Sony Pictures takes stake in Whisper

Sony Pictures takes stake in Whisper

Sony Pictures takes stake in Whisper

Sony Pictures Television has taken a stake in the UK-based production company Whisper Group. The investment comes as the UK public broadcaster Channel 4 divests itself of its start-up investment in Whisper that was made through the broadcaster’s Indie Growth Fund. 

Whisper was founded by former F1 driver David Coulthard, TV presenter Jake Humphrey and producer Sunil Patel. It secured the contract to produce Channel 4’s F1 coverage and has expanded into a range of other sports and production genres. 

“Whisper have become one of the most talked-about production companies in the U.K.,” said Wayne Garvie, president of international production at Sony Pictures Television. “Very quickly, they have established themselves as an innovative leader in sports content. We are thrilled to be joining Sunil, David, Jake and the team in helping to take Whisper to the next level.”

“Sport is at our heart and we’ll remain committed to immersive sports broadcasting,” commented Sunil Patel, Whisper co-founder and CEO. “However, we have other ambitions, which this move can help us to realise. We are keen to grow internationally and to develop formats that can help build an exciting IP catalogue.”

Whisper won the AIBs sport award in 2016. 

How broadcasters can thrive in a hyper-disrupted marketplace

How broadcasters can thrive in a hyper-disrupted marketplace

How broadcasters can thrive in a hyper-disrupted marketplace

The proliferation of streaming video, on-demand and multiscreen viewing, and the emergence of new, born-digital content creators and aggregators, means unprecedented disruption in TV. Broadcasters face multiple challenges, the first of which is to hold on to their viewers.

It sounds easy if you say it quickly, but broadcasters must commission or acquire content that keeps us glued to our televisions and is the subject of casual conversations, and which wins awards. They must retain their pre-eminence in local content, even as global SVOD companies choose, or are forced by regulation, to invest more in ‘local’. They may need to monetise rights across more markets to help pay for increased investments in ‘originals’.

Broadcasters must also seek to dominate the digital sphere in the way they do broadcast –  which may mean longer exclusive streaming windows. They need to make potentially life-changing decisions about distribution, like whether to feed global SVODs with content or instead ‘repatriate’ it to their own streaming services. They must decide whether to build their own SVOD services – perhaps in collaboration with other broadcasters.

Commercial broadcasters have unique challenges. As viewers migrate to digital, they must monetise them as effectively as they can in broadcast linear TV, but without heavy ad-loads that deter the less committed viewer. Targeted advertising is at least part of the answer.

They will also need addressable advertising on broadcast television, which means partnering with Pay TV operators who have AdSmart-style solutions, or developing an alternative – perhaps in collaboration with free-to-air platforms (possibly using the HbbTV standard). Anyone that wants a national addressable footprint will need a solution for free and pay homes.

Commercial broadcasters must also start to unify their broadcast and digital advertising operations so advertisers benefit from holistic planning, execution, measurement and reporting. There is no point keeping viewers away from Netflix and Amazon if your advertising budgets are then picked off by Google and Facebook.

If broadcasters meet all these challenges, what else do they need to worry about? If they start offering content behind their own pay wall then piracy, and the measures to counter it, should move up the agenda. And they need to pay attention to the fate of Pay TV operators, where much of the viewing happens today.

Any broadcaster that believes in aggregation must decide who they want as long-term partners. Online, Amazon and Apple are among those who might one day gather up content providers and give consumers a single place to view streamed programming. There is no guarantee that Pay TV will be the dominant aggregator, outside of free-to-air platforms, forever.

If broadcasters need Pay TV to thrive, they should pay attention to whether today’s operators can become the Aggregator Primus – the first and principal aggregator – in the 2020s. Is Pay TV the place where consumers will find most of the content they want? Can Pay TV operators be the trusted content discovery agent that knows what we love, and feeds it to us every hour of every day?

If Pay TV operators cannot do this, then what is the point of them, beyond the provision of exclusive content like sports, and bundled discounting?

(The jury is out on whether serious direct-to-consumer (D2C) efforts, from the likes of Disney {with Disney+} , will hurt Pay TV operators or global SVODs more, due to content repatriations. Pay TV operators need to keep hold of more ‘must-have’ content than SVOD rivals can, even if they cannot have it all. And subscription channels must carefully balance the long-term D2C opportunity against the Pay TV revenues they receive today. The channel owner decisions on whether to give or remove content will have an immediate bearing on how attractive Pay TV remains.)

The role of Aggregator Primus requires more than access to the best content, anyway. It is underpinned by a generational upgrade to the user experience, with popular apps onboarded, intelligent recommendation and content promotion, visually rich programme guides and catalogues, and voice-powered content discovery.

This upgraded UX needs to be available in as many homes as possible, which means ‘legacy’ set-top boxes as well as new ones should support new features. Small and medium Pay TV operators must be able to upgrade too, and quickly, regardless of engineering resources.

If broadcasters do make it through the current disruption, they can look ahead to the open road that leads, eventually, to all-streaming. Now is a good time, therefore, to consider what a post-broadcast world looks like, from both a technical and commercial viewpoint. How will people find content, and how will broadcasters find people?

One thing is certain: to understand the future of broadcasting you need to understand the future of everything – SVOD, D2C, Pay TV, pay, free, aggregation, content discovery, and the operations transformations that can boost agility and cut costs and so ensure profit. Connected TV World Summit takes a holistic view of television to help every stakeholder understand what comes next. This thought-leadership conference touches upon all the issues outlined above, and will be time well spent for any broadcast executive.

AIB Members receive a 20% discount to Connected TV World Summit by quoting AIB20

30 years of broadcasting to the Pacific

30 years of broadcasting to the Pacific

30 years of broadcasting to the Pacific

On 24 January 1990, Radio New Zealand International beamed into the Pacific, on a new 100 kilowatt transmitter.

New Zealand has had a short-wave service to the Pacific since 1948. The station broadcast on two 7.5kw transmitters from Titahi Bay, which had been left behind by the US military after the Second World War.

In the late 1980s, following growing political pressure to take a more active role in the Pacific area, the New Zealand government upgraded the service.

A new 100kw transmitter was installed and, on the same day the Commonwealth Games opened in Auckland, the service was re-launched as Radio New Zealand International.

“What we were able to understand was how important radio was and still is in the Pacific, where as here radio had become a second cousin to television… different thing in most of the countries we worked with,” said RNZ International’s first manager Ian Johnstone, from 1990 to ’93.

Mr Johnstone said news of a dedicated Pacific service into the region was welcomed by Pacific communities.

He also said it was important for New Zealanders to remember that New Zealand was part of the Pacific.

“One of the nice things is we say we are part of the Pacific, we are the southern corner of Polynesia, and let’s remember that.”

Linden Clark was manager from 1994 to 2016. She said the strength of the service had been its connection with Pacific people in New Zealand and the region.

“The history of of RNZI – RNZ Pacific – is absolutely marked by fantastic contributions from a whole range of people – not only employed people – but those who have given their time in all sorts of ways – both of the Pacific region and the Pacific communities here in New Zealand.

“That is the history of the station and I think that’s partly why it means so much to everybody who has had something to do with it.”

She said RNZ Pacific had built strong relationships over the years.

“We have always been about trying to support and partner with those Pacific media, radio stations, individuals and journalists, rather than broadcast and talk to them.

“We want to talk with them and use their expertise and develop that and that’s been really satisfying.”

Adrian Sainsbury, who’s RNZ Pacific’s frequency manager, said in the early days, it was difficult to get Pacific stations to take bulletins as the Australian Broadcasting Corporation’s Radio Australia was the dominant broadcaster in the Pacific.

“And we built up, over time an extensive network. And as I say, from a handful, of possibly two or three, we are now right up to 20 now, across the Pacific, stretching right up to Micronesia,” he said.

Sainsbury said RNZ Pacific was now the only dedicated Pacific broadcast service on short-wave across the region.

The signal can sometimes be heard as far away as Japan, North America, the Middle East and Europe.

Changing media landscape in the region

“In many ways, the development seen in the Pacific this century has been much faster than elsewhere – television has made a late entry to be quickly followed by an explosion of social media – just like everywhere else,” according to Walter Zweifel, former News Editor for over 20 years.

He said the internet has built information bridges in the region that were simply not there two decades ago. Gone are the days of the fax but distances are still a challenge.

Given the geography and the cost of running a media outlet, he said radio had remained resilient and vital.

“Small countries, for example in Micronesia, are still struggling to develop their local media and technological change has brought little benefit,” he said.

“In more populous countries, multi-media output has flourished. Like elsewhere, the printed press has faced steep challenges. Fiji lost one of its daily papers as did French Polynesia, which now only has one daily left.”

 And challenges remain for journalists in the region.

“There has been a professionalisation in my view. There seem to be more and better trained journalists in the field and at the same time more gatekeepers and communicators around decision-makers.”

“Depending on the country, access is now more difficult while there is more information in terms of releases and statements. Also depending on the country, journalism can be frustrated. While places like the US-affiliated territories and countries accept free media, others have clamped down on liberties known earlier. Fiji is an example of the latter,” he said.

“Pressure on individual journalists has continued, with cases of overt and covert threats popping up in many places.

“Variations throughout the region are however huge. Restrictions are still widely in place for outsiders wanting to report from Indonesia’s Papua region, and Nauru nowadays all but bans foreign reporters. In the French Pacific, there has been an improvement as the media lost some of the timidity of the Lafleur and Flosse era.”

Thirty years later the service has developed and established itself as the region’s most comprehensive and reliable source of regional news and is relayed daily by over twenty Pacific radio stations.

It broadcasts on a range of platforms including analogue and digital short-wave, satellite, and online and has an estimated audience of 1.8 million people in the Pacific.

The RNZ Pacific website attracted nearly eight million page views in 2019.

Koro Vaka’uta has been RNZ Pacific’s News Editor for the past year. He said it was awe-inspiring looking back at what had been achieved over the past 30 years and in some way it just added to the responsibility of what the current team was doing.

“With so much of the media landscape changing there is also an onus on RNZ Pacific to be dynamic and progressive in its approach now and in the coming years, while maintaining its core news role with integrity,” he said.

“While that’s probably one of the biggest challenges, there is also an increasing awareness of the importance of telling Pacific stories through culturally appropriate lenses and we will seek to do that through our growing Pasifika staff numbers and through being a vehicle for people on the ground or whenua itself to have a voice.”

Top image: (L-R) Linden Clark, Elma Maua and Ian Johnstone preparing for the launch of RNZ International – now RNZ Pacific – in 1990. Photo: RNZ Pacific

 

 

AIB Annual Review 2019 published

AIB Annual Review 2019 published

AIB Annual Review 2019 published

The Association for International Broadcasting has published its review of 2019. The document summarises the key activities that the AIB has undertaken through the year, ranging from work on cyber security to sustainability, media freedom to regulatory, advocacy to research. 

“The AIB’s work is varied and extensive,” commented AIB Chief Executive Simon Spanswick. “Because of our global membership, we tackle issues across the world and support our Members across a wide range of subjects. In 2019, media freedom was a particularly important focus for us and, sadly, it is likely that we will have to continue to fight for media freedom through 2020 and beyond. in addition, the AIB’s day-to-day activities helps our Members across an ever-increasing number of subjects, some of them mission-critical. The Annual Review provides a snapshot of our most visible work. Much more goes on in addition.”

The AIB Annual Review 2019 is available online here.

 

AIB publishes first industry briefing of 2020

AIB publishes first industry briefing of 2020

AIB publishes first industry briefing of 2020

The AIB has published its first global industry briefing of 2020. Reaching more than 27,000 media leaders in over 110 countries, this edition of the industry briefing reports on some of the media freedom work that the AIB is undertaking, as well as the BBC’s newly set out goals for the decade.

To join the subscription list, click here.

With its unrivalled reach, the AIB industry briefing is the ideal platform for key messages to be communicated and brand awareness raised. Talk to Tom Wragg about how you can leverage the AIB’s global reach to help your goals.

“It’s Our Time” – MBC Group propels Shahid to new heights

“It’s Our Time” – MBC Group propels Shahid to new heights

“It’s Our Time” – MBC Group propels Shahid to new heights

Celebrating a fresh era in digital entertainment, MBC Group has unveiled the all-new version of its video on demand (VOD) service, Shahid.

The unveiling took place this evening as part of an exclusive event held at the Dubai Opera in Downtown Dubai, attended by HH Sheikh Ahmad bin Mohammed bin Rashid Al Maktoum; HE Turki Alshabanah Saudi Minister of Media; MBC Group Chairman, Waleed Al-Ibrahim, MBC Group General Manager Ali Al-Hedeithy, newly appointed CEO, Marc Antoine d’Halluin; and top business decisionmakers, VIPs and celebrities from the world of entertainment and Arab media.

Shahid’s brand new slogan: “It’s Our Time” took centre stage, illuminating the emirate’s iconic Burj Khalifa tower.

In his opening speech, MBC Group Chairman Al-Ibrahim commented: “The social and economic reforms currently being witnessed by my home country, the Kingdom of Saudi Arabia – ones that are being spearheaded by His Royal Highness the Crown Prince Mohammed bin Salman – is something we have always dreamed of. It gives me great pride to witness this dream being finally realised. Today, it is almost apt that we face a new start for our Group, albeit with a difference in objectives.

“But here is where we will begin. As we look ahead, we strive to take control of our own narratives, showcasing our stories to the rest of the world through the very best in original films, series, and other media content, produced and marketed via MBC Studios,” he continued.

“Secondly, we’re immensely proud to provide the region with an advanced digital platform that is on par with the best in the world. Shahid is a global brand that is worth watching.”

“And of course, we are leveraging the pivotal moment the Kingdom is currently witnessing, which includes expanding on the local and regional media content industry – and fostering the talent that will enable us to do so,” Al-Ibrahim stated. “At MBC Group, we are going to continue to provide the best media experience in the entire region; engineering ideas and uniting the very best in creative talent. It’s our time.”

INCREASING FOURFOLD

On his part, MBC Group CEO Marc Antoine d’Halluin demonstrated figures from the track-record of the company over the past decade, stating: “During the past ten years, MBC has acquired and produced approximately 46,000 hours of Arabic-language entertainment content, valued at an estimated $1.3 billion. This is broken down into 26,000 hours of media, entertainment and other content, plus 20,000 hours of television series, which includes about 600 dramas.”

D’Halluin continued: “Over the next two years, we aim to substantially increase the size of our investment into drama productions, thus increasing them fourfold, of which the majority will be original and exclusive content. Shahid will certainly benefit from MBC’s proven experience in investment and growth to provide the best and most diverse international digital media experience in the region.”

A DIVERSE OFFERING

With Shahid witnessing a surge in popularity, Johannes Larcher, Managing Director, Digital & VOD at MBC Group stressed that the platform outperforms all regional players in the digital entertainment sector today. Larcher highlighted several factors that distinguish the all-new Shahid’s offering – including premium quality of content, diversity of content, as well as additional content via regional and global partnerships – providing a unique service and premiere digital viewing experience for users in the Middle East region and beyond.

 

INTRODUCING THE ALL-NEW SHAHID:

SHAHID PREMIERES & SHAHID ORIGINALS

Shahid PREMIERES will focus on first-look exclusives from the world of cinema and television, as some new series will, from now on, start their lifecycle on Shahid even before MBC channels.

Shahid ORIGINALS, meanwhile, will focus on a variety of local and regional productions, set to include long-form content such as drama series, as well as short-from content, which both will be fully exclusively featured on Shahid.

Several Middle Eastern stars appearing in Shahid’s upcoming brand-new content were in attendance during the launch event at the Dubai Opera.

===

GLOBAL PARTNERSHIPS AND A SPECIAL OFFER “FOR LIFE”

Partnering up with Shahid are the global entertainment companies DISNEY and FOX, providing around 3,000 hours of quality family entertainment. Also announced was a partnership with global music streaming platform SPOTIFY.

Naturally, MBC’s top-rated channels are included in the brand-new Shahid, which include nine HD channels, streamed live, as well as a catch-up service.

To celebrate the launch of the all-new platform, users can take advantage of a special introductory subscription offer (promotion period runs until February 29, 2020) consisting of a discount of up to 70% off the Shahid VIP subscription value, valid until the subscriber decides to cancel, or “for life”.