot of support from the government and stringent measures being taken to address piracy, it is starting to make a real difference.
As local properties and leagues grow in importance and become aware of their production quality, they are changing their views on monetisation. A good example is how significant and impactful the Saudi league has been. Evolution is key to finding additional routes of monetisation, whether it’s free viewing of content or free viewing
of matches, bringing more services to apps, merchandising, ticketing and all those other revenues that sit around the core broadcast revenue that can start to be capitalised on over time. Futurebased plans yield results because they are built to attune to changing trends.
“Our priority as a league is to regularly improve broadcasting facilities and the infrastructure in the stadiums,” said Ali.
When you see the NBA or the WTA coming to this part of the world, they expect the same standards and consistency they are used to in their home countries
SAEED IZADI, PRESIDENT, NEP – SINGAPORE, INDIA, MIDDLE EAST
Saudi Arabia and the UAE have taken the next step in their sporting journey but there are other regions within the GCC and the Middle East that are growing fast and demanding better products. “When you see the NBA or the WTA coming to this part of the world, they expect the same standards and consistency they are used to in their home countries. We as NEP are investing heavily in the region and going to help broadcasters produce a better product,” said Izadi. Growth in local sports federations, supporting regulators, making enforcements within the region to start bringing takedowns, and curtailing piracy will go hand in hand with everything that’s going to develop within the industry. Catering to the new generations and the unique nuances that define the young viewer who watches now and then will also play an important role in the coming years – in other words, maximising the use of content to provide monetisation opportunities while keeping fans engaged in real time.
THE REGIONAL AND GLOBAL IMPACT OF ARABIC CONTENT
How do Arabic productions resonate globally while maintaining cultural integrity, and what are the challenges of monetising Arabic content in non-Arab markets? Industry experts got together at the BroadcastPro Summit early last month to discuss the evolution of Arabic content and the emerging genres and trends captivating audiences
Spread across a wide geographical space, the Arab entertainment industry is rich in narratives, talent and knowhow, giving locally spun content the opportunity to travel. The spike in MENA Arabic content creation is a fitting response to shifting audience preferences and the expanding reach of entertainment. As Arab TV and cinema shed clichéd storylines, are they ready to compete with the best in the world? Are homegrown stories ready to fly?
The creative panel was moderated by Co-Production Salon founder Heba Korayem, with industry leaders who have blazed a way in the Middle East production and investment landscape: Adil Adam Memon, Executive VP of Content and Marketing, Zee Entertainment Middle East; Darine Khatib, Vice President, Film
Productions, Majid Al Futtaim; Hussein Fakhri, Chief Commercial Officer and Executive Producer, Katara Studios; Manoj Mathew, Director, Dubai Studios at Dubai Media; and Suzy Karajian, Executive Director, Active Media.
Celebrating Arabic content as it plays a greater role globally and speaking on a subject “close to heart”, Korayem wished to understand what the next steps in storytelling are and most importantly what lies in store for investment in Arabic entertainment.
With Bollywood export revenues crossing $5bn annually and similar success for the Turkish drama industry, Arabic productions are springing into the limelight with original narratives.
“Our stories are authentic, and when we adapt the Western titles we play into it cleverly. From story to
script development, we have displayed extraordinary production values, and it is truly a proud feeling,” said Suzy Karajian, Executive Director of Active Media.
With old storylines, content was traditionally designed for the region, but a lot of production narratives have now changed, making it ready for a wider international market.
“It was waiting for somebody to take it out into the world,” said Manoj Mathew, Director Dubai Studios at Dubai Media. “We are at that Renaissance point – it is exploratory and experimentative.”
Production is entering the golden age, agreed Hussein Fakhri, Chief Commercial Officer and Executive Producer of Katara Studios. “There is a real spirit of collaboration. People realise that they cannot remain precious about their areas or region, that this is pan-Arab with the ability to travel.”
In terms of reach and quality, these collaborations allow crosscultural possibilities. With content making huge strides, Arabic stories are being appreciated and looked at as centres of excellence. International partnerships are giving content creators the opportunity to work with global streaming platforms, said Darine Khatib, Vice President, Film Productions, Majid Al Futtaim. “It is allowing our content to reach wider audiences through their distribution networks, and letting creators nurture their skill to upscale the production budget and investment.”
This new wave of talent is enhancing the ecosystem. Arabic films or series compete with films and series from the West, bridging gaps and gaining recognition at international festivals. “We are no longer a niche content provider,” said Khatib.
Just as India has the big Bollywood movies, Turkey and South Korea have the genre-centric dramas, and Hollywood supplies both, good scriptwriters in the region must
create stories that resonate with larger audiences around the world. Today, international investors are not really looking at the Middle East to supply content.
That needs to change, said Adil Adam Memon, Executive VP of Content and Marketing, Zee Entertainment Middle East. “Being an active investor for eight years in this space, the one thing we are aware of is the learning in the region. To put it simply, it is amazing. We have perhaps not achieved the heights on production, scriptwriting and all of that, but we are learning.”
In any industry, products are made
We are at that Renaissance point –it is exploratory and experimentative
MANOJ
MATHEW,
DIRECTOR
— DUBAI STUDIOS, DUBAI MEDIA
for export and local consumption. With content, however, the working mechanisms may be contradictory. Taking talent, script and narratives beyond their traditional audiences comes
with challenges and opportunities. A story’s appeal or failure is not essentially an indicator of its influence abroad.
“Certain stories need a certain canvas and build-up on characters, but we must try to go beyond 30 episodes,” continued Memon. “We must think in extended forms and not stay focused around Ramadan; we must get out of that thinking and show the world we can create a bigger spectrum.”
Content creation is about connecting with audiences through stories that reflect their experiences and emotions, and the prospects of that surfacing out of the MENA look good. Voy! Voy!
Voy! was Egypt’s submission for the Academy Awards in 2024, garnering a lot of fame and international attention.
Inspired by true events in Egypt, “it is as local as it could get”. But its production values gave it a universal theme which allowed it to have success in terms of Oscar submission, festivals and global distribution, stated Al Khatib.
“When we made the film, we were not thinking of the West; instead, we portrayed true events with the best crew in the best way possible,” she said.
“And at Vox Studios, that is our approach. I think you first attract
If we are serious about taking content outside, we must be ready to invest and strategise accordingly
ADIL ADAM MEMON, EXECUTIVE VP OF CONTENT AND MARKETING, ZEE ENTERTAINMENT MIDDLE EAST
your core audience. If you do it right, there is a ripple effect.”
For any content to resonate, it must retain its authenticity –culture, society, tradition.
“It must be made for our primary audience, who is Arab-speaking,” said Fakhri. “There are 500m Arabic speakers in the world, and we should be making content for them and test the authenticity there. If they enjoy it, if it is made well enough and written well enough, if there’s enough love put into it, by default it’s going to travel, by default it’s going to be appreciated elsewhere. But we can’t make content thinking what people in other parts of the world are going to make of it; our primary audience has to stay our primary audience.”
International does not inevitably point to the West; each regional product has secondary markets in Europe or Russia or China who appreciate and can connect with content from the region more than a Western audience would.
“If we are serious about taking content outside, we must be ready to invest and strategise accordingly,” said Memon. “We dubbed Bollywood drama series that we own into seven languages, we believed in it and
therefore invested in the content. The Turks did the investment in Urdu and now they’re enjoying the benefits of that business plan. It’s no longer the broadcasting revenues they’re considering – they’re saying okay, YouTube India, LatAm, Russia, etc –but the investment must come.”
Data-driven insights can help craft plots that identify with local viewers and echo with international ones, but a truly data-driven world is also formulaic. “When I sit with scriptwriters or
Heba Korayem, founder, Co-Production Salon.
Hussein Fakhri, CCO and Executive Producer, Katara Studios.
Darine Khatib, VP, Film Productions, Majid Al Futtaim.
directors, I tell them to work on a story that has been rejected,” said Mathew. Money Heist failed miserably in Spain, and now there are international versions of it. Netflix’s standard mode in India is to have one piece of Indian content that can travel to international markets. “They had some great content that worked well in the Indian market but never travelled. And Heeramandi, which sort of failed in the Indian market, did amazingly well as non-English content on the platform. Audience
response is everything,” he added.
From an investment point of view, betting on a successful format ensures ROI. Having produced many Ramadan hits with culturally rich, specifically Khaleeji content over platforms and a wide cover of TV networks, Korayem asked Karajian if stories really needed to appeal at home in the GCC in order to then move to other Arabic markets such as Egypt and Morocco, and then beyond those borders.
“We have broken past the stereotypical Arabic drama mould,” said Karajian. “Today we compete with the best in terms of technology, cameras, post-production, VFX, graphics, sound design; nothing is missing. Yet why are we not going international? As far as the GCC and the Middle East goes, accents are maybe dissimilar but there’s still the reach – who doesn’t know Hayat al Fahad or Abdulla Abdulredha? If content is interesting and new, the world will see it.”
Even as opportunities multiply, Arabic productions are missing the buzz factor. While incredibly well-made Arabic productions are promoted at the likes of Mipcom, something as simple as improper
I think you first attract your core audience. If you do it right, there is a ripple effect
DARINE KHATIB, VICE PRESIDENT, FILM PRODUCTIONS, MAJID AL FUTTAIM
title translations or a lack of English synopsis works against the content.
Typically in the West, while planning a film, the marketing campaign goes hand in hand with the story development. It is more about positioning the film – what it stands for, awareness campaigns, release, post-release and so forth.
“Unfortunately that’s an aftermath for us, we produce and then we find ways to market,” said Khatib. “Oppenheimer and Barbie were huge successes because their marketing budgets were as big as the film. At Vox, we are trying to change that and dedicating teams who work simultaneously on positioning and strategy of each film from inception.”
Adil Adam Memon, Executive VP of Content and Marketing, Zee Entertainment Middle East.
Manoj Mathew, Director — Dubai Studios, Dubai Media.
Suzy Karajian, Executive Director, Active Media.
Content creators need to focus on integrating marketing into the development process, while also emphasising music and brand placement.
“In the West, big productions pay a lot of attention to the soundtrack that accompanies a movie,” said Fakhri. “We love music here and don’t use that nearly enough. Incorporating these elements into the development process will help to cross-sell, upsell, market and promote projects, whether feature films or TV series.”
But when it comes to series where 90% are positioned for Ramadan, marketing perspectives differ. Very few channels or platforms are interested in obtaining new or original content outside the successful Ramadan format of 30 episodes.
“Between Egypt, Syria, Lebanon, Iraq and the GCC, over 250-odd titles vie during Ramadan, so however clever my marketing, I will be lost,” said Karajian. “As a production company, if I do 29 or 32 episodes, the TV channels will say they don’t have enough slots. If I am going beyond or below 30, my target should be platforms where there’s more freedom.”
While every region is known for a
You’re going to see a lot more new genres coming out from this part of the world
HUSSEIN FAKHRI, CHIEF COMMERCIAL OFFICER AND EXECUTIVE PRODUCER, KATARA
STUDIOS
genre or a trend that captures audience interest, the emerging trend, driven particularly by Saudi Arabia according to reports, is anime followed by unscripted entertainment. The rest include drama, comedy, romance and thrillers.
“You’re going to see a lot more new genres coming out from this part of the world,” said Fakhri. “We’re introducing new genres and working on a Bedouin Western fantasy and Islamic science ‘faction’ (not fiction), using interesting concepts from the Islamic faith that are sort of science fiction and adapting them for screen. We have a current slate of seven projects.”
With Dubai’s recent five-year partnership with the International Emmy Awards, international exposure for the content industry is set to grow further. “This is very important for the amazing talent fraternity out there who we have a great responsibility towards. In year three of the partnership, we will have the International Emmy Academy Day in Dubai. We will be doing a lot at the World Television Festival and at the Gala Awards in New York. It is the first actual initiative to take Arabic content to the heart of Hollywood,” said Mathew. Creating interest at global festivals such as the International Emmys or Mipcom is important to generating opportunities that make a difference and gaining insight into what an international audience wants. Partnerships and collaborations are key to this endeavour; cooperation can boost progress by providing creative, technical and other support as well as mitigating risk in terms of distribution and funding.
While celebrating the evolution of Arabic content, it is crucial that it stay true to its cultural roots and origins, because at the start of all content lies the story, and it is the story that gives content the wings to fly.
SPOTLIGHTING ARAB M&E TRENDSETTERS
Celebrating innovation and excellence, the BroadcastPro ME Awards honoured industry leaders and emerging players, with a record number of nominations and expanded categories reflecting the region’s dynamic growth
What a night it was! The ASBU BroadcastPro ME Awards, held in Dubai on November 6, was a resounding success. In the last few years particularly, we have witnessed a dramatic rise in the quality of content nominations, reflecting the rapid growth in Arab storytelling across the region. As the MENA media landscape continues to evolve, the influx of innovative content and cutting-edge technology has led us to expand the number of awards presented, making this year’s event one of the largest and most exciting in its history. We were proud to present 27 awards in the Broadcast category and two in Satellite, recognising
excellence across the industry.
With 177 nominations from across the MENA region, it was evident that the desire for regional recognition has never been greater. The competition was fierce, but what stood out most was the remarkable innovation and creativity in the entries, not only from industry giants but also from newer players in the field. This growing interest in the awards also highlights how the event has become a benchmark for the industry in the region.
Vijaya Cherian, Editor of BroadcastPro ME and producer of the brand’s flagship event, remarked: “Our goal has always been to encourage more
nominations from diverse sectors of the media industry and to celebrate both established and emerging players who are pushing the boundaries. Our judges assess what they contribute to the wider media and entertainment ecosystem: those who are helping to elevate local industry standards, as well as those going beyond to enhance the region’s standing on the global stage. These awards have evolved and expanded over the years, with new categories constantly being introduced to reflect emerging market trends.”
None of this would have been possible without our sponsors (listed below). A big thank you to them for extending their support to this event.
BEST
KIDS’ INITIATIVE OF THE YEAR
F1 Kids — JEEM TV | beIN MEDIA GROUP
Jeem TV’s F1 Kids successfully brought a globally popular, action-packed sport to young Arabic-speaking audiences in an accessible and entertaining way. The initiative is notable for its high interactivity, educational value and incorporation of child presenters, thereby inspiring interest in media and sports. Sanjay Raina, GM of Erbil Media City, presented the award to Latifa Al-Mana, Director of Kids Channels at beIN Media Group.
BEST PRODUCTION HOUSE OF THE YEAR
BLUE ENGINE STUDIOS
Blue Engine Studios won the jury over for its ability to handle both large- and small-scale productions equally well. It also stands out for its elevated production quality, blending high cinematographic standards with engaging reality storytelling. It has also demonstrated a strong capacity for both technical execution and creative storytelling. Pictured with the award is the Blue Engine Studios team.
BEST REGIONAL ORIGINAL DRAMA PRODUCTION
Aghmed Aynayk –Close Your Eyes ATL MEDIA
This portrayal of autism offers an authentic depiction of the topic, according to the judges. It breaks stereotypes, fostering understanding and inclusivity in regional storytelling. Irfan Gondal (l), CEO of BS Broadcast, presented the award to Adil Memon, Executive VP of Content and Marketing, Zee Entertainment Middle East.
BEST UNSCRIPTED PRODUCTION OF THE YEAR
Shark Tank Dubai | DUBAI MEDIA
Shark Tank captured Dubai’s entrepreneurial spirit with innovative pitches and high-stakes negotiations, raising significant capital, fuelling growth in the emirate’s business ecosystem and inspiring local entrepreneurs. Its role as a catalyst for innovation and success made it award-winning. Jean Claude Rahme (c), CTO of NEP, presented the award to the Dubai Media team.
BEST CONTENT STRATEGY OF THE YEAR stc tv
stc tv has become a challenger brand in the region by offering a diverse and premium content library that focuses on both Western and Saudi content. It has collaborated with key Saudi investors, thereby strengthening its market position. With a mix of new premieres, appointment viewing and audience-driven content, it has enhanced engagement significantly. Shaymaa Awad (l), Marketing Manager at SAWA Rights Management, presented the award to Kholoud Abu-Homos, VP of Content, stc tv.
BEST STUDIO OF THE YEAR ALSHARQIYA TV
Designed for the 2024-2025 LaLiga season, this studio in Iraq blends real sets with advanced LED video walls. AlSharqiya TV’s use of AR and VR enhanced visual storytelling, while realtime analytics and interactive data provided live insights. Replay and logging technologies streamlined production workflows. These technical innovations made the studio stand out to the judges. Elizaveta Feoktistova (l), Deputy Marketing Director at Viory Video News Agency, presented the award to Ahmed bin Afif, CTO of AlSharqiya TV.
SYSTEMS INTEGRATOR OF THE YEAR
WAVE MEDIA
The judges felt that Wave Media had excelled as a systems integrator by delivering innovative broadcast and digital news solutions, managing projects from concept to completion, and building trust through comprehensive support and cutting-edge technologies. Its exceptional work in Iraq especially was commended. Ashok Namboodiri (l), Chief Business Officer at Zee Entertainment Enterprises Limited, presented the award to the Wave Media team.
MENA TRENDSETTER OF THE YEAR evision
Evision has delivered exceptional, trendsetting work this year, redefining strategies and transforming its business models to disrupt the market. The company forged key partnerships with international studios and sports organisations, while developing white-label OTT solutions tailored for customised platforms. By unlocking new revenue models and integrating AI-driven predictive hyper-personalisation, it has significantly enhanced user engagement.
Pictured with the award is the evision team.
STREAMING SERVICE OF THE YEAR SHAHID VOD
Shahid VOD has redefined the streaming landscape in the Arab market, cementing its position as the most deserving winner of Streaming Service of the Year. With an unmatched catalogue of exclusive Arabic content as well as international entertainment, the platform has become a cultural powerhouse, tailoring content specifically for its Arab audiences.
Wajdi Maalouf (l), VP sales MEA from Deltatre, presented the award to Dominic Farrell, Group CTO, MBC Group.
CEO OF THE YEAR
Olivier Bramly, CEO M&E, evision
Olivier Bramly (r) was named CEO of the Year for his visionary leadership in transforming evision into a leading media and tech powerhouse. Under him, evision secured the MENA Cricket World Cup rights, integrated advanced technology, launched Starz ON, and facilitated the acquisition of an additional stake in StarzPlay, among other achievements. The award was presented by Saeed Izadi, President of NEP - Singapore, India and the Middle East.
CTO OF THE YEAR
William Sharp, CTO, Intigral
William Sharp (pictured) has led Intigral’s tech transformation, guiding 197 product initiatives since Q3 2023 through agile methodologies. His strategic vision aligned teams, enhancing platform stability and customer satisfaction. Sharp drove cloud scaling, load balancing and real-time monitoring improvements, showcasing his ability to execute under pressure and solidifying his reputation as an award-winning tech leader.
OUTSTANDING
ACHIEVEMENT IN ADDRESSABLE TV ADVERTISING
OSN | Advanced
TV Connected Advertising
OSN is the first MENA company to implement IP delivery of ad creatives to TV set-top boxes, enabling targeted ads in satellite feeds. Using Synamedia’s solution, they measure real-time campaign performance, optimising yield and connecting to SSPs and DSPs. Pictured with the award are the OSN and Synamedia teams with Abdul Rauf (l) from Unilumin.
SATELLITE SOLUTIONS PROVIDER OF THE YEAR
Space42
Space42, formed from the merger of Bayanat and Yahsat, is pioneering the integration of AI and space tech in the Arab world with its blend of satcoms, geospatial data and AI assets. Its AI-driven platform, gIQ, improves decisionmaking, situational awareness and operational efficiency, enabling better global connectivity and more effective decision-making. Sarah Aljarman (l), GM of Dubai TV and Dubai One TV, presented the award to Muneera Al Marzooqi (r) from Bayanat Smart Solutions.
SATELLITE EXECUTIVE OF THE YEAR
Eng Alhamedi M. Alanezi, CEO & President – Arabsat
Under the leadership of Eng Alhamedi M. Alanezi, Arabsat has inked several deals and partnerships over the past year to ambitiously expand its market offerings and services. These initiatives have propelled the satellite operator into the digital age, with a solid focus on managed services, AI integration and improved service quality in an increasingly competitive satellite landscape.
SHURE ANNOUNCES AXIENT DIGITAL PSM WIRELESS IN-EAR MONITOR SYSTEM
Shure has announced the launch of its first wireless multichannel audio system (WMAS)-enabled product line, Axient Digital PSM. Axient Digital PSM has been designed and developed to meet the rigorous demands of touring professionals and rental houses. It ensures high-performance RF and spectral efficiency that caters to the rapidly evolving wireless landscape while empowering audio professionals to adapt to a wide variety of environments. Elevating flexibility and scalability levels, Axient Digital PSM is a long-term investment for tours, venues and other applications.
Axient Digital PSM enables engineers to take on more complex and
creative productions by giving them access to more on-air channels of in-ear monitoring. With a nextgeneration digital radio and sophisticated headphone amplifier design, performers can enjoy the highest audio quality without any compromises to signal reliability and less than 2.9ms latency for the most immersive audio experience.
Powered by Shure WMAS, Axient Digital PSM features a multichannel wideband mode that increases spectral efficiency. With multichannel wideband mode, users can free up radios for improved RF performance or channel count scalability. Its Spatial Diversity function employs two transmit diversity antennas, each
sending an identical signal on the same frequency, providing RF engineers with a new, easier option for supporting separate zones and optimising coverage for stadiums, indoor venues and broadcast studios.
When Spatial Diversity transmitters engage with True Digital Diversity bodypack receivers, Axient Digital PSM combines four discrete signal paths per channel to deliver advanced protection against multipath interference and RF noise. The Axient Digital PSM transmitters support both analogue and digital input formats, including AES3, Dante and AES67, which enables monitor engineers to easily connect to modern consoles. Standard AES256 encryption is available
for secure transmission. For better flexibility and scalability, Axient Digital PSM features two single-rack space transmitter options: ADTQ Quad Transmitter and ADTD Dual Transmitter. Both offer four flexible and powerful transmission modes. The first is multi-channel wideband, supporting up to 28 channels per 6MHz in the US and 40 channels per 8MHz in Europe. This exceeds the FCC requirement for WMAS to have a mode of operation in which it can operate with at least three audio channels per MHz. Next, narrowband provides access to more RF output power per channel and maintains spectral efficiency at 17 channels per 6MHz. The analogue FM allows high-quality audio with ultra-low latency. Finally, the Axient Digital Standard (point-to-point mode) lets users send longdistance audio to any Axient Digital microphone receiver. It will be available through a post-launch firmware update.
Axient Digital PSM is supported by Shure’s Wireless Workbench and ShowLink ecosystem. For the first time, monitor engineers can enjoy comprehensive remote management of every bodypack receiver on stage, with visibility to key parameters and the ability to make adjustments if necessary.
GFX ETERNA HERALDS FUJIFILM’S ENTRY INTO FILMMAKING CAMERAS
Fujifilm Corporation has revealed that it is currently developing its first-ever filmmaking camera, the Fujifilm GFX Eterna, with plans for a release in 2025. It will feature a largeformat sensor, the GFX 102MP CMOS II HS, approximately 1.7 times larger than a 35mm sensor; and the high-speed image processing engine X-Processor 5, enabling filmmakers to capture rich, true-tolife visuals and have enhanced flexibility in post-production.
Both the GFX 102MP CMOS II HS sensor and X-Processor 5 are the latest technologies featured in the mirrorless digital camera Fujifilm GFX100 II, which delivers extraordinarily high image quality with its 102 million pixels. Fujifilm showcased the GFX Eterna as a reference exhibit at the InterBEE 2024 in November.
The GFX Eterna, currently in development, is set to revolutionise
film production.
Leveraging Fujifilm’s expertise and experience in the field of filmmaking, it will combine the exceptional capabilities of Fujinon lenses with the advanced technology of the GFX
series. GFX Eterna aspires to become a driving force in shaping a new era of filmmaking and contributing to the creation of timeless cinematic masterpieces.
In addition to the development of the
GFX Eterna, Fujifilm is also working on the development of a power zoom GF lens optimised for this G mount camera, planned to have actual focal length of 32-90mm, and a mount adapter from G to PL mount lenses, widely employed in film production. As demand for various types of videos such as feature films, short films, documentaries and web content continues to grow, there is a growing need in the film production industry for highquality videos that can be produced quickly and inexpensively.
In preparation for the launch of the GFX Eterna, Fujifilm will conduct rigorous field tests while expanding its product line-up to enhance the GFX system. Through these efforts, Fujifilm is committed to contributing to video production with high quality and productivity across a wide range of fields.
TERRY KANE
Streaming television presents an immense opportunity for marketers, both globally and here in the Middle East
CTV drives major changes across the advertising landscape
Television as we once knew it has changed forever. The seismic shift sparked by data-driven technology, particularly connected TV (CTV), is driving a profound change in television advertising.
Streaming television presents an immense opportunity for marketers, both globally and here in the Middle East. However, it requires a major overhaul to create a healthier and competitive ecosystem that fosters growth. In this evolving environment, I am personally excited to see the advertising industry addressing much-needed changes to benefit consumers, publishers and advertisers alike. Major advances in streaming TV and its operating systems (OS) include a more engaging user experience, with more intuitive cross-platform content discovery, enhanced personalisation and an improved ad experience.
Locally, 65% of UAE residents watch streaming content daily. Our survey highlights a shift toward CTV, as streaming content accounts for an average 11% of weekly time spent. In fact, UAE respondents claim they spend more time streaming per week than they do on most social media channels. The
switch in viewing habits is a rising consumer trend resulting from the growth of streaming platforms and the availability of diverse content offerings in the region.
While consumers now spend most of their time outside the walled gardens of Big Tech and favouring the best of the open internet, often in highly engaged channels such as streaming TV and digital audio, this shift isn’t necessarily reflected in advertising spend, which is a significant missed opportunity.
A major part of this depends on publishers providing open access, simplifying programmatic buying and ensuring transparency in reporting. Viewers across the globe are increasingly watching TV through streaming devices rather than traditional cable. All major streaming services now offer adsupported options, and more of those ad impressions than ever are being transacted programmatically. As audiences gravitate to streaming, it’s imperative that advertisers find their audiences with precision and put as much of their campaign spend to work as possible.
Programmatic advertising on CTV offers brands access to brand-safe
premium content at scale in a way that’s more addressable, transparent and measurable than anything ever offered. When combined with omnichannel capabilities and data sources such as retail data, this creates a scaled, premium alternative to the cheap reach dynamics of YouTube.
CTV is driving much-needed change across the advertising landscape, and as a result, broadcasters are fostering tech partnerships that fuel flexible, datadriven TV buying. The future of TV advertising is reshaped by connected TV, fostering a more open and collaborative ecosystem that benefits all stakeholders. By simplifying programmatic buying, enhancing transparency and minimising inefficiencies in the supply chain, advertisers can accurately value their impressions and reach relevant audiences with greater precision, and publishers can improve their yields.
CTV is not just transforming how we watch TV, it is redefining the advertising landscape to be more efficient, addressable and consumer-focused.
TERRY
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