< Previoushere has been some incredible broadcast coverage this summer of the world’s biggest sports events, showcasing the use of virtual production technology. The world’s coverage of Tokyo 2020 was particularly unique, with broadcasting studios opting for digital sets that virtually transported the audience to Japan during analysis and commentary. Now it’s time to look ahead to next year’s biggest sporting spectacle – FIFA World Cup 2022 Qatar. With the high production standard set by broadcasters over the past T With three decades of experience in delivering editorial and commercial success in sports broadcasting, Sam Leadsom, Vice President, Global Business Development – Sports, Pixotope writes about the future of disrupting on-fi eld entertainment at global events WHAT VIRTUAL TECHNOLOGY CAN BRING TO THE FIFA WORLD CUP QATAR 2022 year, there’s both the means and interest to continue implementing and expanding upon the limitless creativity of virtual technology in live production. THE RISE OF VIRTUAL PRODUCTION TECHNOLOGIES IN SPORTS BROADCAST The global pandemic signifi cantly sped up the adoption of virtual production technology, making a huge impact in the media and entertainment industry. This has led to expansive and immersive broadcast experiences, with the technology cementing itself into many broadcast workfl ows. Real-time game engines, such as Epic’s Unreal, are the driving force behind all augmented and mixed reality applications in broadcast media and continue to be trailblazing when it comes to the unique delivery of content. Virtual technology’s greatest strength comes from its adaptability and limitless creativity – broadcasters can use real- time CG graphics to enhance viewership in ways not possible with standalone video coverage. The past year has showcased this consistently across global sports broadcasting. In 2021, France TV transformed its live broadcast of Paris Saint-Germain (PSG) vs AS Monaco in www.digitalstudiome.com10 / OCTOBER - DECEMBER 2021 SPOTLIGHTthe French Football Cup fi nal, generating 3D recreations of Paris and Monaco cityscapes. And in a similar fashion, but at an even greater scale, Shanghai Media Group generated iconic landmarks from Europe’s major cities in CG to enhance its coverage of Euro 2020. TRANSFORMING THE VIEWER EXPERIENCE FIFA World Cup Qatar 2022, will be the very fi rst hosted in the Middle East – an exciting chapter in football’s history. While there remains a strong likelihood that fans will be able to attend in person, the World Cup is watched by billions around the world, presenting an incredible opportunity for engagement using virtual technology. Computer- generated media is consumed heavily by younger audiences and it’s only going to keep growing year on year. To keep up with this trend and reach broader audiences, sports broadcasters have started showcasing various VR/AR/MR applications, implementing new and creative CG elements to their coverage. It is exciting to see these ideas being applied to football’s greatest stage, the World Cup. BREATHING LIFE INTO QATAR 2022 The strength of virtual production systems using the Unreal Engine is its ability to capture the unique culture and aesthetic feel of Qatar, presenting the country’s rich history and society to audiences unfamiliar with the region. Qatar has a striking architectural combination of hyper-modern skyscrapers and ancient, traditional stone structures that make the region so appealing. Broadcasters like to fashion virtual sets and studios to match the location of the event, taking inspiration from iconic landmarks which can be generated either stylistically or realistically using real-time engines. Of course, real-world footage of Qatar is imperative to proper coverage, but inside virtual studios, or during live coverage, digital assets that truly express the country’s vibrancy can be easily placed in-frame, in real-time. This sort of creative thinking makes the most out of virtual technology, providing a tool for artists and producers to use extensively. Sam Leadsom, Vice President, Global Business Development – Sports, Pixotope FOOTBALL ANALYSIS Punditry is a huge part of any sporting coverage. Using all the data and multiple camera angles provided, a pundit can use A R graphics to enhance the visual representation of this data to support the replays and increase the viewers’ understanding of the action, tactics and player performance. As a viewer, I enjoy listening to ex-players describe the action with the support of graphics and analysis. Virtual technolog y adds value to this part of the broadcast and is one of the great advances in story telling, it also compliments the pundit ’s knowledge and helps new viewers understand the sport. Now broadcasters are developing on- screen analysis by generating interactive CG recreations of the sports field. This allows them to interact with the action in real-time and provide visual examples to support their opinion. Much like a video game, the virtual camera view is entirely moveable, with no limit to available angles and perspectives, providing pundits with a limitless suite of tools to analyse a match. Soon, I think, we may solve the age- old question for sports fans: Who is the Greatest? Creating comparisons between current and past professional players using CG recreations. Imagine Maradona, Pele and Van Basten in their prime playing against Ronaldo, Messi and Neymar? The Unreal engine unlocks the creative potential of producers to make unique ideas like this possible. VIRTUAL TECHNOLOGY SUCCESS Virtual technology is a mainstay in sports broadcasting – it has already achieved incredible levels of fi delity on-screen, in real-time, and it’s only going to get better. The bar set today will be the standard tomorrow, and the more studios begin adopting the technology, the greater the levels of innovation will become. Within 12 months of the Olympics, FIFA World Cup 2022 Qatar is the next benchmark for Virtual Production to showcase its power on the world’s sporting stage. I can’t wait for it to begin! www.digitalstudiome.comOCTOBER - DECEMBER 2021 / 11 SPOTLIGHTuring April this year, the organisers of CABSAT 2021 – the Middle East and North Africa’s specialist event for the satellite, digital media and entertainment industry announced its new dates. Earlier expected to go live in the fi rst quarter, the event was postponed to the fourth quarter due to pandemic uncertainties. As scheduled, the organisers are back in action to hold what is expected to be a major meeting ground for professionals and exhibitors. Currently, in its 26th edition and slated to unfold from 26- 28 October 2021, the event will be held at Dubai World Trade Centre (DWTC). Following the UAE’s continued eff orts to open up travel and provide a safer return D All set to be held from 26-28 October 2021, the MENA region’s leading event for the satellite, broadcast and content industry is gearing up to welcome experts from around the world IS A TICKET TO CABSAT WORTH THE GRAB? for visitors, team CABSAT is positive about the event’s success. In an interview with Karishma Hingorani, Thomas Löffl er, Assistant Vice President of Exhibitions, Dubai World Trade Centre, sheds light on all that’s prepping and set for visitors to explore. WHAT CAN THE INDUSTRY EXPECT AT CABSAT 2021? As the fi rst major regional show to take place in-person since the pandemic, CABSAT is set to spark meaningful, much- needed dialogue in the broadcast, content and satellite industries. CABSAT 2021’s Content Congress will engage a unique cross-section of senior industry stakeholders with up-and- coming infl uencers to share insights on how to adapt traditional broadcast models, the benefi ts of disruptive thinking and the future of worldwide broadcasting. Content Congress will tackle the toughest challenges that the industry now faces, including the survival strategies of smaller OTT players, the future of linear TV, how to capitalise on Gen Z’s changing consumption of content, and how cinemas will adapt to the rise of stay-at-home viewing. CABSAT will also explore the impact of artifi cial intelligence in the broadcast, content and satellite sectors via the 4 C’s of AI – how artifi cial intelligence will understand the citizen, content, context and container (device) used. Together with Dubai Studio City, CABSAT will launch a new content marketplace NextGen Content, which is www.digitalstudiome.com12 / OCTOBER - DECEMBER 2021 CABSATset to attract content creators and sellers who will present their ready-to-be- released content to content buyers in an exclusive, 200-seat cinema at Dubai World Trade Centre. NextGen Content caters to a unique mix of expert content buyers from across the region, who are looking to acquire content across a range of platforms and genres including TV, fi lm, serial dramas, documentaries, comedy, kids entertainment, animated entertainment and more. It will provide a unique platform to showcase content, explore production and co-production opportunities and spark industry networking. HOW DID YOU GO ABOUT DEALING WITH PANDEMIC CHALLENGES AND TURNING THEM INTO OPPORTUNITIES? By moving quickly to ensure that events could be safely and responsibly hosted through stringent health and safety protocols, DWTC gained a global fi rst mover advantage in its bid to reopen the events industry in 2020. CABSAT 2021 will be held under stringent safety and hygiene protocols. DWTC’s proven protocols provide our participants with a safe environment to do business in accordance with all the health & safety guidelines set out by the local authorities. The event will be delivered with strict standards of health & safety precautionary measures including social distancing, contactless transactions and hygiene protocols at all times. Our venue is also certifi ed with the prestigious Bureau Veritas SafeGuard Label, which attests to its compliance with the highest hygiene standards. WHICH CONVERSATIONS ARE YOU LOOKING FORWARD TO? Rather than focus on any specifi c innovation that will change the broadcast and content spaces, I believe we need to consider the ways, which forced content creators to adapt during the pandemic. These changes will cause irreversible shifts in the broadcast and content spaces and we will see the eff ects of that in 2022. CABSAT’s Content Congress conference agenda will discuss these transformational issues. The pandemic ground fi lm and TV production to a halt, with Hollywood and Bollywood production studios forced to close. However, the UAE was one of the few global entertainment centres to have not been severely aff ected, overseeing over $100 million worth of productions in 2020. Majed Al Suwaidi, Managing Director, Dubai Media City, Dubai Studio City, and Dubai Production City and Hans Fraikin, Film and Television Commissioner, Abu Dhabi Film Commission, will discuss how this was possible in such a testing time for the industry. CABSAT will hear from a range of other regional and international experts, including Henry Windridge, Senior Director: Marketing, Digital & Creative, EMEA Pay TV & Global Brands, Discovery and Madeleine Noland, President, Advanced Television Systems Committee, who will discuss next-generation terrestrial broadcast systems and the global convergence of IP data networks. Twitter’s Director of Media Partnerships for the Middle East and Africa and Turkey, Kinda Ibrahim, will discuss how content creators monetise their content on the platform. UAE- based startup ScriptDoor, which gives an equal launching pad for businesses, directors, producers, artists, actors, writers, will share their success story, while Karim Rabie, ICT Chief Architect, NEC Corporation, Saudi Arabia and Yusuf Al-Butti, Head of Technology and Engineering twofour54 will discuss what 5G and AI will mean for the future of the E&M industry. CABSAT attendees will also hear from Vikramjit Roy, Head, Film Facilitation Offi ce of the Ministry of Information and Broadcasting I&B, National Film Development Corporation (NFDC), India. There is strong demand from Nigerian broadcast experts to attend CABSAT, and visitors will hear from Aduku Armstrong Idachaba, Director General of the National Broadcasting Commission of Nigeria; Augustus B. Ajibola, Director of the Department of Entertainment and Creative Services, Federal Ministry of Information and Culture in Abuja; and Mo Abudu, CEO of EbonyLife TV, along with other African experts. WHY SHOULD INDUSTRY INSIDERS VISIT CABSAT 2021? CABSAT 2021 will give visitors the opportunity to be inspired. The event will unfold every aspect of content creation and will stage the world’s top content creators and broadcasters. Secondly, it will deliver a curated experience, from the most important social media content trends, to forms of storytelling and how to ride the next wave of opportunities in digital media and OTT markets. CABSAT visitors will experience immersive & curated content. Thirdly, and perhaps most importantly, the event will allow visitors to gain hands- on experience, while networking with the entire media and online entertainment, digital, linear, OTT ecosystem. TELL US MORE ABOUT THE RESPONSE TO CABSAT 2021. There is clearly signifi cant demand for in-person meetings by the CABSAT community – following the virtual edition of the show that we hosted in November 2020, 96 percent of attendees said they would prefer the next edition of the show to be physically hosted. Thomas Löffl er, Assistant Vice President of Exhibitions, Dubai World Trade Centre www.digitalstudiome.comOCTOBER - DECEMBER 2021 / 13 CABSATOW PROFITABLE HAVE PARTNERSHIPS BEEN FOR THE GROWTH OF STREAMING? Since the launch of the OSN streaming app, partnerships have proven to be the main driver for our growth delivering 12 times the paid base in less than a year. For decades, traditional TV business models enjoyed very high margins; however, with these models fading away, companies like us have to carry the burden of growing the streaming business fast enough to compensate for the drop we see in the traditional profitable linear business. Hence comes the role of partnerships as one of the strategies we used to deliver on quick growth. Partnerships are key, not only for OTT growth but for its survival. Competing with content alone simply is not enough. If we are to be on every TV & mobile device, then we have to partner with the Apples, Googles and Samsungs of this world. Our strategic approach to work with partners including Apple, Google, credit card issuers and banks, as well as telcos and e-commerce platforms has been integral in generating over twelve times the paid base comparable with last year. This is a tangible testament to the success of careful collaborations and planned partnerships. DO YOU THINK STREAMING HAS CHANGED THE PACE AND FACE OF PRODUCTION? Streaming has disrupted the television programming and production model. The streaming war between the local existing players in the market and the international new entrants has resulted in a demand for higher quality content production, as well as high budget shows to be able to keep subscribers on the platform. H Having recently tied-up with many consumer brands, banks and e-commerce platforms, Zahra Zayat, Senior Vice President – OTT, Digital and Telco, OSN explains why collaborations are the next big deal in OTT – in conversation with Karishma Hingorani PARTNERS IN STREAMING The pandemic has also disrupted plans for many production houses, with content initially intended for the big screen finding its way directly to streaming platforms. This was a lightbulb, transformational moment for the film production industry, which is now looking at OTT platforms to achieve scale. LINEAR TV WOULD MOST OFTEN INTERACT WITH OTHER INDUSTRIES ONLY FOR ADVERTISEMENTS AND SPONSORSHIPS. HOW HAS STREAMING CHANGED THAT? Where traditionally the broadcast industry depended on advertisements, streaming has given us the capability to collect key user behaviour data and implement machine learning capabilities to fuel our monetization strategies, be it through partnerships or advertising. Recently we have launched partnerships across different industry categories with PUBG Mobile in gaming, Talabat and HungerStation in food deliveries, Noon in e-commerce, Riyad Bank & Mashreq in banks, as well as FMCG, over 20 Telco’s, retailers, OEM’s and digital partners. This has allowed us to expand our reach, placing us at the forefront of the masses – an awareness that could have cost us millions if following a traditional approach. WHAT IS THE SCOPE OF INTER-INDUSTRY PARTNERSHIPS IN FUTURE? The lines separating industries are fading away. Historically we have seen telcos evolve from dependence on voice packages for revenue. Now with the introduction of 5G, they are more data-led, acting as payment gateways similar to banks. We have seen their diversification into fintech, music, streaming, gaming and e-commerce. Amazon is another example of leveraging data and content to monetise and drive e-commerce. Subscribers are now looking for a one-stop shop entertainment hub that fulfils all their needs from content to gaming, music, smart home capabilities and more. This means that subscribers will be stacking multiple SVOD services; reiterating the need to consider a carefully planned AVOD proposition. The surge in online for our business would create great monetization opportunities, facilitating a step into the world of e-commerce and fintech in the future. WHICH OTHER INDUSTRIES ARE YOU LOOKING FORWARD TO PARTNER WITH? Gaming and music continue to be core areas of interest for our viewers. In future, we are working to strengthen our strategic tie-up with e-commerce platforms to explore mutually beneficial synergies. Zahra Zayat, Senior Vice President – OTT, Digital & Telco, OSN STREAMING www.digitalstudiome.com14 / OCTOBER - DECEMBER 2021CCORDING TO YOU, IS THERE A SCOPE FOR LINEAR ENTERTAINMENT IN FUTURE? It will continue as we know it for a decade or so in my estimation. Linear transmission in the MENA region will co-exist with streaming. There will be some regional divides, as currently the entire region is yet to move to fl at and HD screens. SD transmission continues to prevail across 700+ linear channels. There is light at the end of the tunnel. Linear is the just a mode of delivery and entertainment will continue on alternative delivery mechanisms. In my opinion, technology will lead the way, the faster each of us transform – the better for the organisation, the channel and the individual concerned. HOW ARE BROADCASTERS COPING WITH THE RISE IN SVOD? The key to remember here is that we are not in the business of broadcasting, but in the business of content. Broadcasting is just the way to mass deliver content to several pockets of consumers, audiences or viewers. SVOD and TVOD are simply the ways in which this audience pays for consuming content. Content aggregation and curation is all set to gain importance. One must always focus on creating engaging content, that connects with various audience groups. Technology can be a great backbone. Many players in the streaming game are focussing on investments and growth. As long as the runway is long enough and the investors stay patient – it is all good to go. Strong fi nancially backed investments have to be made in content creation, protection and technology, over and above marketing, distributing and operations. A Leading a versatile global entertainment company in the region and having adapted from linear to OTT has been quite a journey for Manoj Abraham Mathew, Executive Vice President and Territory Head, MENA, Zee Network. Speaking to Karishma Hingorani, he explains why good content is all that matters at the end of the distribution tunnel THE BUSINESS OF CONTENT HAVE VIEWING STYLES CHANGED? Previously TV was all about community or family viewing. The society is undergoing a change, it’s my content at my time along with family TV time. There are multiple TVs in each house and multiple viewing devices. The audience was previously a family unit, today – it is an individual and the universe has just increased. ZEE HAS BEEN BRIDGING THE GAP BETWEEN GLOBAL AND LOCAL CONTENT IN THE REGION. HAS THAT HELPED IN SUSTAINING AUDIENCES? Zee’s experimentation in the Arabic space started in 2005, we made our fair share of mistakes, but our belief has been steadfast. Our initial taste of success came in 2008, with Zee Afl am becoming the region’s fi rst Bollywood and Indian language movie channel purposed for Arabic audiences. It off ered a mix of subtitled and dubbed slots catering to the large Arabic audience regionally and globally. The success of Zee Afl am, gave us the confi dence to experiment further. In 2012, we launched Zee Alwan – the region’s fi rst Indian fi ction channel for the Arab audience. Soon many regional Arabic channels were buying our dubbed series. The intrinsic cultural values and sensitivity of the Arab and the Indian region are very similar, hence the popularity of the channels and content. Our latest experiment being Arabic remakes of popular Indian fi ction, we have so far produced fi ve, with seven more on the slate. SHARE WITH US YOUR GO-TO STRATEGY ACROSS PLATFORMS? I am a content person at heart. I defi ne myself as a content curator and a creator. Distribution of content is key for its monetisation, hence I pay attention to that. Monetisation is the crux. It helps and encourages an organisation to create more content, experiment with genres and of course invest on technology. I have always been passionate about content, telling stories to various types of audiences across the global, be it the audio-visual or radio format. My sole focus was content – making it available across multiple platforms and distributors – be it telcos, DTH or IPTV platforms, at the right price for the audience. As I continue to experiment, there will be failures too, but it’s a mantra in the tech space to fail fast; our ability to quickly course correct is very important in today’s market dynamics. WHAT ARE YOU MOST LOOKING FORWARD TO AT CABSAT 2021? CABSAT has always been a great meeting place of minds. I would love to hear more about how content meets tech, what are the new technologies emerging in content creation, protection and content dissemination. I look forward to meeting content creators and probably collaborate with them. Manoj Abraham Mathew, Executive Vice President & Territory Head, MENA, Zee Network CONTENT BUSINESS www.digitalstudiome.comOCTOBER - DECEMBER 2021 / 15 OW HAVE YOU SEEN CREATIVITY EVOLVE WITH THE GROWTH IN TECH INTEGRATION? When I started out, technology in media looked very diff erent, as opposed to the tech savvy world of today. As I fi rst took my steps in media, we worked mostly with fi lm. That is if we had the budget, otherwise we worked with something called Digi-Beta tape. In those days the process was slow and methodical. That was 17 years ago and now media is a completely diff erent beast. You have to be on the go all the time, top of the process and confi dent in your actions. Without proper integration and understanding of the in-depth workings, it is diffi cult to deliver eff ectiveness. If people aren’t watching our content, then the whole exercise is pointless. Thankfully the creative process will never be entirely digital, as neither the creator, nor the consumer work as machines. An algorithm can put all kinds of content in front of you, but it can’t make you watch and engage. WHAT ARE THE CHALLENGES ASSOCIATED WITH SUSTAINING CREATIVE ECONOMY IN THE REGION? The main challenge has always been accessibility to great local talent. Due to the lack of good feature and series writers, we have to attract talent from outside and they need to feel confi dent about the standard of delivery. While this isn’t a huge issue, it does add to the budget and timeframes. Lack of understanding from banks and companies on fi lm fi nancing, makes fi lmmakers heavily reliant on government grants. It is a vicious cycle. If funding were to become a multi- channel organisation with government H Celebrating ten years of thriving within Dubai’s film scene, industry veteran, award- winning producer, visual effects artist, art director and founder of a.k.a Media, Yasser Obeid shares insights on the changing media landscape in the region SUSTAINING CREATIVITY grants, fi lm funds, bank contributions, we would be able to create high quality content, making directors and writers excited to work in the region. In contrast, we have a very positive landscape in advertising. The region is quite mature with plenty of global and independent agencies calling UAE home. HOW WOULD YOU DEFINE YOUR PROCESS AS A CREATIVE? That’s the thing with the creative industry, there is no set formula or process. Each project has its own unique features and requirements. One thing consistent across the board is research and appreciating other people’s work. YOUR TOP THREE STRATEGIES TO MAKE CONTENT STAND OUT? Firstly, you need to defi ne your audience. Who is the content aimed towards? What do they do, what interests them and what makes them tick? This becomes your foundation for the process. It will determine the style, the pace and the type of entertainment you are going to incorporate in your content. Secondly, you need to come up with the big idea. Once aware of your audience, you know in which direction, style and genre to direct your creativity. The content has to be entertaining, informative and of course interesting. Last but not least, it is how you create your content. The fi lming, the editing style and of course the sound design. All of those elements – if properly crafted will make for memorable and eff ective content. WHICH CONVERSATIONS ARE YOU MOST LOOKING FORWARD TO AT CABSAT 2021? I would listen to what the country’s fi lm commissioners have to say – Majed Al Suwaidi to start off with. They have already implemented a new online platform and are processing applications in 24 hours. Maybe there are some exciting changes coming to the Dubai Film and TV commission – hopefully a rebate program. Having an offi ce in Abu Dhabi, I would defi nitely attend Hans Franklin’s talk. Abu Dhabi has already made strides with its rebate program, which has brought so many Hollywood and Netfl ix features to the Emirate. I know they are launching the Yas Complex as well. Then of course there is Mo Abudu, the CEO of Ebonylife Nigeria, with whom I have worked numerous times. WE HEAR YOU ARE SPEAKING AT THE EVENT. WHAT’S ON YOUR AGENDA? After working in the industry for over 20 years, I have witnessed how the media landscape has changed. To see the process go digital has been truly enlightening. The fact that you can shoot great content with your phone is mind-blowing. Experience in producing diverse content has given me insight into what works and what doesn’t. I will be sharing the diff erent hacks I have picked up over the years. The agenda is going to be very informative and hopefully entertaining. Yasser Obeid, Founder, a.k.a Media PRODUCTION www.digitalstudiome.com16 / OCTOBER - DECEMBER 2021OW WOULD YOU DESCRIBE THE DEMAND FOR DIFFERENT BUSINESS MODELS IN THE REGION? The days of selecting a programme from a handful of TV channels and then waiting a week for the next episode has almost gone, but linear still represents the mainstream way of watching content. In terms of non-linear viewing, SVOD is the main area of growth in all markets. Viewing habits and preferences, however, may tend to vary by age group, as older participants prefer linear consumption, while younger viewers favour non-linear video on demand viewing. H As the largest aggregator in the region, E-Vision offers scalability and monetisation opportunities to content producers worldwide. With major expansion plans underway, CEO Olivier Bramly, discusses the ongoing evolution of linear and VOD content ENVISIONING A NEW TRAJECTORY FOR LINEAR The lockdown accelerated the natural rate of VOD growth in the MENA region, as well as linear TV viewing. With the infl ux of OTT services in the UAE, it sends a clear signal of the increasing demand for VOD content in the region. E-Vision fully addressed this requirement earlier on, and we were the fi rst in the region to off er a full-fl edged xVOD service through Etisalat UAE’s eLIfe TV. Over the years, we have gradually seen a shift in customer viewing habits towards VOD consumption. When we started SVOD, we had about 4,000 hours and today, we have over 20,000 hours. We are also seeing a new trend where streaming platforms are licensing third- party linear channels and in some cases creating their own. This shows that linear formula is still appreciated; there is a clear saturation in the streaming products off ering; and the platforms have to innovate and diff erentiate to provide extra value to their customers. HAS BUSINESS CHANGED FOR YOU WITH THE RISE OF PLATFORMS VS. TRADITIONAL LINEAR TV? E-Vision has always been at the forefront of this change and used technological innovation to adapt to new market needs. For instance, in 2013, E-Vision started securing content rights for multi screens. We also worked closely with the Etisalat www.digitalstudiome.comOCTOBER - DECEMBER 2021 / 17 INTERVIEWINTERVIEW UAE team to launch a multi-device companion proposition, so that eLife customers could continue their viewing across any device seamlessly. We were also the fi rst to conclude SVOD partnerships with new age OTT service providers such StarzPlay, Amazon prime video, beIN, MBC Shahid VIP, Eros, Voot, etc. Etisalat also launched its own OTT platform with Switch TV, off ering free, premium live TV channels and an extensive on-demand content within the sports, entertainment and news genre. Also to support the rise in OTT, E-Vision is a strategic shareholder in StarzPlay, enabling us to embrace new OTT development across all MENA. In terms of technological innovation, E-Vision has expanded its geographical footprint by launching content aggregation B2B ser vices across both Etisalat Misr (Eg y pt) and Mobily (KSA) today. We provide a turnkey solution ( platform + content) as well as the advantage of quick time-to- market. E-Vision has plans to expand the ser vice to cover other Etisalat OpCos with the same multi-tenant and replicate the success story across other non-Etisalat footprint. We aim to expand across other Gulf countries (Kuwait, Qatar, Oman, Bahrain) and other MENA countries such as Jordan. We have become a supermarket for all operators, content providers, and rights owners to access millions of region- wide subscribers with ease of single contractual relationship and reduced OpEx/CapEx investment. DO YOU THINK WE NEED A SUPER AGGREGATOR IN THE REGION? OTT is booming and multiple apps are no longer a novelty. The streaming revolution, which is well underway, has seen a growing number of media companies going out on their own with OTT platforms off ering original content and targeting direct relationships with subscribers, sometimes at the expense of the pay TV operator. However, we will most likely soon reach a point of excessive options in the OTT space both globally and locally, creating a subscription fatigue over the required amount subscriptions and content sources. This fatigue, mainly due to disaggregation, has already taken place in some markets such as the US. Consumers need the convenience of a platform such as eLife, where all the content is available at their fi ngertips and a single user experience and guide are available to search for content that they want to watch. There is undeniably a need for re-aggregation of OTT services to manage the fragmentation of the several apps entering the marketplace. E-Vision is in an excellent position to become a super aggregator of application and OTT services to streamline the content viewing experience for subscribers by bringing together all the content apps into one platform. In terms of payment, life becomes easier for consumers by providing a single bill, global search and recommendations across many applications. HOW MULTIFOLD HAS THE PROCESS OF AGGREGATING CONTENT? Aggregation was straightforward earlier: you had to acquire content to program those TV channels (FTA and PAY TV). Today, aggregation of content has evolved, along with the advancement in technology, we now acquire more rights such as SVOD, AVOD, EST, TVOD, FVOD. The means of delivery have also changed, to now include OTT, IPTV and mobile. The process has also evolved in terms of content since we are not only aggregating channels or video content, but also aggregating applications. From a content perspective, it is also important to consider content beyond video since aggregating means also embracing content with a big C to include music, gaming, e-sport or e-learning, etc. DO YOU THINK CONTENT IS STILL THE KING, OR IS PLATFORM THE NEW KING? Content is and will always be king. Content draws subscribers to a platform. It sets one apart and causes audiences to stick to a platform. A platform is also important, especially the overall user experience – to provide quick and seamless access to a subscriber’s preferred content. WITH THE LAUNCH OF THE NEW TAM SYSTEM FROM E-VISION, WHAT DO YOU FORESEE IN TERMS OF DATA DRIVEN VIEWERSHIP MODELS? Television Audience Measurement, or TAM, arrived at a critical time for the content industry. Streaming networks are using minute-by-minute subscriber viewing data to refi ne their content strategies and monetise audiences. TAM fi nally gives broadcasters the ability to do the same thing. Olivier Bramly, CEO, E-Vision www.digitalstudiome.com18 / OCTOBER - DECEMBER 2021The MENA TV industry is still dependent on telephone surveys to measure audiences. In the past, people- meter projects in the UAE and Saudi Arabia attempted to resolve this, but failed because the industry was unable to fund the massive cost of maintaining a viewer panel. The content industry has changed again, and people meters are no longer enough. We need cross-media audience measurement covering every screen and every media application (linear TV, streaming and even social media platforms and search engines). TAM plays a major role in this new world, because it passively measures the majority of UAE’s linear TV viewing (with one minute accuracy) without incurring huge costs associated with panel management. HAS ENTERTAINMENT FOR KIDS EVOLVED OVER THE YEARS? HAVE THEY BECOME BIGGER CONSUMERS? Children today consume more content regardless of age group. The picture quality and appeal is no longer a requirement to attract their attention. Pixilation and low video resolution do not prevent them from enjoying content. Younger children tend to increasingly enjoy content targeting their older siblings nowadays, with a lot of co-viewing happening mainly towards older children’s content. Toddlers and preschoolers only watch their targeted content as it remains fully under parental control. Older children leave traditional platforms, mainly shifting to social platforms and gaming. They are now becoming content creators and are more specifi c about their preferences. ACCORDING TO YOU, HOW CAN AGE APPROPRIATE VIEWING BE ENSURED? Streaming platforms must ensure that content is sorted out into age appropriate areas. Many have adopted the profi ling strategy, but in some cases they mix up children’s content with anime, targeting grown-ups which remains unsafe. There should be guidelines and regulations for streaming platforms, with structures, better assessment and user interface in place to protect children. Not every cartoon is for children. Despite relentless eff orts, children are still being exposed to inappropriate content so parental supervision is key. They should always oversee what their children are watching, particularly on YouTube and other social media platforms where there are no boundaries. We take child protection against inappropriate and harmful content very seriously and carefully screen every second of content. IS GAMING AN ACTIVE PART OF YOUR AGGREGATION STRATEGY? Gaming is an integral part of E-Vision’s strategy and we are already making some inroads by securing some popular gaming titles for Etisalat UAE eLife’s gaming service. E-Vision plans to work with some of the leading providers both technology and strategic partners across all verticals, including off ering technological support by bringing in high-end processing capabilities. We hold discussions with telcos on special connectivity deals to hard core gamers, work with eSports teams, set events and also explore the world of metaverse to help telcos monetise 5G and FTTH networks with proper monetisation use cases. CAN YOU ELABORATE ON THE DEMAND FOR E-HOSPITALITY CONTENT? We can see that an increasing number of hotels are adopting the Chromecast technology to provide more freedom to their guest to select their choice of content. This move affected the linear demand to a certain extent, with this option made available to their guests. Hotels tend to reduce the number of premium linear channels to reduce the cost, but cannot completely eliminate the traditional TV service for several reasons such as sports and news – to name a few – plus the fact that geo blocking on all streaming apps might restrict guests from watching their favourite shows. This technology will need more time to dominate the hospitality market. HOW HAS ARABIC CONTENT EVOLVED OVER THE YEARS AND WHAT DO YOU THINK IS ITS FUTURE? Earlier, most of the good content used to be dubbed in Arabic from other languages but many top shows are now produced in Arabic. The availability of many content platforms dedicated to Arabic content such as eLife, Switch TV, Shahid, Jaw w y, and Netf lix, among others has made it more accessible for viewers to enjoy good Arabic content. YouTube has been a key medium to reach Arabic content, since it is free and ad supported. Arabic content is developing day by day reaching global standards. In 2020, there were 46 Arabic originals, a huge jump from 12 originals in 2019. This growth is expected to continue in the coming years, adding to the overall demand. The content will appeal to a global audience but is firmly rooted in the Arabic culture as well. The UAE is a melting pot of nationalities and cultures and we interact with people from different walks of life on a daily basis. The youth is truly global in their outlook, thought processes and interactions, but their heart is firmly rooted in their cultural values. It is but natural for us to ref lect that in our production and programming. The Arab world requires more government initiatives that open pathways and partnerships. YOUR THOUGHTS ON CABSAT 2021? E-Vision is looking forward to CABSAT, with an interest in talking to STB vendors for EV OpCo partners, CMS providers, analytical tool providers, etc. AGGREGATION IN THE PAST WAS STRAIGHTFORWARD… TODAY, AGGREGATION OF CONTENT HAS EVOLVED, ALONG WITH THE ADVANCEMENT IN TECHNOLOGY. WE ARE NOT ONLY AGGREGATING CHANNELS OR VIDEO CONTENT, BUT ALSO AGGREGATING APPLICATIONS.” www.digitalstudiome.comOCTOBER - DECEMBER 2021 / 19 INTERVIEWNext >