THE BUSINESS OF DIGITAL CONTENT DELIVERY
An ITP Business Publication
BREAKING THE NEWS Al Jazeera’s path to the top and the World Cup controversy that threatens to derail it SUSPECT ECT DEVICE Separating the fads from the iPads
Licensed by Dubai Media City
WEBMASTER Online ad guru reveals his top tips for TV execs
VOLUME 3 ISSUE 6 JUNE 2010
CONTENTS
20
HIGHLIGHTS 2 WEB Spot poll: What would you pay for the World Cup?; top web stories; editor’s choice: top ten dead media.
BRIEFING 6 THE Arabsat completes fi rst 3D broadcast in Middle East; Google TV unveiled.
DEVICE 14 SUSPECT How to seperate an iPad from a brief fad; a broadcaster’s guide to consumer electronics.
STORY: 20 COVER BREAKING NEWS Al Jazeera goes under the spotlight as the World Cup looms amid growing confusion.
THE MOST COMPREHENSIVE FAMILY OF DIGITAL TV MONITORING, MEASUREMENT AND ANALYSIS PRODUCTS IN THE WORLD
ANALYSIS 48 MARKET Online ads are gaining traction, but what is the key to securing a return for your advertisers?
ALSO IN THIS ISSUE...
26
38
WEBMASTER
ON THE GRID
Online advertising guru tells broadcasters what they need to do to secure their share.
A look at some of the major players in the transmission infrastructure market.
www.digitalproductionme.com
JUNE 2010 01
DPME.COM ROUND-UP
The online home of:
SCORES FACE WORLD CUP DISAPPOINTMENT With the World Cup just weeks away, many operators had yet to confi rm whether they would broadcast the competition, creating a great deal of frustration and confusion among the public. digitalproductionme.com/news
READER COMMENT: “I’m a long time subscriber to both Al Jazeera and du and now unable to get an answer from either one of them, but I will cancel all my subscriptions if I don’t get to watch the World Cup.” Mohammed, Dubai, UAE.
1
E-vision reveals World Cup prices
2
29,000 pirated Xbox games seized in UAE
3
Scorsese launches Doha Film Institute in Cannes
4
Twofour54 signs training agreement with Adobe
5
Google open sources VP8 streaming codec
DATE: May 30
MOST POPULAR STORIES M
EDITOR’S CHOICE IN PICTURES
TEN DEAD MEDIA
ALSO ON THE DPME SLATE THIS MONTH... INTERVIEWS
MAN AND MACHINE
LOCKBOX
Meet the team behind the UAE’s first sci-fi animation film.
CoreTrust CEO Jehak Woo on the company’s plans to lead VOD content security.
digitalproductionme.com/analysis
digitalproductionme.com/interviews
TECHNOLOGY
COMMENT
SERVER STRAIN
TV’S NEW REALITY
An overview of the increasingly important broadcast and production server market. digitalproductionme.com/technology 02 JUNE 2010
Entertainment value remains key as new platforms and creative techniques emerge, writes Caleb Weinstein. digitalproductionme.com/comment
From Capacitance Electronic Discs to Betamax. Ten media formats that fell by the wayside.
SPOT POLL WHAT WOULD YOU PAY TO WATCH THE WORLD CUP?
29% 26% 19% 16% 10%
Sub-$100 is realistic. It should be free. AJ’s $130 is about right. I’d pay whatever it took! I’d rather pay per match, not interested in the rest.
DATE: May 30
ANALYSIS
www.digitalproductionme.com
COMMENT
Registered at Dubai Media City PO Box 500024, Dubai, UAE Tel: 00 971 4 210 8000, Fax: 00 971 4 210 8080 Web: www.itp.com Offices in Dubai & London ITP BUSINESS PUBLISHING CEO Walid Akawi Managing Director Neil Davies Deputy Managing Director Matthew Southwell Editorial Director David Ingham VP Sales Wayne Lowery Commercial Director Fred Dubery EDITORIAL Senior Group Editor Robeel Haq Tel: +971 4 210 8597 email: robeel.haq@itp.com Editor John Parnell Tel: +971 4 210 8655 email: john.parnell@itp.com ADVERTISING Commercial Director Fred Dubery Tel: +971 4 210 8381 email: fred@itp.com Japan Advertising Representative Mikio Tsuchiya Tel: + 81 354 568230 email: ua9m-tcy@asahi-net.or.jp STUDIO Group Art Editor Daniel Prescott Designer Lucy McMurray PHOTOGRAPHY Director of Photography Sevag Davidian Chief Photographer Khatuna Khutsishvili Senior Photographers G-nie Arambulo, Efraim Evidor, Thanos Lazopoulos Staff Photographers Isidora Bojovic, George Dipin, Lyubov Galushko, Jovana Obradovic, Ruel Pableo, Rajesh Raghav PRODUCTION & DISTRIBUTION Group Production Manager Kyle Smith Deputy Production Manager Matthew Grant Production Coordinator Nelly Pereira Managing Picture Editor Patrick Littlejohn Image Editor Emmalyn Robles Distribution Manager Karima Ashwell Distribution Executive Nada Al Alami CIRCULATION Head of Circulation & Database Gaurav Gulati MARKETING Head of Marketing Daniel Fewtrell ITP DIGITAL Director Peter Conmy ITP GROUP Chairman Andrew Neil Managing Director Robert Serafin Finance Director Toby Jay Spencer-Davies Board of Directors K.M. Jamieson, Mike Bayman, Walid Akawi, Neil Davies, Rob Corder, Mary Serafin Circulation Customer Service Tel: +971 4 210 8000
3D COULD BE PAY TV SAVIOUR
T
he consolidation of Orbit and Showtime was a boost for the pay TV industry that has allowed the merged Orbit Showtime Network (OSN) to press ahead with post-EPL life. The network has a strong offering now with its eight HD channels at the core of its strategy. The sale of ART’s sports rights will not detract from its position as the fi rst choice for expats, especially those from Asian markets. The emergence of three independent pay TV operators as the leading sports providers (namely TEN Sports, ADMC and Al Jazeera) means the choice facing customers in the Middle East is now OSN or ART, plus whatever sport they wish to add. In the meantime Al Jazeera could have kickstarted the next “great differentiator” by giving its customers a taste of 3D during this year’s World Cup. The technology has been the subject of much discussion and debate, during which a number of operators in several markets have pressed on. By the end of 2010 there will be at least eight dedicated 3D channels, with sports content dominating the line-ups. As more and more
stereoscopic productions (and converted 2D legacy titles) become available for broadcast, the market for 3D movie offerings will emerge too. If consumers in the Middle East buy 3D TV sets with the same appetite as that which saw HD TV adoption mushroom around three years ago, then the industry will indeed have found itself a worthy value-added service. With the fi rst pieces of 3D content already in place and a fairly clear path of what will come next, 3D has become important for the immediate, rather than distant future. If the broadcast technology providers can perfect conversion algorithms, broadcasters could call on their entire, existing libraries of content to fi ll 3D schedules. Th is month, 3D comes to the Middle East market, and it is just the beginning of what could be a welcome boost for pay TV operators.
JOHN PARNELL Editor john.parnell@itp.com
Certain images in this issue are available for purchase. Please contact itpimages@itp.com for further details or visit www.itpimages.com. Printed by Color Lines Printing Press Subscribe online at www.itp.com/subscriptions
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Published by and Copyright © 2009 ITP Business Publishing, a division of ITP Business Publishing Group Ltd. Registered in the B.V.I. under Company Registration number 1402846.
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FOR THE LATEST NEWS, ANALYSIS AND REVIEWS FROM THE MIDDLE EAST CONTENT DELIVERY, MEDIA MANAGEMENT AND NEW MEDIA DISTRIBUTION BUSINESS HEAD TO DIGITALPRODUCTIONME.COM
TO SUBSCRIBE please visit www.itp.com/subscriptions JUNE 2010 05
THE BRIEFING
GOOD MONTH HARMONIC Encoding specialist Harmonic acquired server manufacturer Omneon for $274m. The new company – that will operate under the Harmonic brand – will combine the existing product ranges of both. The combined company will have 2000 customers in 100 countries, a total R&D organisation of 450 people and a sales and support staff of 330, making it one of the largest broadcast technology firms in the industry.
BAD MONTH TECHNICOLOR Following announcements that the company was cutting the Grass Valley workforce by a quarter, workers for the group (previously Thomson) took industrial action last month. Employees headed to the firm’s Conflans and Brest facilities to hold a peaceful protest against the cuts however, reports by news agency AFP stated that a number of those present stormed a factory and took an HR director hostage for 10 hours.
06 JUNE 2010
PLATFORMS
GOOGLE UNVEILS WEB TV SERVICE DETAILS Internet and broadcast-based content will become searchable via STB Google announced details of its TV service last month prompting a largely positive response throughout the industry. The joint venture with Sony, Intel and Logitech will allow users to browse the web on their TV set, search for TV content available on internet sources as well as searching broadcast channels. The service will be integrated into an upcoming range of Sony flat panel TVs and will also be available via a set top box manufactured by Logitech, which is also developing a number of remote controls, devices and smartphone application to interact with the TV. Sony announced plans for a Sony Internet TV service that will incorporate Google TV in addition to it manufacturing displays with the Google TV hardware and the Android OS integrated. “We believe that open systems lead to more innovation, value and choice for consumers, which is why we are so proud to work with Sony to bring
MONTH IN NUMBERS
the power of the Android platform to more consumers around the world,” said Eric Schmidt, chairman and CEO, Google. Logitech also revealed plans for an HD video camera that will allow video chat services to run in tandem with the TV.
Eric Schmidt, chairman and CEO, Google. Source: ABI Research, Emirates Business.
46%
$8.2m
The percentage of TVs sold in 2013 with an Ethernet connection.
The pay-out to an Emirati inventor that sued Etisalat over a patent infringement.
INVENTOR WINS $8.2M IN ETISALAT CASE A UAE national has won his legal case against Etisalat over claims the company used his invention without his approval, it has been reported. Abu Dhabi First Instance Court ordered Etisalat to pay resident Mosa Isa Mosa Al Amiri US $8.2m compensation and halt its mobile TV service, reported a UAE newspaper last month. According to the report, Al Amiri sued Etisalat after failing to reach an agreement over the fi rm’s use of his system that transmits high-quality video over the Internet.
Etisalat denied the claims and told the court it had bought its mobile TV system from Huawei. Al Amiri won the case after appealing twice against experts’ verdicts. Last year an expert denied any similarities between his and Etisalat’s system. On appeal new experts were assigned, who found similarities between the two devices not exceeding 20 percent. However, after appealing again and with new experts, it was found that Etisalat’s system depends on the same idea as the patented invention. www.digitalproductionme.com
THE BRIEFING
DELIVERY
ARABSAT COMPLETES FIRST 3DTV BROADCAST IN REGION Live football match filmed and transmitted in 3D from Qatar to Middle East and North Africa Satellite operator Arabsat and the ElDawry WelKass TV channel broadcast Qatar’s cup final football match in 3D last month. The Emir’s Cup match in Doha was fi lmed and broadcast in 3D, a fi rst for the Middle East region. The landmark follows months of claims and speculation regarding 3D, as those in the industry sought to identify themselves with the trend and several service operators indicating a willingness to use the technology as soon as possible. E-Vision told Digital Broadcast earlier this year that it hoped to have a 3D broadcasting system in place for the World Cup
The Emir’s Cup Final in Doha last month was broadcast in 3D.
in South Africa this month. Abu Dhabi Media Company has also revealed its intention to pursue 3D coverage of the EPL in the future. It will begin broadcasting the league in the MENA region from next season. The match in Qatar may have come too early for most consumers in the region who are yet to invest in 3D TVs. However the completion of a 3D broadcast in the Middle East will send a signal to broadcasters that the format may require due consideration sooner than previously thought and could stimulate interest and investment in the technology from broadcasters and consumer electronics retailers.
QUOTE OF THE MONTH
Advertising is a function of the economic activity. People meters are necessary but they will not grow the industry on their own. MAZEN HAYEK, OFFICIAL SPOKESPERSON, MBC
Fouad Bedran, comanaging director, OOX.
CARAT SIGN FOR OOX SERVICE Online advertising monitoring firm OOX has announced that global media agency Carat has signed-up to use the firm’s services. Carat will have access to OOX’s Competitive Online Advertising Monitoring, Intelligence and Ad Bank services. Carat is the global media agency for Nokia, Kelloggs and Philips.
www.digitalproductionme.com
Gavin Campion, president, KIT digital
AL JAZEERA BANNED FROM OPERATING IN BAHRAIN
KIT DIGITAL ACQUIRES IPTV FIRM BENCHMARK BROADCAST
Al Jazeera has been banned from operating in Bahrain. An official Bahrain government statement accuses the channel of, “flouting the laws regulating the press and publishing”. According to Al Jazeera, Bahraini authorities prevented an Al Jazeera team from entering the country last month for a routine assignment.
IP video specialist KIT digital has acquired the IPTV technology provider Benchmark Broadcast Systems for a sum of US $9.5m. “We plan to cross-sell our VX-one video management platform into Benchmark’s existing client base,” said Gavin Campion, president of KIT digital.
JUNE 2010 07
THE BRIEFING
Satellite operator Eutelsat has signed a deal that will see broadcaster Euro1080 and production company Alfacam developing content for its 3D demonstration channel. The companies will provide Eutelsat with access to their infrastructure for 3D production and recording of sport and other live events. They will also provide 100 hours of 3D content including football, tennis, boxing, documentaries and live events. Alfacam began constructing 3D infrastructure in 2007
BROADCAST BRIEFS
EUTELSAT SIGNS 3D CONTENT DEAL
DELIVERY
WORLD CUP DISTRIBUTION PLANS EMERGE LATE ON Multiple access points announced as tournament start approaches A number of distribution streams in the GCC for the FIFA World Cup were revealed last month, as the tournament drew close to kick-off. Saudi Arabia-based GO Telecom announced that it will offer free access to the Al Jazeera Sport’s World Cup coverage for customers signing-up for 12-month subscriptions. Existing and new customers taking shorter packages are eligible for a discount on the Al Jazeera package. UAE telco Etisalat announced that it had secured a deal with Al Jazeera Sports to allow its customers access to the content via E-vision. A deal in the UAE is also expected with the country’s largest cinema chain, Grand Cinemas.
Al Jazeera revealed it intends to offer the content in 3D. Given the low numbers of 3D TV sets available in the Middle East, this coverage is expected to be shown in cinemas, a model already used widely in Europe for major sporting events.
7.6 million and now operates a high-end OB van for live 3D recordings. The company recently filmed the Emir Cup football championship in Doha in 3D. “Whereas producing in HDTV was not that different from standard definition, there are huge differences between 2D and 3D production, the rhythm, the camera positions, the camera movements,” said Gabriel Fehervari, CEO, Alfacam. “In fact the complete technology and production are different. Eutelsat has been operating a 3D demonstration channel on its Eurobird 9A satellite since March 2009.
08 JUNE 2010
The number of media tablets expected to ship in 2010. Source: IDC
MOVERS & SHAKERS NEWTEC STRATEGIC COMMITTEE EXPANDED Brigitte Boone, former CEO of the Merchant Banking division of the Fortis Bank has joined Newtec as a member of its Strategic Committee. Boone becomes the second external member of the Strategic Committee, following the appointment of Martin De Prycker, former CEO of Barco. “I am aware that Newtec has a international reputation for innovation and truly excellent customer service and these are just some of the qualities that attracted me to them,” said Boone.
OMNIBUS REINFORCES SALES TEAM Automation firm Omnibus has appointed Roger Sewell as director of sales for Europe as it continues to revamp its sales personnel. Sewell has 30 years of industry experience with Pro-Bel and Miranda Technologies and will work closely with executive VP of sales Greg Hoskin. “Roger is one of the best in the business at building and managing partner networks, with solid experience and know-how in the European region,” said Hoskin.
www.digitalproductionme.com
THE BRIEFING
Prominent Apple dealer iSTYLE is refusing to help Middle East customers that require support for iPads which they have sourced from outside the region. The company, which is a designated ‘Premium Reseller’ for Apple in the Middle East, has turned away customers that have approached it with issues for iPads they have bought ahead of the product’s official Middle East launch.
BROADCAST BRIEFS
APPLE RE-SELLER GETS CRANKY OVER GREY-MARKET IPADS
Mazen Hayek, official spokesperson, MBC.
MBC KEEN TO JOIN UPCOMING UAE PEOPLE METER PROJECT MBC has said it is keen to join the UAE National Media Council’s (NMC) people meter project, which was announced last month. The region’s largest free to air broadcaster, MBC, is not part of the scheme from launch, but was involved in the development process and has signalled its eagerness to join as soon as possible. “When the NMC decide to open it up to regional satellite broadcasters as well as local media we will definitely be involved,” said Mazen Hayek, official spokesperson for the MBC Group, speaking exclusively to Digital Broadcast.
SES ASTRA TAKES ACTION TO AVOID ‘ZOMBIE’ SATELLITE SES World Skies has announced plans for an intricate set of orbital manoeuvres designed to steer its AMC-11 and SES-1 satellites away from Intelsat’s Galaxy 15 craft, which has suffered what its owners have termed “an anomaly”. As the stray satellite moves towards AMC11’s orbital position of 131 degrees west, SES will match the eastward drift of Galaxy 15 – the socalled zombie satellite – in order to maintain a distance between the two pieces of hardware. SES claims that this will minimise interference caused by Galaxy 15 as it passes.
TELECOMS MARKET
iSTYLE insists it cannot service units purchased from grey marketeers and will only be able to assist customers with iPads sold in its outlets across the region. However, despite urging customers “to be patient and wait for the official launch of the iPad in the Middle East”, the UAE-based reseller has given no indication of when the much-lauded tablet will be available on its shelves.
010 JUNE 2010
EGYPTIAN ISP TO OFFER BROADBAND THROUGH POWERLINE NETWORK
UAE TELECOMS MARKET TO GROW AT 20 PERCENT ANNUALLY: TRA
Internet service provider LINKdotNET has announced that it will deploy a broadband over powerline (BPL) network in Haram City, Egypt. In partnership with SABA Electric the operator will serve 70,000 residential units with broadband services of up to 8Mb/s. “LINKdotNET is pleased to introduce the LINKDSL Power service that will facilitate internet access to Haram City without having to wait for the availability of land line networks,” said Karim Beshara, CEO, LINKdotNET. “With the increase of internet usage and demand in Egypt, it became part of LINKdotNET’s responsibility to facilitate internet access to all its customers,” added Beshara.
The UAE telecom’s industry is now worth US $16 billion, according to the country’s independant Telecommunication Regulatory Authority (TRA). “The UAE telecoms sector has grown from $8bn to $16bn since 2005,” said Mohamed Nasser Al Ghanim, director general, TRA. “The market will continue to grow by 20 percent annually, which will be driven – in part – by sales of smart phones and devices which will double this year,” he added. Speaking at the annual MECOM event in Abu Dhabi, Al Ghanim noted that the continuing prevalence of these handsets would stimulate the market and that the TRA would act to encourage this investment.
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RAI Amsterdam Conference 9-14 September : Exhibition 10-14 September
IBC2010 Experience the state-of-the-art IBC is the premier annual event for professionals engaged in the creation, management and delivery of entertainment and news content worldwide. • 45,000+ attendees from 140+ countries • 1300+ key international technology suppliers across 11+ exhibition halls • world-class demonstrations of groundbreaking technology such as stereo 3D • agenda-setting conference with 300+ high-profile international speakers
• NEW Connected World for IPTV, Mobile & Digital Signage (Hall 9) • FREE hands-on training; Production Village (Hall 11) and Post Production (Hall 7) • FREE Exhibition Business Briefings • FREE movies screenings in the IBC Big Screen • FREE entry to the prestigious awards ceremony on Sunday 12 September
www.ibc.org IBC Fifth Floor International Press Centre 76 Shoe Lane London EC4A 3JB UK T. +44 (0) 20 7832 4100 F. +44 (0) 20 7832 4130 E. info@ibc.org
at r w no giste r e ist rg/re g Re bc.o .i w ww
VOX POP
DIGITAL PROSPECTS Despite a number of initiatives in the past, many remain sceptical on the prospects of digital content in the Middle East.
THE PIECES ARE IN PLACE SANTINO SAGUTO Managing partner, Value Partners The most significant challenge for companies in the Middle East in creating digital content is the ability to monetise that content. There are really only two main ways that you can generate value from content: either from advertising around it or charging people for consumption. Advertising in the Middle East is severely undervalued, with spend in 2009 valued at just US $22 per capita, based on the recent Arab Media Outlook report published by Dubai Press Club (jointly with Value Partners). When compared to North America where it reaches over $450, you see how hard it is to extract value from advertising. When it comes to charging people for content, although the digital world has a strong future, though it currently faces many challenges in the Middle East, such as widespread piracy and low credit card penetration. There is an under-served demand for local digital content in the region. If you look at a country like the UAE, 94 percent of people surveyed recently are spending between one and five hours per day online and the majority of those people prefer to browse the internet in Arabic. However, fulfi lling that demand is not just about creating more digital content. There also needs to be measures taken to increase the value of advertising in the region, combat piracy and make high-speed broadband in the region more affordable for people and so on. On the whole, the traditional content value chain still applies to even the most advanced digital markets. Producers are still providing the content, broadcasters are aggregating that content, electronics manufacturers are providing the equipment and telcos are providing the infrastructure and platforms for distribution. The difference today is that there are also a number of new players who disintermediate that value chain. For consumers, this means more content and new ways of accessing that content, so it can only be a good thing. Telco and media players in the region should continue trying and testing possible successful collaboration models to make best usage of their combined assets: access to customers for telcos and mastering of content for media companies. 012 JUNE 2010
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VOX POP
EXPECT A TIPPING POINT AMIR HEGAZI General manager, Vidunia There are two sets of challenges preventing online video from going mainstream in the Middle East, one which I think of as “structural” and the other is “behavioural”. Structural challenges include any current technology limitations and associated costs – high-speed broadband infrastructure and proliferation for example. Structural challenges historically have worked themselves out following a typical catch-up pattern, particularly in emerging markets, including MENA. Behavioural challenges on the other hand, are driven by perception of needs on both the content producer and the content consumer sides. For example, the extent to which content producers and rights holders embrace the shift from traditional single-media in the form of a television set to the multi-device, multi-platform approach is certainly a key driver. Certainly, ADMC’s upcoming online rebroadcast of the EPL is an “accelerator” content offering that is bound to significantly increase awareness of web content in the region, as well as provide a good example of well-taken multi-
platform response by an established media company to the shifting needs and viewing patterns of its audience. The content consumer side, is driven by certain influential factors being in place. Such factors vary across the board from engagement with similar offerings such as MBC’s Shahed Online, YouTube, Metacafe, etc. to indirect engagement by other services out there that promote greater usage and reliance on social and digital media in general, such as Facebook, Twitter and so on. I think as this continues to happen, a tipping point will be reached – probably by 2013 or 2014 in my estimates – when we’re going to start to see significant erosion of the traditional TV ad marketplace and a shift to new media video platforms. I also think we will see much quarters in late 2010 and early 2011 in internet video advertising than we’ve ever seen, but it is starting from an exceptionally small base so we have to be patient. We’re getting there slowly but surely. The main thing to remember – as is the case with all disruptive technologies on a global basis – the tendency is for most people to overestimate the impact of such new technology in the short-term and underestimate its true impact in the long-term. Online video growth in MENA is no exception and is here to stay and grow.
TOP FIVE LOCATIONS OF MIDDLE EAST INTERNET USERS
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AMIR HEGAZI General manager, Vidunia
SOURCE: Internet World Stats, September 2009
PENETRATION ON THE RISE In 2003 a survey conducted in Egypt, Jordan and the UAE asked the public what their favourite medium was for entertainment and information. The three countries all placed television at number one with totals of 77, 70 and 78 percent respectively. The internet meanwhile, was chosen by just three, two and seven percent of the respondents in each country’s respective poll. Although a period of rapid growth in internet penetrations has improved the situation dramatically. According to Internet World Stats (IWS) the penetration rate in the Middle East now stands at 28.8 percent, well above the global average. Iran is by far the largest internet user in the Middle East with 32.2 million users. The largest Arabic speaking concentration is on Saudi Arabia, which has 7.7 million internet users. Only Syria, the UAE and Jordan have more than one million users IWS also estimates that there are now more than 60 million internet users who speak Arabic as their first language, making it the seventh most common language among internet users worldwide. These facts, combined with the typically young average age of the population in the Middle East, make the region a fertile ground for digital content services in the future.
The tendency is for most people to overestimate the impact of such new technology in the short-term and underestimate its true impact in the longterm. Online video growth in MENA is no exception.
UAE 2.9 million
Jordan 1.5 million
Syria 3.6 million
Saudi Arabia 7.7 million
Iran 32.2 million
TOP FIVE MIDDLE EAST INTERNET USERS
JUNE 2010 013
NEWS REVIEW
SUSPECT DEVICE
The number of devices capable of playing high quality media content has ballooned in the past five years. The number of people who own more than one of these devices is also on the rise. But this ever-expanding choice is also breeding confusion. Digital Broadcast looks at the likely winners and losers in the device wars and the wider implications for the content industry. 014 JUNE 2010
SMARTPHONES Top of the pile in recent years and the most established in terms of prevalence and media usage by the public. The fact these are carried everywhere by their owners makes them ideal for “snacking” media consumption. The iPhone app model has been an overwhelming success creating a diverse range of content, elevating the producer’s of simple software apps to a new level of importance. The challenge for media companies is finding a more direct route of distribution to handsets. Proprietary content stores and illegal downloading lead the way and the sluggish response from indignant media companies continues. Smartphones are here to stay making the telco/ content owner relationship more critical than ever. NETBOOKS The development of sub-$300 dollar laptops with little processing power but a decent 10-inch screen
seemed like an ideal way for people to access and view content online. Data from DisplaySearch found a 72 percent jump in netbook revenues from 2008 to 2009 with sales hitting 33.3 million units. The netbook could do no wring and more and more manufacturers jumped on the bandwagon. All the research now points to a slowdown in this growth. With many purchasing netbooks as a cheap laptop replacement now having done so, bigger budget buyers will be looking for something a little more powerful. Smartphones meanwhile have only gotten smarter offering many the wireless access and computing power that only a netbook could offer before. This leaves the netbook’s biggest remaining advantage the portable, yet fulfilling 10-inch screens… cue the tablet. TABLETS So far the tablet market is very much in its infancy. The iPad has stolen the headlines and the Apple faithful signed up in their droves, even if the iPad didn’t fall very far from the iPod tree. The company will no www.digitalproductionme.com
NEWS REVIEW
doubt address some of the issues that have arisen with the iPad’s first iteration with future updates. Competition wise, we can expect Samsung to release an Android-based tablet later in the summer. The rumoured S-PAD will have a 7-inch screen, USB ports, WiFi and 3G. HP reportedly ditched its plans for a Windows 7 based tablet due to concerns over power consumption. The manufacturer (fresh from its $1.2 billion acquisition of Smartphone manufacturer Palm) now appears to be planning a new tablet strategy based on Palm’s webOS. Expect all the usual consumer electronics suspects to get involved as well. Tablets are very media friendly given their screen size and purported hardware specs. Just like Smartphones however, digital distribution (or lack of) could stymie any benefits for the content industry. www.digitalproductionme.com
Today, nearly 60 percent of consumers browse the Internet while they watch TV. They are clearly hungry for a more personalised and interactive television viewing experience and Google has now set the stage to deliver it.
CONNECTED TVS Various studies have found that TV viewers are increasingly browsing the internet on portable devices while they watch TV. Interest in the ability to flick between linear broadcast channels and the internet (particularly email, social networking and other communication tools) has grown hugely in recent years. Partially in response to this, the manufacturers have begun increasing the number of connected TVs that are available on the market. ABI Research estimates that 19 percent of TVs sold this year will have an Ethernet connection with this number increasing to 46 percent in 2013.
DOMINQUE JODOIN, CEO and president, Bluestreak Technology JUNE 2010 015
NEWS REVIEW
According to many commentators, the appetite for the services proposed by Google TV is already there. “Whereas ten years ago viewers scheduled their lives around television, today it is the other way around,” says Ben Piper, director of the Strategy Analytics Multiplay Market Dynamics service. “As we move in that direction, content search and discovery become increasingly important to consumers. This has been a major challenge to-date, and we are hopeful that Google TV will help to manage that transition.” It also provides Google with a platform for its content. “It signals a brave new world of video service that gives Google, owner of the world’s largest repository of user generated content (UGC), a powerful starting position to compete with everybody else who does video,” says Gerry Kaufhold, principal analyst with In-Stat. The knock-on effects for other video technology firms is also significant as over the top (OTT) TV prepares to enter the mainstream. “As a company that is a proponent of both open development environments and Flash technology, we applaud the new Google TV strategy,” according to Dominique Jodoin, CEO and president of Bluestreak Technology. “Today, nearly 60 percent of consumers browse the Internet while they watch TV. They are clearly hungry for a more personalised and interactive television viewing experience and Google has now set the stage to deliver it.” 016 JUNE 2010
ANALYSTS’ VIEW
GOOGLE TV
Microsoft has collaborated with a number of internet firms and broadcasters to sell content and make web-based services available via its hardware.
The recent play by Google, Sony, Intel and Logitech could see that figure increase dramatically. (see sidebar) “New features will include media guides, web browsing, and more tightly integrated social and information-based datasets,” says Michael Inouye, analyst, ABI Research. “TV makers no longer want to build ‘dumb screens’,” says Inouye. “Rather than simply selling boxes, TV manufacturers themselves could try to secure part of the revenue generated via the ads that their devices present to viewers.” Broadcasters must consider the effect of viewers having the power of the internet on the same remote control and exploit the creative and commercial opportunities presented by sofa-bound web browsing. GAMES CONSOLES Games console manufacturers have cleverly integrated the internet into their offerings in such a way that while it remains optional, it is practi-
cally impossible to function without the necessary updates – that are only available through the Xbox Live portal online. The same portal is also used to sell video and gaming content to users. This model has become standard and is used by Microsoft’s rivals in the sector. Sony announced a boutique movie portal for its Playstation 3 platform. MUBI brings together content from a number of independent filmmakers and production houses as well as a space for content discovery and fans forums. UK pay TV operator Sky TV offers access to its subscribers via Microsoft’s Xbox 360 adding extra value for its subscribers and dangling a carrot under the nose of those yet to join its growing ranks. The Middle East has a huge gaming culture among its young population yet the entire medium remains almost entirely the domain of outside entities. When it comes to media plays hosted on the major consoles, there has been no local initiatives so far. Without doubt it represents a huge window of opportunity immediately. www.digitalproductionme.com
ADVERTISING TECHNOLOGY FEATURE
CASE STUDY NEWS INTEGRATION BCE updated our installations with the best technology at an affordable price. The flexibility of the system with its easy integration of new technologies and its opening to Internet ensures our investment. ALAIN BERWICK Managing director (RTL Lëtzebuerg)
CHALLENGE: UPDATE THE RUNNING SYSTEM TO A MORE FLEXIBLE SOLUTION FOR RTL LËTZEBUERG, LUXEMBOURG’S NUMBER ONE CHANNEL. BCE’s challenge was to update the old tapeless system to today’s requirements with a multiplication of digital format entries (MPEG, MOV, MP4, H264, etc..) and to give the same flexibility for outgoing content. Although RTL Lëtzebuerg’s installations were fully tapeless between the newsroom and the broadcast, the ingest and part of the broadcasting were still tape-based. More than just opening the system to all possible formats, the system had to be flexible enough to adapt to any new standard. Finally, this complete new workflow had to be adapted to the different departments in RTL Lëtzebuerg, including journalists on the field.
SOLUTION: OPEN TAPELESS SYSTEM WITH DIGITAL ARCHIVING BCE managed the transfer from a proprietary tapeless system to an open system. The newsroom application together with Newslink – a tailor-made tapeless solution to connect journalists and newsrooms in a fast and reliable way – were used for the integration of any content coming from anywhere in the world with a centralised archiving system, where all videos can be stored and uploaded for direct editing, playout or streaming.
SOLUTION Fully transparent tapeless system Fast journalists feeds integration within minutes in the newsroom with Newslink Tapeless system between all the departments of RTL Lëtzebuerg Tapeless system between the journalists and the newsroom Easy archiving of all the digitized videos and interactive database for easy repurposing of content.
CHALLENGE Update the system from a proprietary to an open system Ensure full compatibility of the system with any digital format Allow the complete communication between the departments, the newsroom and the journalists Give RTL the possibility to receive and send their files from and to any source.
BENEFITS With its new infrastructure and its fully tapeless workflow, RTL Lëtzebuerg is now able to meet the market needs in quality and fast news. The different steps of a news project are easily done with the best quality and a greater interaction between the departments. The structure design allows easy upgrade with new technologies and the integration of new video formats.
Tel: (+352) 24 806605 Fax: (+352) 24 806609 Email: contact@bce.lu
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www.bce.lu
JUNE 2010 017
INTERVIEW
ARMY OF ONE
Conditional access firm Logiways claims to have the only system certified by the NSA in the US and six other military intelligence agencies in Europe. Digital Broadcast spoke to Albert Szulman to find out more… What is Logiways’ heritage? Albert Szulman: The company was founded in 2001 by Alain Catrevaux – former CEO of Canal+ Technology and one of the pioneers of conditional access – originally it operated as a consultancy. It was then decided Logiways would develop its own product, Safe Access. The level of security in the market was once very poor and the hacking power of the pirates was growing much faster than the security level. The conditional access market is very competitive, what does Logiways offer to differentiate itself? AS: It is the only conditional access to have EAL 4+ certification. To obtain this, labs from the NSA in the US and the equivalent organisations from Germany, France, the UK and others, spend 18 months trying to hack the system. If they can’t do it, then it is awarded the certification. Do you think independent certification is particularly important? AS: Logiways is the only conditional access provider on the market that has been tested by an outside lab and shown to be as safe as can be. It is about time the industry set some standards to guarantee the studios that their content is going to be protected. Independent certification is also a good way to compare the different CA on the market and
018 JUNE 2010
evaluate the real security of each. The ANSSI labs tried for more than two months to penetrate our system. They used several different means and a huge amount of infrastructure to try to hack it and they didn’t succeed. Logiways is now confident that its system is reliable and secure. It would now like the other CA vendors to go through the same process so we can compare the results.
To obtain this [certification] the NSA in the US and the equivalent organisations from Germany, France, the UK and others, spend 18 months trying to hack the system…Logiways would now like the other CA vendors to go through the same process. ALBERT SZULMAN VP marketing & sales, Logiways
What role do you see conditional access playing in the future? AS: Digitalisation means a move from DVDs and other formats to fi les. Th is means the technology has become key for all the content producers. If they cannot protect what they are producing, they are never going to see a return to match the growing costs of producing content. Has Logiways signed any customers since the launch of Safe Access? AS: Logiways has one customer since the launch in September and we are in negotiations with a number of other potential clients – including some in the MENA region. Safe Access is smartcard-based, do you think software only systems can be secure? AS: For one way networks we believe that today the best security can only be achieved with a strong, bundled software and hardware system. That means smartcards paired with a STB.
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COVER STORY
BREAKING THE NEWS Al Jazeera has risen from a single Arabic language news station to a multilingual network offering sports, children’s and documentary content. Since the acquisition of the ART sports rights however, the network has come under increasing scrutiny. Digital Broadcast charts the network’s rise, and the controversy that could derail it. 020 JUNE 2010
O
riginally an Arabic-language news channel available only in the Middle East and funded by the Qatari government, the Al Jazeera Network has undergone dramatic change since its launch in 1996. Throughout this period, controversy and acclaim have sought it out in equal measure. Today there are dozens of free-to-air Arabiclanguage news channels operating in the Middle East, but it is hard to imagine any one of them evolving into one of the most recognisable media brands in the world and one of the most powerful and influential broadcasters in the Middle East. Al Jazeera’s Arabic service has the largest market share in the region with an average daily audience of between 30-40 million. The English-language news service is now available in 100 million households with new distribution deals in Europe – and latterly North America – being signed on an almost monthly basis. The journey from news misfit to media empire took around a decade. Some things never change though. The network still manages to attract attention and provoke debate both inside and outside the Arab World.
At the time of press the network is indefinitely banned from operating in Bahrain. An official statement from the Bahraini government states that: “The freeze will continue until a memorandum of understanding outlining the relations between the ministry and the channel, which preserves the rights of both parties in accordance with the principal of reciprocity in practice of journalism and media, is reached between the two countries [sic].” The channel pointed out on its website that the ban was issued soon after it had aired a report on poverty in Bahrain. Last year the channel was banned from Palestine for spreading “falsehoods” after it broadcast comments by a senior member of the Fatah party. Despite its ties to the Qatari government the network has always taken a different approach to many other state-operated news operations in the region, and has been praised for it impartiality. The development of the English-language service has been an undoubted success. Finding carriage in the coveted North American market has proven to be more complex an issue than it should have been. Away from the direct impact that the English news-channel had through its own day-to-day www.digitalproductionme.com
COVER STORY
THE NETWORK AT A GLANCE
broadcasts, it was also a magnificent public relanetwork. This allowed it to immediately develop an tions coup for Al Jazeera outside of the Arab-world. international point of distribution for its content High-profile journalists and producers left in with effectively no limit on the amount of content it their droves to work for the new English-language could upload to the site. channel, forcing non-Arabic speakers who had It has also developed a triple-pronged mobile TV developed preconceptions about the network, to operation with both news services available in a live re-evaluate their opinion. streaming format and English language news bulOne of the most respected British broadcasters, letins available as part of an on-demand service. Sir David Frost and the then golden boy reporter at It is no secret that Al Jazeera has a mandate the BBC, Rageh Omaar, both signed-up. to pursue an expanding audience before chasing The launch of Al Jazeera English in 2006 caught profit. It is not accurate to say however that it is many outside the region by surprise. The high operating with a blank chequebook. production values and the open-minded Though still funded in-part by the Qatari news agenda, which committed greater government, Al Jazeera has, like many volumes of airtime to stories in the other state-backed media in the developing world, were praised. region, begun to follow commercial the Al Jazeera Documentargets with renewed vigour. The rumoured fee paid tary channel was borne out of the When founded from the ashes by Al Jazeera for ART’s widespread acknowledgment that of the old BBC Arabic and Orbit sports broadcasting the network was consistently able joint venture in 1996, the network rights. to tell stories that other networks received a loan of around $130m either could or would not. from HH Sheikh Hamad bin Khalifa al e This selling point alone helped the Thani, Emir of Qatar, and was given the documentary channel and the English language target to be self-sufficient by 2001. The network d service to attract a great deal of acclaim from missed this target and has since received further, s within the industry. smaller loans to tide it over. It is understand that w Al Jazeera’s investments have not been limited to advertising, cable carriage agreements and content high-profile on-screen talent. The company has had sales have pushed the network close to the brink an active new media department in operation for of self-sufficiency. One of the big drivers in recent several years. It was one of the first broadcasters in years has been its pay TV sports channels. the Middle East to take advantage of YouTube, by Al Jazeera Sport has pieced together a valuable establishing its own channel on the video-sharing slate of premium content with UEFA Champi-
$1bn
THE AL JAZEERA CHANNELS • Al Jazeera • Al Jazeera Mubasher • Al Jazeera International • Al Jazeera Childrens (in collaboration with Qatar Foundation) • Al Jazeera Sport 1-8 • Al Jazeera Sport HD • Al Jazeera Sport 3D
Champion’s League football had been the mainstay of Al Jazeera Sports until it acquired the FIFA World Cup from ART.
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JUNE 2010 021
COVER STORY
May 2010 Faces criticism from a number of quarters over handling of World Cup distribution. Banned from Bahrain. Five female anchors quit over dress code issues. January 2010 Anger in several markets – especially Egypt – as the first major event acquired from the ART deal goes to air on Al Jazeera with no carriage agreements in place. The network put the competition on its encrypted channels, which fall outside the sharing agreement it had with ART and it subscribers. July 2009 Banned from Palestine. April 2008 Anchor David March and senior executive Steve Clark leave Al Jazeera English. March 2008 Editor Yvonne Ridley wins case for unfair dismissal and is awarded $27,500 in damages. February 2008 Al Jazeera criticises a broadcasting charter proposed by the Arab League that prevent s any station from criticising the any Arab government. July 2004 Al Jazeera is only granted carriage in North America on condition that the cable companies edit certain content out. The labour involved means the networks opt not to pick up the station. 022 JUNE 2010
HISTORY OF CONTROVERSY
TROUBLED TIMES
The Al Jazeera Children’s Channel has enjoyed immense success.
hard football fans. It must also be remembered that ons league, Italian Serie A and Spanish La Liga large portions of the region’s expatriate communifootball at the top of the bill. In November 2009 the ties will be experiencing having to pay to view the network’s bold purchase of pay TV operator ART’s tournament for the very first time. With just weeks sports bouquet instantly elevated it to the front of to go until the start of the competition many were the pack. It also delivered the exclusive broadcast still unsure of how to view the tournament. rights to the FIFA World Cup for 2010 and 2014. At the time of press one internet service provider Questions were raised regarding how the netin Saudi Arabia – GO Telecom – had announced work planned to provide access the content. Satelthat it had would offer access to the World Cup lite subscribers are required to use the Al Jazeera alongside subscriptions, cable operator E-viSport encryption card and STB. Would Al sion had secured access for its subscribJazeera simplify matters by makers (as long as they also subscribed to ing the World Cup channels part Al Jazeera Sports and paid around of other DTH pay TV operator’s $100) and rival du had yet to secure bouquets or would a second box a deal but had indicated that one be required? The average cost per was close. Outside the UAE, the opThere were also questions over match of an AJ Sports tions are limited almost entriely to payment. With rumours circulatWorld Cup package. an Al Jazeera card and a set top box ing that the network was looking that is compatible with the network’s to recoup as much of its investment security. Unfortunately, this knowledge in the ART sports rights as possible by has not been widely circulated among the public. ramping up the World Cup prices. “The World Cup is available on Al Jazeera Sports During the past two months there has been channels only. We are unaware of any other much grumbling – first inside the industry and network that will be re-broadcasting these rights,” then among the public – regarding the Al Jazeera said Ali Ajouz, SVP marketing, OSN when asked by plans. The price is not necessarily the issue – $100Digital Broadcast if it would pursue a deal to show $130 for 64 matches works out very economical the tournament. “On our part, we did approach Al indeed – the pre-requisite to sign-up for a 12-month Jazeera but it seems that Al Jazeera wants to keep subscription in addition to this charge seems to be the World Cup exclusively. And we as OSN have the main stumbling block. neither promised nor promoted the World Cup at There has also been much criticism of the lack of all to our subscribers.” information made available to the public regarding Despite this criticism there are reasons for Al the distribution plans for the World Cup. The event Jazeera to have taken this route and there are is almost considered a human right by some die-
$1.5
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COVER STORY
In the UAE, 3D broadcasts of the competition (via Al Jazeera Sport 3D) will be shown in cinemas. It is anticipated that E-vision could also broadcast the Al Jazeera Sport 3D channel to its subscribers. Evision CEO told Digital Broadcast in February of this year that the company hoped to offer 3D before the end of 2010 and did not believe that the World Cup would come too soon for its 3D rollout. From a broadcast technology standpoint, Al Jazeera has excelled. If there are questions to be answered regarding the network’s handling of the World Cup, they should be directed at the network’s marketing department. The rollout of HD services in the Middle East took years longer than it could have done. Consumers – particularly in the GCC – have been ready to receive HD for some time. Walk into any consumer electronics store now and 3D is the focus of the big sales push. The early presence of Al Jazeera Sport 3D catapults the format ahead of the early progression of HD and speeds up its path to the living room. Making content available early on will accelerate take-up of 3D TV sets and stimulate other broadcasters to bring their own 3D plans forward.
We are unaware of any other network that will be re-broadcasting these rights. On our part, we did approach Al Jazeera but it seems that Al Jazeera wants to keep the World Cup exclusively. And we as OSN have neither promised nor promoted the World Cup at all to our subscribers. ALI AJOUZ SVP marketing, OSN
www.m3sat.com
info@m3sat.com booking@m3sat.com
M-Three Satcom Srl - Milano, ITALY
aspects of the World Cup plans that it is not being given credit for. In terms of the satellite broadcasts, it is not unreasonable that it wants customers to view the content through its own platform, giving it full control of the conditional access system guarding the much sought after content. If Al Jazeera did indeed pay the rumoured $1 billion to acquire the ART sports rights then it is a safe assumption that part of its strategy is to use the World Cup as a loss leader to drive subscriptions rather than something it is looking to monetise directly. In the short term however, this means those who had not already subscribed, and who hold premium sports (particularly football) in high regard, must come to the painful conclusion that Al Jazeera has the near monopoly on these rights, and for them, is a must-have. It should also be remembered that Al Jazeera Sports will not only deliver the first World Cup to be broadcast in HD across the Middle East, but also the first to be offered in 3D. It is important that the relative importance of these two developments is not confused.
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JUNE 2010 023
IKOO
THE WEBMASTER O
The Middle East’s broadcasters are struggling to drive significant revenues from web-based services. Isam Bayazidi, head of the region’s largest online advertising network, ikoo, reveals his advice for broadcasters looking to generate some internet income. 026 JUNE 2010
nline advertising is taking hold in western markets and the trend will envelop the Middle East sooner or later. A recent study in the US found that more than half of advertisers using internet platforms intended to increase their budgets for advertising based around content websites. This represents a clear sign that broadcasters have an opportunity to create valuable advertising space. They also have the unique opportunity to tie this together with their other media platforms. They can also use their experience and creative heritage to develop attractive and engaging opportunities for advertisers. The challenge facing broadcasters is to alter and adapt ingrained processes and preconceptions to place themselves at the front of the queue with online advertising clients. “If a broadcaster doesn’t understand the value
that having its content online can add, then it could be threatened by it instead,” says Isam Bayazidi, CEO of ikoo, the largest online advertising network in the Middle East and North Africa. “They could view it as competition to their own TV channels and the direct sales on those. In reality, this is unlikely to be true.” So what trends in online ads do broadcasters need to be aware of in order to squeeze additional revenues from the platform? “The most recent shift in the market has been the move away from traditional display ads that mimicked those we see in the print industry, towards interactive advertising. This allows the consumer to take part and contribute to the message or the brand that the advertiser is seeking to develop,” explains Bayazidi, citing the example of a snack manufacturer in the US. “They asked the public to make their own ad www.digitalproductionme.com
IKOO
for the product and to post it online. The winthe consumption of online content increasing in the ning video would then be used as the company’s Middle East too. MBC shows some of its top shows Superbowl ad. There was a huge response and sure online once they have aired. Al Jazeera has been enough a user generated advert was shown on a US putting content on YouTube for several years and $9 million ad spot during the Superbowl that year.” has a very popular YouTube channel. Some of the According to Bayazidi there have been only a players here are making moves. In a few years time handful of similar campaigns in the Middle East there will be a much wider availability of content despite internet penetration levels in the region online then viewership will increase significantly. I surpassing mass market levels. believe the content must come first, however. There “The media buyers, the creative agencies, pubis a disproportionate volume of Arabic content lishers and the broadcasters all have to play a part versus the number Arabic web-users, a huge shortin educating the market about online advertising. I age. The TV production houses and all the content know the strengths of TV and of online also providers have a big part to play in helping and if the two work together then they that to grow.” can create a more rounded comThere are several strong examples munication and message for the of profitable online content portals public. Some advertisers are startin other markets offering broadValue of the US internet casters several routes to extra ing to understand that it is not a advertising market matter of online or TV, outdoor revenue. ABC has posted episode in the first quarter of or radio, it is about the best way to of Lost on iTunes after airing. They 2010. deliver the same message over all are ad-supported and attract several these platforms.” million views each week. Network can Bayazidi says there are several action offer the same using their own websites or the broadcast industry can do to ensure a bigger opt in to collective schemes, such as Hulu. piece of the pie. There are few such offerings in the Middle East. “There needs to be more content online for this “I don’t see this as a barrier,” says Bayazidi. region. Not as a substitute for TV – traditional TV “International platforms such as YouTube can and viewing will always be there at the forefront – but are working for broadcasters in this region and elsevie where. At the same time, the content owners could in order to allow people to watch programming on their own terms. be playing a bigger part. It is not difficult for them th “You can consider the internet as the world’s larg- to develop their own platform for distributing and est on demand platform. At some point we will see streaming content to users.” es
$5.9 bn
In other markets you see channels consistently driving traffic for their sites and urging viewers to get more background or to take part in forums and so on. This doesn’t happen nearly as much on the major channels in this region. ISAM BAYAZIDI CEO, ikoo
As internet penetration in the Middle East continues to grow the market for online advertising will also grow. The challenge for broadcasters is to ensure that they do not miss out on their piece of the pie.
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JUNE 2010 027
IKOO
$3.2bn Value of the EMEA internet advertising market in 2003.
$27.7bn Value of the EMEA
ALL SIGNS POINT TO GROWTH
IN NUMBERS
Monetising online content is now a proven, viable business model.
internet advertising market in 2009.
$1.9bn The portion of this total that is derived from mobile internet access.
20.9% The compound growth of internet ads in Middle East and Africa driven predominantly by the pan-Arab region.
$636m The estimated value of the online ad market in Middle East and Africa in 2012. Source: PwC
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Simply making content available is not enough in itself to create a viable business model for broadcasters based on internet advertising. “They also need to start giving more power to this content and to their own websites,” says Bayazidi. “In other markets you see channels consistently driving traffic for their sites and urging viewers to get more background or to take part in forums and so on. This doesn’t happen nearly as much on the major channels in this region.” The third step for broadcasters once they have developed the portal and the audience, is to drive awareness among the advertisers themselves and encourage them to use digital platforms in tandem with their TV spend. “I don’t see any activity along these lines in the Middle East today. The proportion of online revenue versus TV revenue is currently very small for the major broadcasters in this region,” claims Bayazidi adding that this is not especially worrying given the maturity of the sector. “The TV industry is still young. It is still in the development stage whereas elsewhere in the world they are moving into the transformation phase.”
If the TV industry is young, then the Middle East’s internet is even younger. Penetration is expanding faster in this region than any other, but according to Bayazidi sheer numbers alone are not enough. “The internet is used mainly for communication and social networks in this part of the world. The main challenge is to create the content that means it can be used for research, education and content consumption. If the growth of the internet in this region is to be sustained, the content problem must be addressed.” This problem is not purely the domain of those working exclusively on the internet. The web is an untapped distribution channel for most broadcasters in the Middle East, and this is as much a problem for them. A problem that will only get worse is left unaddressed. Distinguishing between traditional forms of media and new media is no longer particularly helpful, says Bayazidi. “Discussing a disconnect between the two is not something I like to do. The trend that is emerging elsewhere is that the TV networks are becoming the central point for online and broadcast media.” With well-known brands and mass audiences already in place it should not be a surprise that the established broadcasters that have embraced the internet have done very well. “This [success] has happened once they stopped thinking of their own websites as something additional and started thinking of it as part of their core strategy.” www.digitalproductionme.com
ARAB MEDIA FORUM GALLERY
IN PICS:
ARAB MEDIA FORUM Executives, editors, regulators and content creators gathered in Dubai last month for the 9th edition of the Arab Media Forum. Al Arabiya presenter Battal Al Goos.
030 JUNE 2010
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ARAB MEDIA FORUM GALLERY Mohammad Jamil Abdelqader is the chairman of the Arab Sports Press Association and president of the Jordanian Sports Press.
Maryam Bin Fahad (centre, facing camera), executive director, Dubai Press Club.
Mohammed Najeeb, head of Abu Dhabi Al Riyadiya Channels.
Ghanim Al Najjar, (centre) professor of political science, Kuwait University.
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JUNE 2010 031
THURAYA COVER STORY
BLUE SKY THINKING Rashid Baba, product management manager at Thuraya, discusses the satellite communication developments and services that help the broadcast sector operate, whether that means reporting from a natural disaster or war zone or covering a major sports event.
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T
he broadcast industry is an extremely mobile sector, requiring flexible tools and services to help reporters and production staff to do their jobs effectively. Satellite IP is one such service that has helped this mobile workforce move around and ensure accurate and timely delivery of global news and broadcasts. According to expert researchers, segments of satellite communications are changing as people become more reliable on data rather than voice solutions. In the past, voice dominated the Mobile Satellite Service (MSS) segment with an estimated 90 percent of market share, but now, data is predominately bigger at more than 60 percent and expected to grow to 75 percent in the next few years. The growth of the data requirements is essentially driven by the increased use of applications by customers around the world. Applications can range from personnel tracking, live as well as “store and forward” video transmission, internet browsing, emails, FTP, etc – all of which utilise data. Experts also say that as many of the new end-user applications are relatively bandwidth intensive, the data consumption per MSS terminal is currently increasing fast, and this ultimately increases Average Revenue Per Unit (ARPU) and thus total MSS wholesale revenues. Researchers say that the shift in the nature of MSS traffic and thus the importance of data transmissions and services will become even more apparent in the coming years, providing the primary impetus for growth in the MSS sector. With advancing technology and new generations of both satellites and terminals, we will see higher data transmission rates, enhanced capabilities, and improved interfaces for the increasing communica-
tion needs of professional end-users. For the broadcast industry, journalists and reporters have discerning demands when it comes to effective satellite IP solutions, in order to record or enable a live streaming of their news story. A reporter’s primary concern is communicating their story in real-time and being the first news station to break the story. A key requirement of a satellite IP solution for reporters is quick deployment – anytime and anywhere. Ideally, the solution should be plug-andplay compatible, user-friendly, and ready to start streaming within minutes. Additionally, the terminal needs to be lightweight and discreet. What’s more, the solution needs to be reliable and available on demand on a congestion-free satellite network irrespective of the number of mobile IP satellite users in the hot-spot. This means that bandwidth or connectivity is not affected no matter how many mobile IP satellite devices are using the www.digitalproductionme.com
THURAYA
same network. There is little use in a quickly-deployable solution if there is a limitation on the number of simultaneous mobile IP users. In such a scenario a reporter has to wait for hours to hook on to the network. Its availability could only come after competing reporter finishes sending the report first. The type of satellites and the network is very important for fast delivery of the content from the field to the studio. The satellite service operator should have the capability to dynamically – as well as statically – allocate the satellite resources in any spot beam. The Thuraya satellite network has a unique capability of doing this and allocates about 20 percent of its satellite capacity to one spot-beam. This ensures that an almost unlimited number of users are able to simultaneously report live from any hot-spot without any possibility of network congestion. This is particularly useful in scenarios where a large number of reporters assemble in one area (for example, a conflict zone or where there www.digitalproductionme.com
has been a natural disaster with limited terrestrial communication infrastructure) and need to upload high amounts of data at once. Broadcasters will look to save costs on the amount of data being transferred. An asymmetric capability, which is uniquely available on the Thuraya Satellite Network, allows cost savings as the upload and download speeds do not need to be equal. A reporter who only uploads stories to the newsroom will need a large upload and only a small download capacity. An asymmetric connection can reduce overall usage costs by more than 40 percent. Thuraya was the first to introduce 384kb/s streaming service on an A5 sized terminal, and the company has recently introduced TCP Accelerator for Thuraya IP, that increases broadband throughputs by up to 80 percent. This enables larger files to be transmitted and received more quickly, boosting productivity and also delivering cost benefits by minimising connection times. A wide range of researchers and industry leaders highlight and suggest that the Middle East and North Africa as a key region for growth in the global satellite industry, and this trend has been amplified by the actions of several operators choosing to expand their coverage for key MEA customers. As the industry continues to enhance its technology offerings, a trend of cost reduction has emerged. With increasing competition among operators, and from other technologies, both equipment and services will get progressively cheaper. The price decrease is, however, anticipated to happen relatively slowly, with MSS remaining a premium priced niche offering for industries such as broadcast. Rashid Baba is product management manager at Thuraya.
Broadcasters will look to save costs on the amount of data being transferred. An asymmetric capability... Allows cost savings as the upload and download speeds do not need to be equal. A reporter who only uploads stories to the newsroom will need a large upload and only a small download capacity. RASHID BABA Product management manager, Thuraya JUNE 2010 033
3D TECH
MAKING 3D WORK B
Stereoscopic copic broadcasting throwsup a number of technology challenges for production and transmission. These are neither unprecedented nor insurmountable, writes Amberfin’s Mark Horton.
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oth colour and sound had false starts in the cinema; it took a series of breakthrough movies, like The Jazz Singer (sound) and Wizard of Oz (colour) to gain public acceptance for the two technologies. In 1928, the head of United Artists claimed that: “talking pictures will never replace the silent drama” and Russian film genius Sergei Eisenstein called sound “rotten trash”. Later, similar arguments were made against colour, especially on the grounds of cost. The experts at Fortune magazine said, as late as 1934: “whether colour can make black and white pictures as obsolete as sound made silent pictures, is quite another question”. But ultimately, the movie business is just that: a business. Both sound and colour took some initial investment – and indeed a leap of faith – on the part of the studios, but both turned into big revenue generators for the people who backed them. Today the same conversation exists around Stereoscopic films (typically shortened to s3D) – as the first of the big s3D blockbusters start to make big money for their makers, the discussion is moving to the next step: s3D broadcasting. However, s3D broadcasting is still in its infancy, led by a few early pilot programmes and channels. Recent consumer research shows that, if done well, s3D broadcasting could grow into a significant new choice for viewers at home.
Like its cousin in the cinema, it could make big money. But it’s important to remember that 3D cinema has a source of revenue now – the paying public spending money at cinemas. It’s not clear how soon (or how much) cash will come from the public for s3D broadcasting. So, unless you’re lucky enough to have a consumer electronics underwriter, for the near term, s3D cinema remains net cash positive and s3D broadcast remains net cash negative. The issue for most broadcasters is how and when to plan for s3D. There’s an industry-wide learning curve and just like when the talkies or colour came to cinema, there are objections, debates and misunderstandings about s3D broadcasting. For example, many journalistic articles use images of anaglyph glasses, the legacy red/blue system that is not seriously discussed for modern s3D broadcasting. Today’s s3D broadcasting plans almost all involve the use of linear or circular polarised glasses, or active shutter glasses. These systems produce far better subjective quality than anaglyph. Stereo3D televisions coming onto the market now, give a good stereoscopic image and they work well with conventional 2D SD and HD content too. Empirical evidence in early s3D broadcast trials
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3D TECH
Consumer electronics manufacturers are particularly keen to exploit the potential of 3DTV as sales of HDTV sets plateau in several important markets.
clearly shows that whichever system is used, there More and more cameras produce files rather is a pressing requirement for high levels of image than videotapes and more and more broadcasting quality, which are at the very top end of what is curtoday is file-based. rently seen today by home TV viewers. Transmitting two non-compressed baseband If we are collectively going to make money out 1920x1080 4:2:2 Stereo3D HD signals, throughout of s3D broadcasting, we need to produce good every stage of broadcast production, post-producpictures for the consumer to watch and we need to tion and delivery looks commercially impractical do that cost effectively. for some broadcasters, as it would use up signifis3D broadcast works by horizontal disparity. cant bandwidth, burn up disc space and would Stereo3D content is created by shooting or renderrisk the two signals picking up unwanted image ing (or ‘dimensionalising’) two eye views with a artefacts along the way. horizontal parallax offset, giving a left eye and a Losing sync is another issue; however, there are right eye view. several image format schemes that aim to reduce Any other disparity between images, like colour the amount of bandwidth and reduce the risk of differences, blocking artefacts, timing loss of sync. These schemes include ‘Side offsets, differences in sharpness, geoBy Side’, ‘Side by Side with Enhancemetric differences etc. causes disment’, ‘Checker Board’ and many comfort (and eventually headaches kinds of posited ways of achieving and nausea). So at each point in Stereo3D specific compression. The total of 3DTV sets the workflow chain, we need to get For example, in side-by-side, or things right. over under or checkerboard, a sinto be sold in 2010, In shooting s3D broadcast, typigle signal is created that combines according to iSuppli. cally a pair of matched HD cameras, the left and right eye into a single imwith matched lenses, mounted on an age frame. This is then expanded out by s3D rig, is used to capture the image. The the viewing device. Because we make stereo horizontal offset produces a binocular disparin our brains by some very complex method, despite ity. That binocular disparity, together with other the reduction in resolution, pictures still look good. information in a scene, especially the relative size Stereo3D compression includes a variety of posof objects, occlusion and relative motion, creates sible alternative schemes that take advantage of depth perception. the similarity between the eyes to intelligently send No special cameras are needed, though great only the required data. care is needed to colour match and geometrically All these different schemes that support 3D align the cameras. transport over the existing HD distribution infraToday, given the right tools, post production of structure are currently being debated. stereo 3D content is also becoming simpler, quicker The Society of Motion Picture and Television and cheaper than ever before. Any last minute Engineers (SMPTE) recently set up a task force to quality ‘fi xes’ can be applied and assuming that the examine 3D to the home, and this very useful initial camera rushes are well shot, with a little specialist report is available from SMPTE but it’s likely that knowledge, content can be produced that is comthe race to bring s3D to the public will be a marafortable to watch. thon, not a sprint.
4.2m
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It’s important to remember that 3D cinema has a source of revenue now – the paying public spending money at cinemas. It’s not clear how soon (or how much) cash will come from the public for s3D broadcasting. MARK HORTON Product marketing manager, Amberfin
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3D 3D TECH TECH
Al Jazeera Sport 3D, Qatar BS 11, Japan MSG 3D*, US Canal+ 3D*, France ESPN, US Fox Sports, Australia Sky 3D, UK SKY 3D, South Korea *Final station name TBA
THE LINE-UP SO FAR
3D CHANNELS WORLDWIDE BY END OF 2010
by CTO Bruce Devlin (one of the original team In the future, the public may be viewing s3d behind MXF) is currently working with the SMPTE content in widely different contexts. From a single to incorporate s3D good practice in MXF. individual watching content via a games console to Using MXF as the container format for s3D has large audiences watching content in a cinema or in many potential advantages. First, MXF is image a stadium. agnostic – it does not specify which image format In the end, long-term commercial pressures will should be used. For example, it could just as easily dictate which image formatting schemes triumph, carry a side-by-side image as over under. Secondly in which applications. it is also flexible in which compression scheme it Anyone thinking about making an s3D investcarries; it could carry s3D images compressed as ment needs to make sure they are future-proofed. JPEG 2000, H.264 or other high quality codecs. FiThere’s already a running debate around topics nally, it is an open, non-proprietary standard made ranging from s3D acquisition, editing, compositing, by the industry, for the industry and overseen by delivery and display and this potential for a lack AMWA – a non-profit making body that of an image file format standards is leadincludes end-users and vendors. This ing to some confusion in the industry. means it can adapt to the future s3D The good news is that some needs of the industry. areas may prove to be easier The MXF work AmberFin is doing to gain agreement on. The total of 3DTV sets as part of the broader SMPTE s3D For any vendor offering to be sold in 2015, TV initiative, will help knit together s3D in file-based workflows, according to iSuppli. file-based workflow and s3D in a way especially if there is transcodthat can benefit everyone. ing or rewrapping involved, Forecasting the future is a contact it’s extremely important to work sport; if you’re lucky you only come away with at the correct level of quality, at an minor damage. We do know one big investment acceptable data payload and to make sure driver in the industry right now is the move from that the images are correct. s3D in a file-based workflow needs definition, industry agreement tape-based to file-based working. We don’t know what the s3D broadcast adoption curve is going and guidance and the most likely container to look like but the lessons learnt from history technology that will be used is MXF. indicate customers and vendors will need to colMXF is both a toolkit and a range of laborate in order to work out ways to move forward existing container formats, for doing the that offer the right levels of image quality. We also ‘heavy lifting’ in file-based workflows. MXF know a robust file-based s3D workflow is going to is increasingly the wrapper format of choice for broadcasters moving away from baseband video be needed, to help make s3D broadcasting practical and profitable. and towards file-based workflows. AmberFin, led
78.1m
3D in the home still has some way to go before it reaches profitability, but the technology is in place.
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TECHNOLOGY
ON THE GRID
Broadcast network infrastructure in the Middle East and Africa is under review with several governments looking at the possibility of installing digital terrestrial networks and the spectre of mobile TV set to make an impact in the near future. Digital Broadcast looks at the credentials of some of the major infrastructure developers. JAMPRO US antenna manufacturer is no stranger to the Middle East market. The company is a consistent presence at CABSAT and has secured a number of clients through out the Middle East. Egyptian Radio & Television (ERTU) invested in Jampro antennas and related RF equipment to be deployed at two of its FM transmission sites. The order included two Jampro model JFVD FM vertical dipole flat panel antennas, two Jampro model RCPU patch panel/power splitters and RCCC constant impedance combiners. “Our vertical dipoles were a wise choice for ERTU for several reasons, the foremost being that its simplicity of design and virtual indestructibility are ideally suited to the brutal sandstorms that often occur there,” says Alex Perchevitch, president, Jampro. The JFVD antenna is made of heavily hot-dipped galvanised steel, making it ideal for such conditions, Perchevitch adds. The company has also previously worked with the Kuwaiti government to upgrade the Gulf nation’s state radio network. 038 JUNE 2010
PRODUCT UHF RWED-516-U MASK FILTER/COMBINER Jampro’s, compact yet expandable UHF RWED-516-U television mask filter/combiner is a versatile four-port directional filter/combining unit can be used either as a mask filter, or as a constant impedancecombining module for high power UHF broadcasting. It has a crosscoupled design that accommodates adjacent channels, meets stringent filtering standards and provides constant impedance performance in adjacent channel applications as well as channel separations greater than 15 channels. The large cavities of the RWED-16-U can handle high power with low insertion loss.
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TECHNOLOGY
PRODUCT SCX8000 SERIES The Rohde & Schwarz SCx8000 compact transmitter, which was introduced at NAB last year, is a compact range of DVB-T2 enabled transmitters. DVB-T2 is the next phase in the evolution of the established DVB-T standard for digital terrestrial television. By using new processes, DVB-T2 offers 30 percent higher transmission capacity, which allows more channels and, above all, program content to be transmitted in HD quality. Rohde & Schwarz supports the introduction and expansion of DVB-T2 with a portfolio of T&M equipment and transmitters. The SCx range is designed for both digital TV and audio broadcasting and includes an intelligent redundancy system for the exciter and high efficiency to reduce energy costs.
NET INSIGHT Net Insight claims to deliver 100 percent quality of service and the world’s most efficient and scalable optical transport solution for broadcast, digital TV, mobile TV and IPTV networks. The company’s technological approach can also help to save its clients money by significantly reducing energy usage. “Net Insight conducted comparisons between our selves and competitors and the energy difference even between two nodes is significant,” says Tomas Delden (pictured), Middle East sales director, Net Insight. “Some of our customers have told us that the OPEX savings that they make from using our system, including the savings derived from energy consumption, have underwritten the CAPEX from building the network in just a few years.” Last year Net Insight’s Nimbra platform was selected by Tata Communications for an expansion of its Global Media Network service. The network will allow exchange of content globally between key media hubs in India, USA, Europe and Asia Pacific. The network was installed and successfully launched in December 2009. The network has already attracted interest from media operators and local broadcasters. “We have selected the Nimbra platform to deliver video content flexibly and cost-effectively to media hotspots worldwide,” says Genius Wong, senior VP, global network services, Tata Communications. “Net Insight’s proven track record has made them an ideal platform for our global video distribution network.” www ww www www.digitalproductionme.com w.di .dd gitalp git it lpprod rooduct uct ction tion ion io onm me. me ee..co .ccom cooom m
ROHDE & SCHWARZ Rohde & Schwarz has a long heritage in the Middle East having devoped strong partnerships in the region as far back as 25 years ago. Today the company has two main areas of expertise in the broadcast sector – test and measurement and transmission. The company has taken a leading role in the development of DVB-H networks in the Gulf with the network in Qatar completed last year and the UAE network designed and approaching its next stage of development. The company has also taken a leading role with the development of the LTE standard for wireless broadband having done the same with the DVB-T, DVBT2 and DVB-H broadcasting standards.
PRODUCT NIMBRA Net Insight’s Nimbra platform offers advanced multimedia services in media networks with integrated video and audio interfaces such as ASI, SDI, HD-SDI, 3G-SDI, AES/EBU with native support for IP/ Ethernet and SDH/Sonet. With the highest network utilization, multicasting of all types of services, guaranteed quality of service and the possibility of extending the network entirely in pace with customer growth, the Nimbra platform offers the most efficient, reliable and cost-effective network solution available. The Nimbra 360 was developed to support the particular needs of DVB and Mobile TV networks. It incorporates configurable trunk and Gigabit Ethernet ports. You can connect the system to virtually any trunk circuit and network. The chassis offers two slots for video and audio interfaces or additional trunk ports. Our unique Time Transfer function allows DTT and Mobile broadcasters using single frequency networks to synchronize transmitters and provide interstudio sync without relying on GPS satellite signals or using any external devices.
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TECHNOLOGY
HARRIS Broadcast technology giant Harris competes in a number of sectors but has enjoyed particular success in the Middle East with its transmission infrastructure for a number of different platforms. Iraq’s Alsumaria deployed five Atlas DVB-H gap-fi llers to strengthen the network for its Mobision mobile TV service. Egypt’s state broadcaster, the ERTU, invested in a number of Harris Maxiva ULX liquid-cooled UHF TV transmitters and Platinum VLX liquid-cooled VHF TV transmitters as it prepares for its switch to digital TV transmission. ERTU said that it selected Harris transmitters because they are compact, easy to maintain and allow for an easy switch to digital transmission. The field-upgradeable design of the Platinum and Maxiva transmitters ensures that ERTU will not have to organise major technology rollouts or re-train its staff when ready to make the transition to digital. In Saudi Arabia, the Ministry of Culture and Information invested in a range of radio and TV transmitters as part of a major upgrading of its infrastructure. “We selected Harris transmitters because they provided the highest quality in terms of technology and reliability, as well as reduced operating costs,” says Dr. Riyadh Najm, deputy minister of engineering affairs, MOCI. “Harris is an established leader in the transmitter business, with a long track record of success worldwide. The company’s experience, along with the efficiency of the Harris systems integrator – First Gulf Company – was the major factor in our decision to allow Harris to play a central role in the modernisation project of the terrestrial network infrastructure for Saudi Arabia.” The MOCI purchased a total of 21 AM radio, 40 FM radio and 36 TV transmitters.
Dr Riyadh Najm, deputy minister of engineering affairs, MOCI.
PRODUCT APEX M2X MULTIMEDIA EXCITER The Apex M2X multimedia exciter allows analogue broadcasters to make the switch to digital via a straightforward software update, according to the manufacturer. It also allows existing digital users to carry out multi-channel broadcasting in HDTV or mobile formats in addition to their DTV signal. The exciter supports a number of digital standards including ATSC, DVB-T2, FLO, DVB-T and DVB-H among others and a range of analogue TV standards.
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The Apex M2X also includes Harris’ Real-Time Adaptive Correction (RTAC) system that allows the exciter to fully utilise the transmitter power amplifier while maintaining the spectral mask compliance of the signal. Harris claims it is the only system with simultaneous, linear and non-linear, adaptive memory precorrection. The Apex M2X can continuously monitor transmitter output and any filter, while automatically adapting for system non-linearities allowing stations to remain well within compliance but maximising coverage at the same time.
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BROADCAST APPS
APPLY YOURSELF A vast number of broadcast technology vendors are embracing the iPhone, iPod and iPad as a platform for professional tools of the industry. Digital Broadcastt showcases some of the best.
The iPhone has been widely embraced by the creative industries. 042 JUNE 2010
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BROADCAST APPS
Version 1.3 of FiRe, the professional field recording application for Apple iPhone and iPod Touch, developed by plicatio Audiofile Engineering, incorporates many new features including professional audio effects powered by industry includin leader iZotope. i most notable of these The m features is the new Podcast Export option, which allows users to publish podcasts directly from the iPhone, the first app with this capability. FiRe was designed to bring serious field recording to audio professionals and version 1.3 furthers this direction by being the first iPhone application to incorporate professional audio signal processing powered by iZotope, claims Audiofile. “With a reputation for the best digital signal processing available,
iZotope has become the leading provider of DSP for professional audio applications,” according to Matthew Foust, co-founder and operations manager with Audiofile Engineering. FiRe 1.3 is the first application with the ability to publish a finished Podcast directly from the iPhone or iPod touch. Several features make FiRe an excellent Podcast recorder, according to Audiofile, such as the ability to tag recordings with location data and the ability to insert and give names to markers. When creating a Podcast with FiRe, markers are converted to chapters for easy navigation. “Bringing professional audio processing to all platforms is part of iZotope’s main strategy,” explained Mark Ethier, CEO of iZotope. “We’re proud to have Audiofile Engineering as a lead customer on the iPhone with their professionalgrade FiRe field recording app.”
APP TV PLATFORMS
AUDIO AUDIOFILE ENGINEERING FIRE AUDIO A FIELD RECORDER
MOBICLIP HAIVISION VFICONTROL Haivision unveiled the VFiControl application for its Furnace video over IP platform, Furnace. VFiControl enables users to control the Furnace’s recording process, apply real-time metadata (HotMarks) on the fly, and review video recording directly on the mobile device. VFiControl is ideal for controlling the recording, review and publishing processes of medical procedures, medical skills and other training simulations, lectures, military exercises, and sporting events. With VFiControl, users can instantly review the recording directly on their mobile device prior to publishing it directly to the Furnace IP video system. “With the ability to view and control live video using mobile technology, Haivision customers realise dramatic improvements in the speed, ease, and convenience with which they can view, enrich, and publish media,” said Joe Gaucher, CTO, Haivision. “The release of VFiControl makes Haivision’s powerful Furnace IP video delivery system even more valuable and useful to our clients working in virtually any environment, anywhere. This exciting new app provides intelligent control over intelligent video. The development of VFiControl is indicative of Haivision’s direction and continued pursuit of solutions that empower customers to make the most of media across their enterprises.” www.digitalproductionme.com
Mobiclip provides mobile TV and mobile video services to broadcasters including the option of an iPhone appbased TV streaming service. Each application can be branded with the channels own look. The video is delivered at 24 fps and utilises the full area of the screen. Mobiclip can also support ad insertion in a number of formats including pre-roll, mid-roll, insertion or fixed banner. The service also has a bandwidth detector allowing it to adjust the bit rate of the video to the best achievable quality. Customers can also receive full usage reporting including user location, phone model, time of day and duration of view. Mobiclip counts France 24, Al Jazeera and MTV among its customers. JUNE 2010 043
BROADCAST APPS
STREAMBOX STREAMBOX LIVE Streambox launched the StreamboxME app at this year’s NAB. The video-encoding application enables iPhone 3GS users to upload high-quality video using the dedicated Streambox Live broadband video contribution service. Available for free download from iTunes, StreamboxME is a groundbreaking approach to field newsgathering and video capture that reporters and other content contributors can use to stream live or file-based video from their iPhones to broadcasters, news organisations, government agencies and enterprises. StreamboxME is the latest free-of-charge encoding application in the Streambox Live solution family, adding iPhones to other 3G and 4G mobile phones and Wi-Fi-connected laptops that can be turned into tools for flexible field newsgathering. By subscribing to the cloud-based Streambox Live service, news and media companies and other organisations can use low-bandwidth networks to enable many-to-many real-time and file-based video acquisition. After downloading the free encoding software to
their mobile devices, video contributors, journalists, citizen reporters, and enterprise communicators can file breaking news stories from field locations that are difficult for satellite newsgathering trucks to reach. Once the compressed video streams are uploaded to the studio, they can be decoded and broadcast live or archived via the Streambox Live data centre. “Streambox Live is a revolutionary approach to field newsgathering, enabling news organisations to expand their live coverage economically in remote, rugged field locations or those lacking high-bandwidth networking services,” claims Bob Hildeman, chairman and CEO of Streambox. “Reporters can add iPhones to the arsenal of mobile devices with which they can quickly and easily record, encode, and transmit live video. All they need is an iPhone and a lowbandwidth IP connection.”
4bn
The total number of applications downloaded in 2010 so far for the iPhone, iPod and iPad. to individual producers that previously could not afford one – BROADCAST PIX and wireless panels to larger production teams to expand their IPIXPANEL control options.” Each Slate system has its own IP address, so iPixPad can control a speBroadcast Pix announced the iPixPanel last month, an application that will cific system. The iPixPad application replicates a Slate’s PixPad, the bank of allow an iPad to control any of its Slate video production systems. The iPixPanel combines the iPad’s user friendly touch screen and wireless 12 buttons on the Broadcast Pix control panel that allows the user to fire off macro memories, as well as select clips and graphics. Unlike macros on control with a Slate panel’s unprecedented feedback, which shows device conventional switchers and file name on the that only recall switcher panel’s buttons, helping moves, Broadcast Pix users to create engaging macros can also recall live video. graphic and clip files, as Users can try a porwell as camera positions. tion of a control panel An iPixPad can control a for free by downloading simple show with macros the Broadcast Pix iPixthat select and position Pad from the App Store, cameras and automatithen run it on an iPhone cally add the approprior iPod Touch. ate title graphics and “Broadcast Pix has animations. The iPixPad always been about can also be used to augharnessing new ment control of a larger technologies to enable production by providing you to create the most an additional operator, compelling live video,” or even the director, said Ken Swanton, with a wireless controller Broadcast Pix president. that can be used to run “Now, the iPixPanel on macros or select graphics an iPad lets us bring a or clips. powerful control panel 044 JUNE 2010
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BROADCASTAPPS APPS BROADCAST
The first professional video editor application for Apple devices was unveiled at NAB this year. VeriCoder’s 1st Video app includes a multi-track sound editor, a video editor and a proprietary editing interface that the company claims makes editing with an iPhone easier than on a computer. The professional version of the system 1st VideoNet can be integrated into a professional newsroom environment. Videos can be taken from external sources and cameras and then sent to Camera Roll, Mobile Me or YouTube or sent to an IPTV platform with VeriCorder’s IPTV solution. The editor can handle resolutions of 640 x 480 although off-device rendering can be done at 720p. “It really is the first fully featured system for filing news reports from the field quickly and easily,” claims Gary Symons, founder of VeriCorder. “In fact, there are features in 1st Video that are still not available in large, expensive commercial systems, such as the ability to simultaneously file stories to the newsroom and the web.”
APP RADIO PLATFORMS
VERICORDER 1ST VIDEO
SMARTPHONE APPS Streaming technology developer StreamTheWorld offers radio stations a customised audio platforms. The app uses Advanceed Audio Coding (AAC+) and uses a low enough volume of bandwidth that it can be used over a 3G network. Several routes to monetisation via DoubleClick’s dart platform and through preroll videos. Usage tracking statistics, in the form of total unique listeners, concurrent listeners and total listening time are also available.
Apple chief Steve Jobs at the launch of an iPhone OS upgrade.
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BCA 2010
BroadcastAsia 2010 takes place this month with visitors able to sample the ultra-advanced Asian broadcast landscape and take a sneak-peak at some of the latest technology trends in the industry. TRIVENI DIGITAL
FRONT PORCH DIGITAL
STAND 7D2-01 (MAGNA SYSTEMS STAND)
STAND 7D2-01 (MAGNA SYSTEMS STAND)
Quality monitoring and analysis technology developer Triveni Digital will give the Asian debut to the new software for its StreamScope RM-40. Version 2.0 of the software was released internationally at NAB. The RM-40 product range offers the most sophisticated video troubleshooting tools to support problem isolation and repair, according to Triveni. The new software release enables a number of new services including a Live Services Monitor and thumbnail views allow operators to confirm with a glance that video is present providing a useful confidence monitoring tool. The update also supports decoding of Active Format Description (AFD) data to indicate the proper aspect ratio conversions between formats with automatic failure alerts. The third major improvement is an Automated Stream Comparison feature to ensure signal quality when digital broadcast signals are cross-carried into other infrastructures as part of carriage agreements.
Archiving hardware and software specialist Front Porch Digital will give the DIVArchive V6.3 content storage management system its international debut at BroadcastAsia. The new iteration is now fully compliant with a number of industry editing and production tools including Avid Interplay and Apple Final Cut Pro. It also includes DIVA protect as a standard feature. The fourth version of the SAMMA product line will also debut at the show. The SAMMA family migrate videotape libraries to file-based archives. “BroadcastAsia gives us the opportunity to introduce our enhanced SAMMA and DIVArchive systems to the Asian market,” said Rino Petricola, SVP and managing director of Front Porch Digital ahead of the show. “A key enhancement for 2010 is DIVAsymphony, our DIVArchive service oriented architecture (SOA) implementation benefiting customers with enhanced integrated workflows and operational reliability for a streamlined, end-to-end value chain, potential reduction of hardware acquisition costs, and accelerated development of customised applications. More specifically, DIVAsymphony facilitates tighter integration with third-party NLE solutions.”
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BCA 2010
VOLICON
VISITORS TO BROADCASTASIA 2009 TRAVELLED FROM SEVERAL PARTS OF THE MIDDLE EAST INCLUDING
STAND 8J1-03 Logging and monitoring application developer Volicon recently announced a significant expansion of its Observer product family. Volicon Observer captures, stores, and indexes broadcast content from multiple channels, offering users simultaneous, 24/7 access to video from their desktop computers. The Observer brings new levels of efficiency to critical broadcasting tasks including monitoring and troubleshooting transmissions, ensuring compliance, verifying advertising broadcasts, and tracking and analysing viewer ratings and public relations information. Newly developed capabilities include a new streamlined user interface supporting both the Windows and Mac operating systems, including support for Internet Explorer, Safari, and Firefox browsers. In addition,
Bahrain Egypt Iran Kuwait Lebanon Oman Qatar Saudi Arabia Syria UAE
several enhancements have been made to the search engine and scheduled recording module. The Observer product family now includes the budget-conscious Observer Professional, the Observer Enterprise for broadcasting facilities, and the Observer Plus for large production facilities.
9500
The number of visitors at last year’s exhibition.
SENCORE STAND 7F4-06
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The latest version of the iTX automated transmission platform will be on display at the Omnibus stand during BroadcastAsia. The system will be displayed as part of a filebased broadcast ecosystem including a number of integrated elements. These will include the ForeTV traffic and billing system from MSA Focus, DIVArchive from Front Porch digital, 3D graphics from RT Software and network-attached storage from Isilon. The latest version of iTX includes 100 new features including several graphics updates. Adjustable speed text crawls driven by RSS feeds. “We currently have in excess of 30 iTX-based channels on order in APAC and expect BroadcastAsia to be a big show as the region emerges from recession,” said Fintan McKiernan, sales manager, OmniBus Systems APAC.
CONFERENCE HIGHLIGHT
Signal transmission solutions firm SENOCRE will give three new products their Asia-Pacific debut at BroadcastAsia 2010. The TXS 3454 Transcoder – unveiled internationally at this year’s NAB – is a real-time transcoding platform capable of delivering multiple channels in a high density 1RU chassis. Key features include bi-directional video transcoding from MPEG-2 to MPEG-4/H.264 and/or H.264 to MPEG-2 in all common HD or SD formats, as well as ASI and IP transport stream and optional RF interfaces. The TXS 3453 offers up to 16 channels, providing broadcast, cable, and satellite operators with the most cost-effective solution for their specific needs, according to the manufacturer. “At BroadcastAsia 2010, SENCORE will showcase advanced video delivery and system monitoring and analysis tools to support consistent, high-quality, and cost-effective broadcast operations,” said Thomas Stingley, executive vice president of sales and marketing at SENCORE. “We have products ideally suited to meet the needs of the Asia-Pacific broadcast, cable, and satellite market, and we are looking forward to demonstrating our technology throughout the show.”
OMNIBUS STAND 7J4-01
LATENS Conditional access provider Latens will take part in the Advanced customer interface session at the BroadcastAsia seminar. As part of the conference’s Breaking new barriers in multi-platform content delivery, Rahul Nehra, Asia regional director for Latens will look at how cable and satellite operators can generate revenue from home networking interfaces. JUNE 2010 047
DATA 2VBSUFSMZ 3FWFOVF (SPXUI $PNQBSJTPOT ‰
Source: IAB/PwC
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1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1
DATA SOURCE: Web TV Enterprise
STICK OR CLICK? I
The spend on internet advertising is on the rise, but how can advertisers get more bang for their buck?
nternet advertising revenues in the US reached a record $5.9 billion for the first quarter of 2010, representing a 7.5 percent increase over the same period in 2009, according to the numbers released last month by the Interactive Advertising Bureau (IAB) and PricewaterhouseCoopers (PwC). This marks the highest first-quarter revenue level ever for the industry. “The year-over-year growth we are seeing reflects marketers’ confidence in the value and effectiveness of interactive advertising,� said Randall Rothenberg, president and CEO of the IAB. “The Internet, together with explosive technological innovation in devices and platforms, has transformed consumers’ lives, giving them access to entertainment and information however, whenever, and wherever they want it. That’s why the vibrant interactive advertising and marketing industry lends major fuel to the U.S. economy.� It is the second consecutive record breaking quarter with Q4 2009 reaching a high of $6.3 billion. This represented a 2.6 percent increase on the same period the previous year. “We are seeing continued signs of an improved economy and interactive advertising market,� said David Silverman, PwC Assurance partner. “The media industry – like the economy as a whole – saw tremendous challenges this past year, and uncertainty about the recovery remains. However,
048 JUNE 2010
The year-over-year growth we are seeing reflects marketers’ confidence in the value and effectiveness of interactive advertising. RANDALL ROTHENBERG President and CEO, IAB
entering 2010 with such strong Q1 revenues is a sign of the health and vitality of online media, and of marketers’ continuing investment in interactive as a cornerstone of their respective advertising campaigns.� While advertisers are seemingly happy to continue increasing their spend on internet ads, another study suggests that it is engagement rather than volume that is key to securing a return on investment from the medium. Independent advertising solutions provider Eyeblaster, found that even modest increases in dwell (the amount of time that consumer spends engaging with an ad) can have an disproportionately larger effect on the conversion rate (the percentage of consumers that perform a desired interaction, click through etc). The research carried out by Eyeblaster found that raising the dwell from five percent to 15 percent, increased the conversion rate 0.4 percent to 0.6 percent, an increase of 45 percent. The study was based on the analysis of 13 billion rich-media ad impressions. “It is encouraging to see the same metric applicable to different marketing objectives,� said Gal Trifon, CEO and co-founder, Eyeblaster. “The connection between engagement and conversions emphasises the value of digital display as a response medium. Joint research with Microsoft Advertising shows clear branding correlation.� www.digitalproductionme.com