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Dear Reader,
Welcome to the Nov-Dec 2024 issue of Television Asia Plus!
We have come to the end of the year with a lot to look back on. Shifts and trends are so common, what we see now may very well be so different from what we see next year and the years beyond.
As mentioned last issue, the rise of micro dramas or micro content will continue to see a rise in the next few months. Several platforms have been popping up and will continue to expand going into 2025. Streaming remains a big factor with so many companies selling their content to streaming to hit an international market. While the recent boom of movies have seen a sort of revival of the movie-going experience, expect to see movies even soon on streaming after they have shown in theaters.
On this issue’s cover and cover story, we highlight KC Global Media and Ochre Pictures’ The Interrogation. This exclusive, eight-part series will be available across AXN Asia’s social media platforms
For our first feature story, we have a piece Veset that discusses AI in a better light and how there can be positive uses in transforming the broadcast and media industry,
And our final feature story is by Paul Macklin, Director of Product Management, Bitmovin, all about Providing Viewer Satisfaction on IPTV.
Mathew Chan Editor
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Television Asia Plus is published by Harvest Information Pte. Ltd. 531 Upper Cross Street, #0416, Singapore 050531
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Snowed-In Productions’ JOAN shines around the world as All3Media
All3Media International has announced presales for upcoming drama JOAN, which stars Sophie Turner (Game of Thrones, X-Men: Dark Phoenix, The Staircase) as notorious jewel thief Joan Hannington. The deals will see the premium six-part drama from Snowed-In Productions travel across Europe, Asia, Africa, Australia and Canada and Latin America joining previously announced commissioning broadcaster ITV in the UK and co-producer CW in the US.
JOAN is a powerful story inspired by the fascinating life of Joan
Hannington and is set in the fun, brash, aspirational world of 1980s London.
The drama has been acquired by numerous broadcasters and platforms in Europe including Magenta TV (Germany), SVT (Sweden), NPO (Netherlands), DR (Denmark), NRK (Norway), YLE (Finland), Canal+ (France and French speaking territories) and Blue Entertainment (German-speaking Switzerland and Lichtenstein). Also signing the drama are RTE (Eire), Hellenic Telecommunications (Greece), Cyprus Broadcasting
Corporation (Cyprus), RUV (Iceland) and HOT and Yes TV in Israel.
Joining the US partner The CW In America, JOAN will also travel to Canada and Latin America. CBC will premiere the series in Canada with BritBox taking a second window for the territory. In Latin America NBC Universal has acquired the sixpart series in a pan territory deal.
Commissioned for ITV, UK, and produced in association with The CW, USA, and All3Media International JOAN is produced and executive produced by Ruth Kenley-Letts (Stonehouse, The Midwich Cuckoos, Strike), CEO of Snowed-In Productions; Jenny Van Der Lande (Strike, You Don’t Know Me, Too Close), Creative Director of Snowed-In; Neil Blair (The Midwich Cuckoos, Strike, Fantastic Beasts: The Secrets of Dumbledore), Chairman of Snowed-In; Richard Laxton; and Anna Symon. Paul Frift (Anansi Boys, Deep State, Good Omens) is the producer. JOAN has been commissioned for ITV by Head of Drama Polly Hill
Premium kids content producer Cottonwood Media, along with ZDF, ZDF Studios, France Télévisions, and in partnership with Opéra national de Paris, are delighted to announce that the 3D CGI kids animated drama series 20 DANCE STREET (26 x 26’) has been greenlit for production, with pre-production starting this fall.
Greenlit by broadcasters ZDF and France Télévisions (the latter as part of a pre-sale), 20 DANCE STREET was first unveiled when in development during Cartoon Forum 2023. The series has
also pre-sold to RTBF (Belgium). With over twenty novels published to date since 2016, the new series is a TV adaptation of the hit French children’s book series published across Europe: “20 allée de la danse” by Elizabeth Barféty
20 DANCE STREET (which targets the 6-11 year old demo) centres around 11-year-old Maya who leaves the Caribbean to join the prestigious Paris Opera Ballet School, unaware her destiny is about to change forever.
Federation Kids & Family (key distributor of Cottonwood
Media content) and ZDF Studios are handling worldwide sales.
20 DANCE STREET is written and developed by Christel Gonnard, and directed by Romy Yao. Designs are by David François
The highly anticipated second season of Recipes for Love and Murder is on the boil – and the first select images from the production have been released
The first season of Recipes for Love and Murder was chosen for the Berlinale Market & Co-Production
series selections at the Berlin Film Festival and nominated at the Venice Television Awards, the South African Film and Television Awards and the South African Writers Guild Awards. The series is based on the acclaimed series of Tannie Maria Mystery novels by best-selling South African author Sally Andrew.
“The cast and crew of season 2 of Recipes for Love & Murder are cooking up something truly magical at the foot of the Swartberg Mountains in the Cape,” says Waldimar Pelser, Director: Premium Channels at MultiChoice. “This season doubles down on mystery, intrigue and drama and we can’t wait to share it with our viewers.”
Recipes for Love & Murder is directed by Jozua Malherbe and Karen Jeynes and produced by Thierry Cassuto in a partnership between AMC Networks’ Acorn TV, Multichoice and Both Worlds Pictures, in cooperation with Global Screen.
Acorn TV hold distribution rights to the series for the USA, Canada, UK, Ireland, Australia and New Zealand, Multichoice hold the rights for Africa, with Global Screen selling to the rest of the world
Talpa Studios, Signal.Stream and Kinetic Content, the acclaimed production powerhouse behind global hit shows like Love is Blind, have joined forces to launch an exciting new arc’d reality competition format, Watch Your Back. This thrilling game of deception is the result of a unique collaboration between the
three parties, each bringing their distinct creative expertise to the table. Following its successful first Dutch commission in the Netherlands, the producers are now gearing up to introduce the format to the United States
John de Mol, owner Talpa Studios, “We are thrilled to take this new format to market, especially with Kinetic, one of the masters of reality TV, as our partner. Watch Your Back is yet another successful outcome of one of our creative partnerships. This very simple idea creates a tense and psychological game of trust and deception and an absolute play along for the viewers.
In a time with an ever-growing demand for fresh content, we are eager to continue joining forces with creative partners across the global tv industry who share our passion for developing groundbreaking formats.” Chris Coelen, CEO of Kinetic Content, “It has been an incredible experience collaborating on this innovative format with the creators of some of the most epic global franchises in TV history. Together with Talpa Studios and Signal, we cannot wait to bring this to the US market and around the world.”
Watch Your Back is a format co-developed by Kinetic Content and Talpa Studios in collaboration with Signal.Stream and distributed by Talpa Studios
BIG MEDIA, a leading producer and distributor of such global hits series as Destruction Decoded and Truthseekers, has signed a licensing deal with Warner Bros. Discovery in Asia Pacific for season two of its thrilling nature series Wild Assassins (6 x 60). The agreement will bring the series to Warner Bros. Discovery’s platforms across the Asia Pacific region. The announcement was made today by Shivani Verma, SVP Sales –Asia Pacific Region, BIG Media
Wild Assassins brings viewers upclose to the world’s most deadly animals. Each has their own weapons to help them survive in the wild; from camouflaging cuttlefish and hidden hippos to ferocious great white sharks and venomous spiders and snakes. These are the animals of the wild and the deadly weapons that help them assassinate their prey. Season two of the series journeys through land, sea, and sky to introduce audiences to the cunning killers who live there. In the wild, it’s survival of
the fittest and these creatures have a unique set of skills that allows them to sit at the top of the food chain.
“Thanks to the support of our distribution partners like Warner Bros. Discovery, we’re able to continue producing new seasons of popular, high-quality series such as Wild Assassins,” said Ms. Verma. “This is not only a high energy, engaging series, but its production values meet the high standards of top
services around the world. We were delighted to see season 1 perform so well throughout Asia Pacific and have every confidence that viewers will be equally excited about season 2.”
Warner Bros. Discovery in Asia Pacific licensed season one of Wild Assassins and debuted the series earlier this year. Premiere dates for season two will be announced at a later stage.
Global Agency has announced that Tims&B Productions’ captivating hit drama “Another Love” has won the prestigious ‘Best Series’ award at the Seoul International Drama Awards. It is the only Turkish drama series to receive an award in Seoul this year
Produced by Timur Savcı and Burak Sağyaşar heading the prolific production house, Tims&B Productions, “Another Love” is distributed internationally by Global Agency and features standout performances by stars Hande Erçel and Burak Deniz. The series aired in prime time
on NOW. This award fortifies the international success of its powerful story about an anchorman and a prosecutor who seek to reveal the truth about a mysterious serial killer.
Among the total of 346 series from 48 countries which were nominated for the Seoul International Drama Awards, 28 of them managed to get through the fierce competition in the preliminary selection made by the Seoul Drama Awards Organising Committee. Eight series competed in the Best Series category, including series from South Korea, China, Greece, South Africa, Brazil and Turkey, with “Another Love” emerging as the winner.
The awards ceremony was held on September 25th at KBS Hall in Seoul and was broadcast by SBS TV and the official YouTube channel of the Seoul Drama Awards
Julius Babao Unplugged made its television debut on TV5 last September 22, airing every Sunday at 4 PM. Adapted from Julius Babao’s popular YouTube series, the show brings real-life stories of current & past celebrities and public figures into focus, offering viewers an unfiltered glimpse into the lives of the people they admire
Each episode of Julius Babao Unplugged showcases candid, raw conversations with well-known personalities, both past and present, exploring their current lives beyond the spotlight. What sets the TV series apart from its YouTube content is that each episode is thoughtfully crafted to provide an exclusive, deeper look into moments of personal growth, triumphs, and challenges. Whether it’s a former celebrity reflecting on life’s ups and downs or a public figure sharing untold stories, the
show goes beyond the usual Q&A format, delivering real, human stories that inspire and connect.
The show will feature stories from Gardo Versoza after his heart attack, Dindo Arroyo’s miraculous recovery from pancreatic cancer, controversial stories from AJ Raval, Mercedes Cabral, Queenay, and many more intriguing stories to look forward to
In the show, Julius Babao steps away from his respected role as an onscreen news anchor and journalist to bring sincerity and depth to each conversation, allowing his guests to open up in ways that are both compelling and relatable. The show promises a closer, more personal look at the people we think we know, offering viewers a front-row seat to these authentic, no-filter moments.
Just ahead of the ABC US premiere of The Golden Bachelorette, Warner Bros. International Television Production has announced that four European broadcasters have quickly fallen in love with its predecessor, The Golden Bachelor, snapping up format rights for an exclusive relationship in their territory.
Acclaimed as “the TV event of 2023” and “the best Bachelor yet,” The Golden Bachelor was ABC’s top unscripted series in nearly four years when it launched and consistently the number one show of the night across all networks throughout its run. This new take on the popular franchise also garnered rave reviews, extensive press and social media coverage, and reached more than 43 million multiplatform viewers.
Such a positive response to the series has led to significant interest, with the first international version of The Golden Bachelor, produced by WBITVP France, premiering on M6 in France tomorrow, 18th September. The format has also been commissioned by Discovery Real Time in Italy, to be produced by Fremantle, and by RTL in Germany and Videoland in The Netherlands,
produced by local WBITVP production companies. Numerous other deals are also in the pipeline.
Demonstrating that there is no age limit when it comes to love and romance, The Golden Bachelor is a senior-focused take on The Bachelor – the latter now produced across multiple seasons in 37 territories –and part of a global franchise that also includes The Bachelorette, Bachelor in Paradise, The Bachelor Games and The Bachelor: Listen to Your Heart. The new dating format introduces viewers to a handsome, single guy in his golden years, looking to get a second chance at love later in life with a gorgeous woman who shares his dreams. The Golden Bachelor format was created by Warner Bros. Unscripted Television in association with Warner Horizon.
OUTtv, the world’s leading LGBTQ+ streaming service, has commissioned a raft of new series including heartfelt and illuminating docuseries Get Hooked and Stripped Down, and two dynamic scripted comedy series: Off Shoot and Settle Down!. In addition, OUTtv has commissioned mockumentary Drag House Rules as well as Wish You Were Queer, a multi-format variety series.
Philip Webb, COO of OUTtv, said, “Our slate of upcoming
original commissions ranges from bold and hilarious comedies, to warm and honest documentaries –programming both for and by queer people that is quintessentially OUTtv and gives our audiences more of what they want to see. These latest additions to our diverse global offering represent and celebrate each corner of the community, and it’s great to continue working alongside long-standing production partners to bring these authentic stories to life.”
CBC and KOTV has announced that production is now underway in Montreal on a third season of the time-bending anthology drama series PLAN B (6×60). An adaptation of the popular Frenchlanguage drama series of the same name (now in its fourth season for Radio-Canada), the new season will focus on a new story, starring Carolina Bartczak (Painkiller, X-Men: Apocalypse), Arnold Pinnock (The Porter, Combat Hospital) and Ennis Esmer (Children Ruin Everything, Blindspot). Additional casting includes Arianna Shannon making her screen debut, as well as Jaeden Noel (Orphan Black: Echoes, Invasion), Carolyn Taylor (Baroness
von Sketch Show, I Have Nothing) and Grace Lynn Kung (Sort Of, Fallout).
Season 1 of PLAN B, starring Patrick J. Adams and Karine Vanasse, and Season 2, starring Vinessa Antoine, offer gripping, reality-altering drama with unique storylines, showcasing characters navigating life’s whatifs and second chances. Audiences can watch both seasons on the free CBC Gem streaming service.
A CBC original series, PLAN B is produced by Quebec-based production company KOTV. JeanFrançois Asselin, who co-created the original French-language series, co-directs with Marianne
Farley, and also co-writes with Celeste Parr, for this English adaptation. Asselin & Parr also serve as Showrunners and Executive Producers, alongside Louis Morissette. For KOTV, Louis-Philippe Drolet, Mélanie Viau and Jacques Drolet are Executive Producers and MarieClaude Beaulieu is Producer.
For CBC, Sally Catto is General Manager, Entertainment, Factual & Sports; Trish Williams is Executive Director, Scripted Content; Sarah Adams is Director of Current Production, Drama; and Nicola Makoway is Executive in Charge of Production
Autentic Distribution, a leading distributor of factual content, has announced a series of new sales deals with international broadcasters, further expanding the reach of its diverse portfolio of documentaries and series worldwide
NHK Picks Up Documentaries
Highlighting Extraordinary HumanAnimal Bonds
Japan’s NHK Japan has added two engaging documentaries from Autentic Distribution to its lineup. “A Life Among
Elephants” tells the remarkable story of pioneering scientist and maverick conservationist Iain Douglas-Hamilton, who dedicated his life to saving elephants in Africa, while “Wings of Courage – The Eagle Huntress of Mongolia” is about a young girl determined to break into the maledominated tradition of eagle hunting.
National Geographic Acquires
“Colossal Machines” Seasons 1 and 2
National Geographic has secured the worldwide rights to Seasons 1 and 2
of “Colossal Machines,” exploring the engineering and technology behind some of the world’s most massive and complex machines. Through CGI and expert insights, the series reveals the inner workings and unique features of these mechanical giants, from ground-crushing excavators to nuclear-powered marvels.
Canal+ Poland Secures 59-hour Package Deal Featuring Action-Packed Series and Documentaries
Canal+ Poland has signed a 59-hour package deal with Autentic Distribution, acquiring a range of action-packed series and documentaries. The deal includes all three seasons of “Hot Roads – The World’s Most Dangerous Roads,” “Deadly Roads” “Highway to the Arctic – Canada’s Ice Roads,” the automotive series “GRIP,” and all four seasons of the history series “What Went Wrong”, exploring the man-made disasters and catastrophes that shocked the world.
OneGate Media has announced it has picked up the new historical biopic feature A Christmas Miracle – by Johann Sebastian Bach (90’) from EIKON Media in co-production with epo Film, ARD Degeto, MDR, BR, and ORF for worldwide distribution
Directed by Florian Baxmeyer, who is internationally known for his work on the Academy Award-nominated short film Die Rote Jacke (The Red Jacket) and popular TV and streaming series such as Tatort, One Trillion Dollars and Tribes of Europa. A Christmas Miracle – by Johann Sebastian Bach promises a visually stunning and emotionally engaging portrayal of one of history’s most celebrated composers. Baxmeyer’s acclaimed direction has brought him recognition not only in Germany but also in global film circles, making this production particularly exciting for international audiences.
The film stars Devid Striesow as Johann Sebastian Bach
and Verena Altenberger as his wife, Anna Magdalena Bach. Devid Striesow is an awardwinning actor known for his performances in All Quiet on the Western Front (im Westen nichts Neues), The Counterfeiters (which won the Academy Award for Best Foreign Language Film), and Where is Wanda
The film’s cinematography is led by Sten Mende, while the Thomanerchor Leipzig, directed by Thomaskantor Andreas Reize, provides an authentic musical backdrop. The score is composed by renowned violinist and composer Martina Eisenreich, with additional musical contributions by cembalist Elina Albachs and her Ensemble Continuum and Roman Váleks Czech Ensemble Baroque.
Global video solutions provider, Accedo, has worked with Sistema Brasileiro de Televisão (SBT), one of Brazil’s most prominent TV networks, to refresh and launch its new OTT video offering, +SBT. The video service was launched on August 19th, surpassing the 1 million download mark, making it the top free app downloaded in Brazil in Apple and Google Store
Launching this month, +SBT will bring its 187 million viewers across Brazil free, ad-supported access to a wide range of exclusive video content, including popular TV shows, news programs, and events from the broadcaster’s more than 100 channels. The AVOD service, which also features FAST channels and content on demand, will be available across mobile, web, and a range of connected TV devices, including Smart TVs and Chromecast.
+SBT has been designed and developed by Accedo, leveraging the company’s extensive experience developing multiscreen user experiences, and its award-winning OTT product suite.
Roberto Grosman, Chief of the department of Digital
Transformation, SBT, commented, “With this AVOD service, we are bringing thousands of hours of content to our viewers in an engaging and intuitive video service. Accedo, with its vast experience building video user experiences, was a natural choice to partner on this project. The team’s knowledge and expertise has really helped us deliver a service we believe our viewers will want to return to time and time again.”
Martin Sebelius, SVP EMEA and Latam, Accedo, added, “As one of the largest TV networks in the Latin American region, SBT has a huge amount of popular content. Bringing that to an AVOD service is making that content readily available to an even larger audience, while increasing monetization opportunities for SBT.”
Amuz Distribution, Alex Avon, Chief Revenue & Strategy Officer, announced deals for FAST and OTT channels. Recently hired Carlos Pacheco is the Director of Monetization & OTT and is overseeing the FAST/OTT division. He came from the Just for Laughs (JFL) Group, most of which assets were just acquired by Amuz Distribution. New platforms that will carry JFL programming are Amazon Fire TV, Anoki and Local Now
Over the last 2 years, FAST channels of JFL programming have been in full expansion and by adding these new channels, the programs are now syndicated across 30+ different platforms/ markets (Samsung TV Plus, Roku, Xumo Play, Google TV, Rakuten TV, Sling TV and others). These FAST
channels make Amuz Distribution one of the largest independent Canadian media companies with this high a reach with FAST channels.
Avon stated, “Amuz Distribution is thrilled to announce more expansion of our company, especially with the Just For Laughs Group programs, now on many different platforms in several markets. This expansion helps our mission of “Keeping
the world feeling good” with the best programming around on all platforms.”
Pacheco added, “We are excited about our new partnerships with Amazon Fire TV, Anoki and Local Now These new collaborations are going to our brands reach even more people around the world and share the laughs with new audiences.”
The Asia Video Industry Association (AVIA), in partnership with the Korean Creative Content Agency (KOCCA), held Korea in View @BCWW on 29 August to much success, hosting over 300 delegates at COEX, as part of the 3-day global broadcasting content convention.
The conference opened with a special welcome address by Eun Young Kang, Director of the Broadcast & Advertisement Policy Division, Ministry of
Culture, Sports and Tourism, before going deep into insights on the next chapter of the Korean content boom and how the industry could emerge from this “correction period”.
For Marianne Lee, Chief of Content Acquisition and Development, Viu, the correction period was driven by the increase in production costs which had jumped four-fold in the last decade, and it was crucial for the industry to work collectively to optimize monetization and keep pace with costs in order to recover as quickly as possible.
Hyun Park, CEO, Alquimista Media, was confident that if Korea and the broader Asia region produced great content, it could fill a void in the streaming world that was not being supplied by the US due the events that had occurred over the last years, including the pandemic and the Hollywood strikes.
“Streaming has democratized content in a significant way, and viewers are voting for Asian content, with 14b hours of Asian content consumed globally in 2023,” said Vivek Couto, Managing and Executive Director, Media Partners Asia. Asian titles also drove 80% of premium video engagement and acquisition in APAC, with Korean content particularly significant in Southeast Asia and Taiwan, driving over 30% of viewership and contributing up to 30% in viewer acquisition.
Couto also added that Korea was just in the “second innings” in the streaming industry, with the pace of change far more significant in the advertising space. And in a market like Korea, with most consumers having 2 – 3 subscriptions per household, there was an opportunity to replicate the pay TV bundle and grow the pie through that.
Prime Video Launches HITS, Home to the World’s Most Loved and Iconic TV Shows, as an Add-On Subscription
Prime Video has launched HITS, Rewind Networks’ popular linear television channel and the home to some of the most iconic TV shows, as an add-on subscription, increasing access to English-language series that continue to dominate popculture year after year. HITS offers an unparalleled line-up of evergreen blockbuster and fan-favourite shows from Frasier, CSI: Crime Scene Investigation, Agatha Christie’s Poirot, Agatha Christie’s Marple, Gilligan’s Island, Mission: Impossible, Baywatch and I Dream of Jeannie, Hawaii Five-O, The Jeffersons and many more
“We’re thrilled to launch HITS as an add-on subscription for our customers in India, offering a curated line-up of iconic and much-loved TV
shows for scheduled linear viewing, as well as catch-up,” said Gaurav Bhasin, head of marketplace (addon subscriptions and movie rentals), Prime Video, India “Our aim with add-on subscriptions has been to provide Prime members with increased choice, improved accessibility and greater convenience of watching their favourite content all within a single app, and within a short span of time, we’ve built a robust library of additional programming through our partners. At the same time, add-on subscriptions have also offered increased reach to both local and global streamers helping them connect with our vast and diverse audience across the country. We are certain that the incredible line-up of TV shows offered by HITS will delight and entertain
customers, taking them on a nostalgic trip when enjoying some of the world’s most popular and timeless series.”
“We are delighted to partner with Prime Video to give viewers across India an opportunity to experience HITS,” said Sandie Lee, EVP, Rewind Networks “HITS has always been about celebrating the vast television history, and with this collaboration, we are excited to offer customers the opportunity to rediscover these iconic shows conveniently.”
Leading production rental company Hireworks has announced the global expansion of Hireworks Connect, its proprietary shared storage solution.
Hireworks Connect enables production teams to work securely from home and collaborate remotely in real time. Editors can stay synced with one another in an emulated shared storage environment by using a Connect box that can configurate with other Connect devices within its production network. Avid ISIS and NEXIS can be integrated into the system, allowing combined onlocation working and collaboration with editors working from home or offsite.
The solution’s primary focus is security: data is encrypted both at rest and in transit, with no storage outside the user’s personal Connect device. Each device is authenticated with strong cryptographic certificates, and all
communications are protected by TLS and Perfect Forward Secrecy (PFS). In case of device loss or theft, encryption renders data inaccessible, secured by native EXT4 encryption and a userdefined passphrase. Editors must re-enter the passphrase to access data, ensuring maximum protection.
The remote workflow is identical to working directly on NEXIS storage, including full bin locking Project Sharing and bin refresh, creating an optimal working environment at industry
standard. In the event of internet loss, the Connect box will allow the editor to continue to work standalone with any project. Media already on the box automatically resumes syncing when the internet is restored.
Connect allows companies to be fully flexible and removes the need to be confined to one location, they can expand to anywhere in the world with a hardwired internet service, as a secure portable solution and can be moved from location to location in a hand carriable case.
Hireworks Connect has been picked up and integrated by major studios including Netflix, Amazon Video, Showtime, Warner Bros, Apple TV, HBO and Disney into their productions across the UK, the USA, Spain, Italy, Germany, Bulgaria, Finland, and Estonia.
Millimages, one of the oldest independent animation studios and IP developers in Europe, has announced the launch of the first Kindness Club episodes on its maverick Molang YouTuber Channel. The Kindness Club, which will comprise ten episodes, is the latest pillar of Molang’s catalogue of projects, products
and initiatives that promote its core values of empathy, kindness and joy.
Kindness Club is a monthly 8-10 minute animated short on the Molang YouTuber channel where the characters model and discuss matters of mental health and kindness with celebrity parodies from the world of animation. For example
in the first new episode released on September 1s Molang turns to Barbara – a parody of Barbie – for inspiration on “How to always stay POSITIVE?” In “Unlocking Success with Better SLEEP” coming on September 22th [lH1] the guest star is Sleeping Pinco (Aurora); while Monday (a nod to Wednesday) is the perfect choice to discuss “The benefits of FEAR in Life!”.
First launched in June 2023, Molang YouTuber was a totally innovative concept featuring animated characters interacting just like human content creators do, in popular video concepts like Reacts, Gaming, ASMR, and various challenges. The channel publishes new episodes every Sunday, now totaling over 300 videos; and and enjoys an impressive 314K subscribers and 54M views
The Nine Network has completed its purchase, installation and roll out of Sony ILME-FR7 PTZ cameras into its remote operated studio in Canberra. The new remote broadcast news studio is particularly unique due to its use of the Sony large sensor PTZ cameras, not traditionally used in studio television.
Nine Chief Technology Officer Broadcast Operations David Bowers explained, “This new studio is particularly effective for us as, by using the Sony FR7 cameras,
we can remotely control all of the cameras and setup from Sydney. This is not only a very efficient workflow, but it also saved us a considerable amount of money when compared to a buying and installing full robotic setup.”
Sony FR7 cameras are also being used in the Nine Network’s talent operated studio in Canberra. The new four-camera studio enjoys both fully remote production from Sydney and open plan local control in Canberra. It also comprises production, news exchange and basic edit facilities and capabilities.
Nine Broadcast Systems Integration Manager Mark Rath said, “We wanted to build a multi- purpose studio with full remote capability. For that we required the best PTZ cameras that could accommodate varying lens requirements in the studio. We assessed all the PTZ cameras available in the market and found the Sony FR7 met all of our requirements perfectly.”
Sony’s FR7 PTZ camera with its high-performance full-frame image sensor and the expressive scope of Sony’s extensive E-mount lens lineup work with versatile remote pan/tilt/zoom control, high flexibility in zoom capability and wide angle shooting to break through location and space limitations to open up creative possibilities for broadcasters and content creators in studio, live production and filmmaking settings. It also offers versatile connectivity and efficient multi camera workflow support.
The subscription video on demand service revenue in Japan is expected to increase at a compound annual growth rate (CAGR) of 6.8% from $4 billion in 2023 to $5.6 billion in 2028, driven by the strong growth in SVoD subscriptions and unique SVoD household penetration, and a steady rise in the average monthly revenue per unique SVoD household,
forecasts GlobalData, a leading data and analytics company
GlobalData’s Japan Subscription Video on Demand (SVoD) Forecast reveals that the growth in SVoD subscriptions Japan during 2023-2028 will be supported by the continued rise in household penetration of fixed broadband services, particularly fiber optic (FTTH/B) services, and the subsequent
consumer shift from traditional payTV services to OTT video platforms.
Kantipudi Pradeepthi, Telecom Analyst at GlobalData, says, “The projected rise in the monthly average SVoD revenue per unique SVoD household from $9.76 in 2023 to $11.68 in 2028 is expected to be driven by the increasing consumption of premium video content in the country.”
Pradeepthi concludes, “Japan SVoD market is highly competitive with several players aiming to provide exclusive content to add new customers and retain the existing ones. The market is characterized by the presence of large-scale service providers like Amazon Prime Video, Netflix and Hulu, which offer a wide range of exclusive content to users, and several local players like dTV and U-Next. Strong demand for localized content is driving service provider investments in production of exclusive and premium Japanese content.”
NOVELSAT, a global leader in content connectivity, has announced that iKOMG, a leader in broadcasting services, has chosen NOVELSAT’s multi-purpose video gateway, NOVELSAT Xstream, for live broadcasting services. iKOMG will utilize NOVELSAT’s Xstream powerful video gateways to power its Sports & Events broadcasting services, ensuring the delivery of unparalleled video quality while maintaining its high standard of efficiency and reliability.
NOVELSAT Xstream multipurpose video gateway provides a highly integrated, optimized, and efficient multi-signal solution for media networks. Built on offthe-shelf servers with softwaredefined modular architecture and carrier-grade management system, NOVELSAT Xstream high-
density architecture incorporates multiple satellite modulators and demodulators, supporting the most bandwidth-efficient waveform, NOVELSAT NS4TM, as well as standard DVB-S2 and DVB-S2X.
In addition, NOVELSAT Xstream integrates multiple independent ASI and IP interfaces, supporting anyto-any failover matrix with stream and service redundancy. Presenting a powerful re/multiplexing system, NOVELSAT Xstream supports advanced PSI/SI and descriptor handling capabilities as well as program analysis, including program level bitrate measurements on both incoming and outgoing streams.
iKOMG’s Sports and Events team has been at the forefront of delivering world-class live sports broadcasting services.
For the last 10 years, iKOMG has proudly collaborated with numerous prestigious sports federations and leagues. Being one of the first to fully utilize the potential of NOVELSAT Xstream has certainly helped contribute to iKOMG making a name as a service provider among the various sporting governing bodies and rights agencies
The Royal Television Society (RTS) is launching a unique online course that will help to plug the TV skills gap and fast track careers
Launching last September, the RTS Mini MBA, a first in the industry, is
aimed at media professionals who are focused on broadening their skillset and progressing their careers, as well as those in adjacent sectors who are seeking a thorough grounding in television and streaming media. The new initiative, that is CPD accredited, follows a DCMS report, ‘Creative Industries Sector Vision’, that highlighted a vital gap in professional training in the media sector.
Made up of more than 80 hours of interactive learning and consisting of 24 carefully crafted modules with insights from over 100 industry leaders, the syllabus spans four main strands: Industry Context, Programme Making, Business Functions, and Future Outlook
Featuring exclusive filmed interviews with more than 70 experts, webinars, high-profile case studies and practical assessments, participants will be able to learn on demand and at their own pace to fit in with their busy working lives. They will explore and analyse core topics ranging from: how a programme is developed, commissioned and made, to how money flows within the TV industry, and how the UK TV landscape is likely to change over the next 5 to 10 years.
Registrations will open in 2025. Initially, the RTS Mini MBA will be available to company employees. Past and present RTS bursary scholars can sign up free of charge
RX Japan Ltd., a leading organiser of international trade events, has announced that exhibitor applications are currently open for CONTENT TOKYO, Japan’s premier trade show for content creation, production, and licensing. The highly anticipated event will be held in July 2025 in Tokyo, Japan.
CONTENT Tokyo has launched new shows and now brings together multiple specialised shows and a special area under one roof:
• LICENSING JAPAN: Japan’s largest licensing trade show for characters, brands, art, games, manga, sports, and more.
• Video & CG Production Expo: Best platform for international production companies to take orders for video, CG, animation, games, music, and other related content production.
• Creator’s Expo: A unique exhibition where individual creators in various genres such as authors, cartoonists, illustrators, photographers, game developers, etc. exhibit to promote themselves.
• Ad Creative & Marketing Expo: An exhibition dedicated to bringing advertising/web/editing production companies and their clients together.
• Advanced Digital Technology Expo: Gathers the latest, most innovative, and quality solutions for entertainment experiences and interactive technologies.
• Communication Design Expo: Newly launched BtoB show for all the communication design related companies that can provide “branding strategies”,
“communication strategies”, and “total design management” for enterprises.
• CONTENT Hub: Newly launched area that covers not only content production such as animation, games, video/CG, etc., but also covers marketing, branding, and distribution in the whole content business.
CONTENT TOKYO is a biannual exhibition that serves as an allinclusive platform for professionals and enthusiasts from diverse industries. The event unites content creators, distributors, technology and solution providers, marketing specialists, and licensors under one roof. Its core objective is to equip businesses of all sizes—from emerging startups to established market leaders—with the tools and innovations necessary to boost efficiency, improve productivity, and enhance competitive advantage.
Exhibitor applications are now open for CONTENT TOKYO July 2025.
Night Train Media (NTM), a leading international media company, has announced the launch of its newest label, Night Train Digital
This new division, led by industry veteran Caitlin Meek-O’Connor, will focus on producing and managing premium TV & digital-first content across a variety of platforms.
Night Train Digital will take the reins of all current YouTube and social
channels for Eccho Rights, a key member of the Night Train Media family. The label will also have a broader scope across the entire Night Train group and extend its expertise to external clients, providing innovative digital content solutions.
“Night Train Digital represents our commitment to expanding our digital footprint and enhancing our content strategy,” said Herbert Kloiber, CEO of Night Train Media “With Caitlin at the helm, we are poised to explore new opportunities and deliver engaging digital-first content to global audiences.”
Caitlin Meek-O’Connor brings a wealth of experience to Night Train Digital, having previously worked in senior roles at numerous distribution companies and at Little Dot Studios where she successfully developed
and executed digital strategies that drove growth and engagement. She joined Eccho Rights in September 2023 as Digital Commerical Director, to develop the scripted distributor’s direct to consumer offering. Night Train Digital will focus on creating compelling and innovative content tailored for digital platforms, leveraging data-driven insights to optimize audience engagement and expand reach.
Night Train Digital will provide end-toend digital content services, including strategy development, content production, channel management, audience engagement, and monetization across YouTube, social media, and other emerging digital platforms. This new venture will further solidify Night Train Media’s position as a key player in the rapidly evolving digital content landscape.
TAG Video Systems, the leader in software-based IP end-to-end workflow monitoring, deep probing, and real-time visualization, has announced two strategic additions to its EMEA team. This expansion underscores TAG’s commitment to providing tailored solutions and exceptional support to customers of all sizes across the EMEA region.
Benoit Leygnac brings decades of sales leadership at Harmonic to his role as Sales Director EMEA for TAG. Leygnac’s in-depth knowledge and experience navigating an evolving broadcast industry underscores his ability to design workflows that align seamlessly with customers’ business goals. With an initial focus on France and Poland, Leygnac will leverage his strong regional relationships to support existing customers and strengthen TAG’s presence.
Stefan Schindler steps into the role of Technical Account Manager EMEA for TAG following ten years as a Broadcast Engineer specializing in live production and streaming, most recently for Riot Games. As a Technical Account Manager, Schindler’s mission is to minimize complexity in customers’ workflows and ensure they maximize TAG solutions to their fullest potential.
“The new team members demonstrate TAG’s ongoing investment in customer satisfaction and innovation”, said Kevin Joyce, TAG’s Zer0 Friction® Officer. “By expanding our team with top talent, we are enhancing our service capabilities and elevating the overall customer experience. We warmly welcome Benoit and Stefan to the TAG family and look forward to their contributions in driving success for our EMEA customers.”
Broadcast Solutions, one of Europe’s largest media systems integration groups, has appointed Maximilian Breder as COO of its German HQ operations. Breder brings a fresh perspective and a track record of innovative thinking and extensive experience to the role.
“Thanks to my uncle, as a boy I went to a Broadcast Solutions open house event and got the chance to stand inside an outside broadcast truck,” Breder recalled. “I knew then that this was where I wanted to be.”
While at school he obtained work experience with the broadcaster SWR in Mainz, and with Broadcast Solutions where he got involved in everything from accounts to wiring. This led him to an academic and integrated apprenticeship programme in conjunction with Hochschule Mainz, with four days a week working across all departments of Broadcast Solutions and two days at university, a gruelling programme which led to his BSc in business administration, which he is now following with a masters degree in management.
Joining Broadcast Solutions full time, he gained in-depth experience not only of the technical and commercial goals of the business but its internal culture. In 2023 he was appointed Officer of the Management, which gave him the opportunity to develop cross-company strategic projects and to develop his ideas of devolved decisionmaking in each operational and administrative area of the business. He now takes overall operational responsibility.
“Broadcast Solutions is very well regarded for the quality of our engineering and the sophistication of our solutions,” Breder said. “I see my task in boosting the company culture is to make sure everyone feels this is a business they want to be a part of, that they are contributing in every way possible.
“It is crucial that everyone in the company understands not only their role but also the economic dynamics that drive our business,” he explained. “This challenge is not just about efficiency, it is also about sustainability. I will be creating clear structures and improving processes that enable us to work more efficiently and purposely.
“Part of that is five very clearly stated corporate values: For the Love of the Game, Raising the Bar, Respect 360°, Winning as One, and Enjoying the Ride,” Breder said. “I see my new role as ensuring we live by those shared values, bringing passion to everything we do, and acting with respect to all.
“I am also conscious that there is a real challenge for talent in technology firms today,” he added. “Our values are not just about encouraging the very best from the people we have: we must attract bright, lively new minds into the business. As well as partnerships with colleges in the region, we go out to local high schools to show students just how exciting the broadcast business can be for all.”
When not immersed in Broadcast Solutions, Maximilian Breder can either be found on the football pitch or serving as a volunteer firefighter in his local community: “Firefighting teaches you the importance of working together, and of knowing the right and wrong ways to do things, skills which are also vital in business,” he said.
Millimages , one of Europe’s oldest independent animation studios and IP developers, is reorganising its sales team to better respond to changes in the market.
In a rapidly changing animation market, the purpose of Millimages’ reorganisation is to increase operational efficiency, improve responsiveness to customers, standardise the company’s sales strategy, and support the significant growth of its flagship IP, MOLANG
One of the primary changes includes a new organisational structure that will bring Licensing, International Sales and E-commerce under a single department, headed by the newly promoted Commercial Director Alexandra Algard-Mikanowski, formerly Millimages’ Licensing Director. Alexandra commented: “I am grateful to Adrien Moretto and Roch Lener for trusting me to head up this new sales department, it’s a great opportunity to advance Molang’s development worldwide. This will allow us to create global synergies between broadcasters, platforms and licensees in order to optimise the visibility of the brand and its transmedia potential.”
The distribution team will be bolstered by Géraldine ImbertCléry and Romane Cot-Ogryzek who join as International Sales Managers and will share Millimages’ client portfolio.
Romane Cot-Ogryzek holds an MBA in Audiovisual Media Management and a master’s degree in International Commercial Negotiation. She has held a number of sales and coordination positions, notably with France Télévisions Distribution and OnlyDistrib. Romane is tringual and has extensive expertise negotiating contracts and managing international projects. She will be responsible for the territories of Asia, Oceania, Eastern Europe, the Middle East, Portugal and Greece, as well as in-flight rights.
With over 12 years’ experience in international sales of television and cinema content at independent distribution companies such as All Rights Entertainment and Awol Animation, Géraldine Imbert-Cléry has 360° knowledge
of the production environment. In 2023, she cofounded her own company, Coalition Production, which promotes diversity and is developing several film projects. Bilingual in English and French, Géraldine will be responsible for managing France, Benelux, Italy, Spain, Germany, Scandinavia, UK USA, Central and Latin America, Canada and Russia.
Adrien Moretto, General Manager, explains, “In a market saturated with content, we want to build on our 360° expertise. Our teams have complementary skills and bringing them together under the same sales department will accelerate the global rollout of Molang, as well as our entire catalogue.”
take total distribution strategy to the next level
WTFN has announced that it is integrating its Fred Media (content distribution) and Radar (digital) teams to capitalise on developments in the marketplace and to more effectively drive its Total Distribution strategy The new-look business will officially debut at the MIPCOM in Cannes next month with new joint Fred Media/Radar branding.
Derek Dyson, previously General Manager at Radar, has been promoted to Chief Commercial Officer at WTFN, taking responsibility for the newly integrated team and its global business strategy – and for also developing opportunities for Fred Media/ Radar with the wider group’s talent and branded entertainment businesses – Empire Talent and WTFN BE.
Meanwhile, Louisa Emery, has been appointed to the role of General Manager at Radar. Louisa brings a wealth of experience in managing and optimising digital output, content creation and growing audiences across multiple online platforms. Prior to joining Radar, she headed up digital and social media teams at both Warner Bros. and Fremantle in Australia and masterminded the Big Brother relaunch campaign for Channel 7 and Endemol Shine. She also worked for Totem Global in Australia. In addition, she has worked extensively in the UK, with stints as content editor at Channel 5, social media and online digital producer at ITV on brands such as Britain’s Got Talent, I’m a Celebrity… and Downton Abbey and as a digital series producer at Endemol Shine UK, where her team won a Broadcast Award for its work on Celebrity Big Brother.
Derek Dyson, Chief Commercial Office at WTFN, said, “Over the past few months, as the Radar business has expanded, the Fred Media and Radar teams have been working increasingly closely together for many clients looking to optimise the value of the rights they entrust us to manage. So, we felt it would make sense – and be more efficient – to now fully integrate the teams.”
In other team news, respected sales, development, acquisitions and co-production executive Judy Levenson has joined Fred Media as a sales consultant, with responsibility for the Americas. Judy has previously held senior roles at Showtime, National Geographic, Discovery and Scott Brothers Entertainment.
In an exciting partnership, KC Global Media has joined forces with award-winning Singaporebased production company Ochre Pictures to bring The Interrogation to life. This exclusive, eight-part series will be available across AXN Asia’s social media platforms including Facebook, Instagram, and TikTok; as well as on Ochre Pictures’ premium short-form content platform, Ochre Plus, available on YouTube, Instagram, and TikTok.
This first-of-its-kind short-form crime series brings to life Asia’s most chilling and perplexing crimes, featuring notorious criminals and their victims, recreated with cutting-edge artificial intelligence. Each gripping one-to-two-minute episode immerses viewers in tense interrogations and confessions, spotlighting infamous cases such as Sunny Ang’s cold-blooded scheme to kill his girlfriend in Singapore, Hong Kong’s Hello Kitty murder, and a ‘sorcerer’ in Indonesia who believed his power lay in drinking the saliva of 70 souls.
By utilizing AI to create highly detailed first-person narratives, The Interrogation reveals the timeline, methods, and harrowing conclusions of each case. Viewers are invited to experience the psychological depths of real-life criminals, while witnessing the relentless pursuit of justice. While Western crime series often focus on infamous killers, The Interrogation stands out with its exploration of high-profile Asian crimes, offering insight into the cultural and psychological factors that fuel such atrocities. The darkly varied and disturbing nature of these crimes highlights Asia’s rich cultural diversity.
Despite the shock and terror, the series serves as a powerful reminder: crime never pays
“We’re excited to partner with Ochre Pictures to deliver an innovative crime series to AXN’s audience across Asia,” said Bonnie Wiryani, Vice President of Revenue & Head of Content Sales at KC Global Media “AI is revolutionizing storytelling, and this collaboration pushes the boundaries of audience engagement. By releasing regular episodes on our social media platforms, we are creating a highly accessible viewing experience that goes beyond traditional TV formats, connecting with fans through new and exciting content.”
Jean Yeo, Creative Director of Ochre Pictures , expressed her excitement for the groundbreaking
project, saying, “We are excited to partner with KC Global Media on this cutting-edge project, marking a bold step forward for Singapore into the world of AI-driven video content. The Interrogation was developed during a challenging economic period, and reflects our commitment to innovation and growth. By equipping our writers, directors, editors and VFX artists with new skills, we have harnessed AI as a tool to unlock fresh storytelling possibilities while preserving the essence of artistic creativity, redefining the future of content creation.”
The Interrogation is now available on AXN Asia’s and Ochre Plus’s social media platforms.
AXN Asia Facebook, Instagram and TikTok: @AXNAsia Ochre Plus Instagram: @_ochreplus | YouTube and TikTok: @OchrePlus
Sunny Ang Soo Suan met his girlfriend, Jenny Cheok Cheng Kid, at Odeon Bar and Restaurant where she worked as a barmaid. Shortly after meeting her, Ang bought insurance policies for Jenny where the payouts would go to Cheok’s estate or to his mother. Ang hired a boat to take Cheok and himself to Sisters’ Islands for a scuba-diving trip, allegedly to look for corals. However, after diving underwater by herself the second time, Cheok never resurfaced. The flipper she had worn that day was recovered with its heel strap cut off cleanly by a sharp instrument, but her body was never found. Investigations revealed that Ang had orchestrated the dive, choosing a perilous location known for strong currents and allegedly sabotaging the diving equipment of the inexperienced diver Cheok. Despite the absence of a body, Ang was charged with murder.
Chan Man-lok, who was a drug lord and pimp, and Fan Man-yee, a drug addict and prostitute, met at a nightclub. When Man-Yee stole $4000 from Man-lok, Man-lok ordered his henchmen to kidnap her to make her his personal prostitute as compensation for the stolen money. However, he did far more than he had originally planned and tortured her to her death. They disposed of most remains, but placed her skull inside a large Hello Kitty mermaid doll. The crime came to
light when Ah Fong, Man-lok’s 14-year-old “girlfriend” involved in the torture, reported being haunted by Fan’s ghost, prompting a police investigation. The three men were convicted of manslaughter, as the jury couldn’t definitively determine if Fan’s death was intentional. They received life sentences with the possibility of parole after 20 years.
Sunny Ang Soo Suan met his girlfriend, Jenny Cheok Cheng Kid, at Odeon Bar and Restaurant where she worked as a barmaid. Shortly after meeting her, Ang bought insurance policies for Jenny where the payouts would go to Cheok’s estate or to his mother. Ang hired a boat to take Cheok and himself to Sisters’ Islands for a scuba-diving trip, allegedly to look for corals. However, after diving underwater by herself the second time, Cheok never resurfaced. The flipper she had worn that day was recovered with its heel strap cut off cleanly by a sharp instrument, but her body was never found. Investigations revealed that Ang had orchestrated the dive, choosing a perilous location known for strong currents and allegedly sabotaging the diving equipment of the inexperienced diver Cheok. Despite the absence of a body, Ang was charged with murder.
The Asia Pacific ’ s media industry is evolving at a rapid pace and Television Asia Plus is here to provide full coverage and an unbiased look at everything that is happening in the region.
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Our digital platforms comprising tva onscreenasia com an @TVAsiaPlus on FB, Twitter and LinkedIn cover the latest industry news and movements Meanwhile our print version is available as bonus distribution at all major trade events including HK Filmart, APOS, Mipcom Cannes and ATF.
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Ever since ChatGPT’s debut two years ago brought AI closer to everyday applications, AI has been the buzzword on everyone’s lips. Already we’re seeing some exciting developments in broadcast and media workflows that will no doubt transform how content is produced and distributed. But at the same time as generating a lot of excitement, these developments have also led to trepidation. There’s concern among some within the industry that rather than helping media operators produce content more efficiently, AI will, in time, replace humans entirely in content production workflows. Is this a real risk or will AI be a positive and beneficial force that assists creatives and media professionals to do their jobs more efficiently?
AI-powered tools are already being used in content production and distribution to increase efficiency and to save time. On the production side, generative AI can potentially be used to create everything from storylines, scripts, digital sets, and can even create realistic digital characters. In post-production, where there’s a lot of repetitive and time-consuming tasks, AI is already being used to save time and effort by assisting media operators with a whole host of tasks from tagging and organising footage, to editing, colour grading, visual effects, and localisation tasks. Beyond production, AI is also transforming distribution and cloud playout by enabling broadcasters and OTT
services to curate content that better aligns with viewer preferences. One of AI’s core strengths lies in its ability to analyse vast amounts of data, and this is giving broadcasters a deeper insight into viewer behaviour and trends with increased AI assisted cloud playout for quality control and scheduling.
AI technology is developing at breakneck speed and it’s understandable that there is some anxiety about whether it will replace humans in the content production process. It’s important to remember that while AI will undoubtedly reshape roles in broadcast and media production, AI is AI. It is not human. It doesn’t think in the same way that humans do. For example, to produce written text, generative AI models such as ChatGPT analyse language patterns, context, and information to generate responses that seem thoughtful and relevant. This is not the same as true thinking or conscious thought but is instead the result of algorithms that mimic patterns in language. It is not equal to genuine human thought or awareness.
While AI excels at generating text and image content, handling large datasets, and automating repetitive and time-consuming tasks, it is not able to provide truly original, creative input in the same way that humans can.
So rather than viewing AI as a threat or a replacement for humans in the creative process, we can instead choose to embrace it as an assister and enabler. For example, in newsrooms, AI-driven content generation tools can be used to support journalists by rapidly generating news summaries or drafting headlines based on complex data, and during localisation when content is prepared for other regions, AI can be used to provide captioning and subtitles. However, the key thing to remember is that although these tools can save media professionals stacks of time, they still require human oversight to ensure accuracy, context, appropriate narrative tone, and to understand complex nuances.
Broadcast and media roles will undoubtedly change as AI takes on certain tasks, but this can be considered a positive rather than a negative because it will allow media professionals to instead focus their time and energy on higher-value, creative and often more enjoyable tasks. Training media professionals to leverage AI where it makes sense will be essential in helping them adapt to new roles shaped by these technologies.
AI will transform how content is produced and distributed, that much we know. What we don’t know is exactly how it will do that, but there seems every reason to think that it will serve as an assister and enabler that reshapes, rather than replaces, the role of humans in content production.
By Paul Macklin, Director of Product Management, Bitmovin
As broadcasters move from terrestrial digital, satellite and cable distribution to internet-based services, for viewer satisfaction, they need to deliver a viewing experience that’s akin to the traditional TV viewing experience. Switching through the channels to find something to watch has long been a part of TV viewing, however, ‘channel zapping’ as it’s become known, where users flick between channels on an IPTV service, is causing a real headache for broadcasters.
With traditional TV, a continuous signal is transmitted so there is no noticeable delay when switching between channels. However, with IPTV, each time the viewer changes the channel, a new stream must load, and this process causes a noticeable delay. For viewers, this often means waiting for a stream to load each time they switch channels, which is extremely
frustrating to say the least. This has a big impact on the overall viewing experience and can cause viewers to quickly lose interest and possibly even switch off. So, with this in mind, what can broadcasters do to reduce this channel zapping delay and improve the IPTV viewing experience? Let’s begin by looking at the different factors that affect the time it takes for streams to load.
Each time a viewer switches channels, the IPTV system needs to perform a series of steps before the stream begins to play, such as player initialization and reinitialization, Digital Rights Management (DRM) acquisition and buffering, and it is these steps that affect the time it takes to load the stream and play the channel. When an IPTV system is first turned on, the video player
needs to first initialize to prepare to play the video, and then as the viewer moves between channels with differing formats, frame rates, or resolutions, the player may need to reinitialize each time which can add to the delay before the channel plays.
DRM acquisition is another critical process that can add to the delay between the viewer selecting a channel and the stream playing. IPTV services often require DRM protocols to protect content from unauthorized access, particularly for premium channels. Each time a channel switch occurs, the DRM system needs to validate viewer permissions, and it is this validation that creates a delay.
Buffering, the process of ensuring a small amount of data is pre-loaded to help prevent interruptions during playback, is a necessary process in IPTV and VOD, and is another factor that adds to the overall time between channel changing and playback. Each time a viewer switches channels, the system requires time to buffer the new stream, which again creates a delay before playback can commence.
Compounding these issues is network latency which is the time it takes for data packets to travel from their source to their destination over the internet. Each time a viewer switches the channel, a new request for data is sent to the source, and data packets are delivered over the internet to the viewer, which must be decoded before playback.
Broadcasters have a variety of options open to them to improve channel zapping speeds. One solution is to adopt low-latency streaming protocols, such as LL-DASH, LL-HLS and CMAF. These protocols are designed to minimize the time it takes for content to load by reducing the required buffer size, offering smoother, quicker playback.
Content delivery networks (CDNs) can also be leveraged to help to reduce network latency by delivering content from servers closer to the viewer’s location. By using CDNs, IPTV providers can shorten the physical distance that data must
travel, reducing the delay caused by network congestion, especially during peak viewing times.
Streamlining and improving DRM processes is another effective measure that can help to provide a faster switch between channels. This approach works to lessen the playback delay by reducing the DRM validation time. In addition, broadcasters can upgrade to more advanced video players designed for low latency, which require less re-initialization when channels are switched. These adaptive players allow faster transitions by accommodating various streaming formats without significant setup delays.
Pre-fetching is another technique which can help to reduce channel zapping delay. It involves anticipating the viewer’s likely choices and loading those channels in advance, however, this solution demands high bandwidth and storage resources, making it challenging to implement broadly.
If broadcasters want to deliver a seamless, internet TV viewing experience that is akin to traditional TV, a quick and smooth channel zapping experience is essential for viewer satisfaction. Although replicating the instant switching of traditional TV in IPTV is challenging, improvements in buffering, DRM, video player architecture, and network optimization are helping to close the gap. By adopting these strategies, broadcasters can provide viewers with a channel-zapping experience that aligns more closely with their expectations, making IPTV an appealing option for viewers and broadcasters alike.
