Asia Pacific Broadcasting+ Special Issue (June 2024)

About Us

Asia-Pacific Broadcasting+ has been a trusted source of information for the broadcast and multimedia industry since 1983. In delivering timely technology updates and market intelligence, ranging from best-of-breed broadcast systems, hybrid solutions, 5G, AI, AR and VR to innovative best practices, APB + has become the go-to for all media players, business strategists and entrepreneurs across all industries seeking knowledge, inspiration and resources to reach out to those at the heart of what we do best – the target audience.

PUBLISHER & EDITOR-IN-CHIEF Tim Charlton

EDITOR EMERITUS Andrew Yeo

EDITORIAL MANAGER Tessa Distor

PRINT PRODUCTION EDITOR Eleennae Ayson

JOURNALISTS Shirish Nadkarni Shaun Lim

FROM THE EDITOR

This issue of Asia-Pacific Broadcasting+ Magazine brings you in-depth analysis and insights into the latest trends and innovations shaping the broadcasting and streaming landscape in the Asia-Pacific region. Our coverage of Broadcast Asia 2024 highlights innovations and solutions set to redefine the broadcasting landscape. From IP remote production technologies that promise to cut costs and carbon emissions to new strategies for overcoming content burnout, we have curated insights from industry leaders to keep you informed.

As the over-the-top (OTT) market continues to expand, we explore why OTT providers may not need to go right over-the-top to gain viewers in 2024. Our analysis reveals that offering affordable, option-laden content catalogs can help providers maintain and grow their viewer base without excessive expenditure. Turn to page 10 for a deeper dive into these strategies.

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Subscription fatigue remains a significant challenge for streaming services. Our experts provide actionable advice on combating piracy and churn rates through innovative content monetisation strategies. Discover their recommendations on page 12 and learn how to shape a resilient business model in a saturated market.

The adoption of IP remote production is gaining momentum across the Asia-Pacific region, offering broadcasters cost-efficient and sustainable solutions. On page 14, we discuss how this technology is transforming production workflows and reducing the environmental impact of broadcasting operations.

We also address the rising trend of Free Advertising Supported Television (FAST), which is capturing more eyeballs in Asia. This format presents a unique opportunity for broadcasters to monetise their content whilst providing viewers with free access to a diverse range of programming.

Enjoy reading!

Tim Charlton

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MOST READ

Rise of streaming forcing broadcasters to find new ways to secure the future

Digitalisation, new market offers and serious business disruption by new digital players are changing the media landscape. Moreover, consumer expectations and viewing habits are changing rapidly in the age of VoD (video-on-demand) and mobile media consumption. Considering all these factors, what will the future of TV be?

Unlocking the ‘superpower’ of personalisation is key to OTT success

Trusty remote control in one hand, bucket of delectable popcorn in the other, the avid TV viewer settles comfortably into his favourite armchair and begins scrolling. Meet the Couch Potato, one of the most culturallydefining symbols of “television watching” as we knew it in the halcyon days of pay-TV.

How AI-driven journalism can enhance fast, accurate, and engaging news

AI is important to stay competitive over the next five years — 12% higher than any other industry — according to insights from Deloitte’s State of AI in the Enterprise. While the findings may seem surprising, the survey attributes the high AI adoption rate to the industry’s focus on operational efficiency and customer acquisition and retention.

TikTok’s expansion transforms shortform viewing beyond small screens

With ever-busy schedules and limited attention spans, it is perhaps unsurprising that short-form content, led by platforms such as TikTok, has surged in popularity in recent years. With a myriad of content offerings limited to a bite-sized 10 minutes or less, TikTok has grown to fill a niche where consumers demand quick, engaging content.

Metaverse: Fad or a new digital world of opportunities for broadcasters?

Whilst the story has made for grim reading for Zuckerberg, with Meta continuing to lose billions of dollars on metaverse investments., it may not be all doom and gloom for the metaverse, which could be a US$800 billion-dollar industry by 2024. Rather, a new social network app Bondee is taking Asia by storm.

NAB 2023 a resounding success, a treasure trove of innovative solutions

There can be no two opinions about it – NAB 2023, in its 100th edition, has been a resounding success, attracting record crowds that have been milling around in the large halls of the Las Vegas Convention Centre. The release of the IABM Technology & Trend Roadmap highlighted interesting “you-need-toknow” technologies for 2023/24.

AUGMENTED REALITY MAKES NEWS POP FOR GEN Z

Vizrt has uncovered a seismic shift in the news consumption habits of Gen Z. The findings of a new research by Vizrt reveal that the first generation born into a fully digital world is abandoning traditional news formats, emphasising a preference for social-first content.

The global study, encompassing respondents from the UK and the US, underscored Gen Z’s waning interest in conventional news formats where dynamic on-screen graphics are under utilised. The study revealed a compelling move towards social media platforms as the primary sources of news, with Instagram leading the pack at 60%, followed by TikTok and Facebook at 38% each.

Factors contributing to this shift include the relentless pace of news cycles, an overwhelming volume of negative stories, and an increasing loyalty to social-first news brands.

On-screen graphics

Ulrich Voigt, Global Head of Product Management for Vizrt, said, “Our research highlights the importance of real-time data and on-screen graphics in retaining Gen Zs and futureproofing newsroom content creation. Content creators, traditional broadcasters, and newer online news outfits, must adapt to meet the evolving needs of news consumers as each generation becomes more digitally advanced.”

“Immersive storytelling with augmented reality (AR) and mixed reality (XR) can quickly and easily break down barriers to news accessibility and drive audience engagement.”

Specifically, the study indicated that Gen Zs are twice as likely to pay attention to content with on-screen graphics compared to other generations, with 31% versus an average of 14%. On-screen graphics aid in understanding complex stories (51%), reading data clearly (48%), and receiving additional information not shown on screen (54%).

Despite Gen Z’s inclination towards consuming news on their smartphones, broadcasters have yet to fully adapt to meet their digital needs. Over half of those aged 18-25 (56%) find it challenging to watch content due to the lack of adaptation for vertical viewing. Moreover, almost half of the respondents (45%) expressed dissatisfaction with the absence of on-screen graphics when consuming content on the go.

FAST captures more eyeballs in Asia

As broadcasters look to monetise their content while increasing their reach to capture more eyeballs, Free Advertising Supported Television (FAST) has emerged as an increasingly popular TV streaming format. And while the US remains the leading growth market for FAST, expect this trend to change in the not-sodistant future, says Jay Ganesan, SVP, Asia-Pacific, Amagi.

Describing FAST as having the potential to “revolutionise not only how broadcasters can maximise their content, but how they can reach a broader audience,” he told APB+, “FAST opens up a new revenue channel, allowing content providers to capitalise on ad exposure across diverse genres, from news and sports to movies and TV shows, thereby attracting a wider audience and enhancing viewer engagement.

“The brands that are shifting their ad dollars from broadcast to digital progressively see FAST as a high engagement brand-safe environment to promote their brands and, hence, typically pay a premium for this inventory.”

Increased demand

According to the seventh edition of Amagi’s Global FAST report, there is a significant appetite for free content in Asia, thus leading to an exponential rise of FAST services in countries such as India, Japan and South Korea. India’s Connected TV (CTV) market, in particular, which accounted for 20-22 million households in 2022, is expected to double by this year. This, according

to Ganesan, presents a “compelling opportunity” for major players to enter the FAST market.

“Crucially, FAST also empowers content creators with control over how their content is programmed, distributed, and monetised,” he added. “The lower barrier of entry into FAST provides broadcasters with opportunities to engage more viewers and expand their reach without compromising control.”

New business models

As the FAST ecosystem matures, he also predicts a shift towards sophisticated monetisation and audience targeting strategies. Targeting viewers based on behaviours rather than demographics will allow for a more nuanced understanding of the audience, enhancing the effectiveness of ad delivery, Ganesan suggested.

The rise of free, ad-supported models like FAST is being driven by many reasons, not least streaming providers’ desire to generate more revenue, and consumers’ lack of both money and time to spend on multiple streaming services.

While highlighting that it may not be wholly possible to predict the future, Till Sudworth, Head of BU Video and Member of the Management Board, NPAW, highlighted, “In 2023, virtually all leading streaming services either raised prices or added ads to find the winning formula that maintains the rate of revenue growth without causing users to churn.”

Like Amagi, NPW is optimistic that FAST models will grow to become a bigger part of the Asian streaming industry in 2024. He added, “However, broadcasters have traditionally used ads as part of their business model. So, the advent of new ad-supported streaming options will not necessarily mean a big shift in how these players monetise their content.

The brands that are shifting their ad dollars from broadcast to digital progressively see FAST as a high engagement brand-safe environment to promote their brands and, hence, typically pay a premium for this inventory

“Nevertheless, the rise in FAST channels might make it easier to introduce new free ad-based offerings, with consumers being more open to these models and the return of ads in general. That will probably be done in conjunction with subscriptions, leading to a surge in hybrid monetisation models that combine ads and a premium, subscription-based tier.”

The future will continue to be shaped by who can truly crack the code when it comes to audience monetisation; for FAST to be sustainable and profitable in the long run, there is more work to be done, cautioned Steve Reynolds, President, Imagine Communications.

He described how the early entrants in the CTV space were mainly subscription video-on-demand (SVoD) services, leading to a lack of CTV inventory, with no demand for and no systems to manage this inventory.

FAST caters to consumers’ lack of both time and money to spend on multiple streaming services

Jay Ganesan

Till Sudworth

Mega merger sets Reliance and Disney ahead of global rivals

Whilst the papers might have been signed, sealed and delivered on February 28, 2024, but the Reliance-Disney megamerger is by no means a done deal.

Although the multi-division, multifaceted business conglomerate Reliance Industries will look to merge its TV and streaming assets with Walt Disney Co, thereby creating the largest player on the Indian broadcasting scene, the marriage will require CCI (Competition Commission of India) approval, which may take several months or lead to the shutdown of channels in case of a big overlap.

Post CCI approval, the National Company Law Tribunal (NCLT) approval may take another eight to 12 months to green light the more than Rs700 billion (US$8.5 billion) new entity, to be helmed by Reliance chairman Mukesh Ambani’s wife, Nita. With his ambitions of scale, Ambani has already achieved country-

wide market leadership in the telecom and retail sectors. The Disney-Reliance deal will be his play to achieve a similar result in the media business.

Only winners here

This deal, being touted as one of the biggest in the media and entertainment industry worldwide, is a win-win for both parties, as it will place them far, far ahead of their competitors. Following the January 2024 collapse of the US$10 billion merger between Sony and ZEE, no worthy competitor has emerged to challenge the hegemony of the new Goliath in the media and entertainment (M&E) sphere in India.

How will the Reliance-Disney deal affect the media landscape in India? What will be the effect on content consumption in the country and the countries served by indigenous broadcasters?

“The joint venture (JV) will have over 750 million viewers across India, and will also cater to the Indian diaspora across the

world,” said the joint statement from the two corporations. Reliance’s Viacom18 will merge with Disney’s Star India. A look at the equity pattern of the new entity shows that Reliance Industries will own 16.3% of the merged entity, Viacom18 will own 46.8% and Disney 36.8%.

A wider catalogue

“The merged entity will be granted exclusive rights to distribute Disney films and productions in India, with a licence to more than 30,000 Disney content assets, providing a full suite of entertainment options for the Indian consumer,” the statement added. “The JV will be one of the leading TV and digital streaming platforms for entertainment and sports content in India, bringing together iconic media assets across entertainment (e.g. Colors, Star Plus, Star GOLD) and sports (e.g. Star Sports and Sports 18),” Voight said.

The JV will be one of the leading TV and digital streaming platforms for entertainment and sports content in India, bringing together iconic media assets across entertainment

Through this deal, there will be a whopping 120 channels – Viacom18 has 40, including Comedy Central, Nickelodeon and MTV, along with Disney Star having 80 – across general entertainment, sports, children’s TV, documentaries and lifestyle. This amounts to about 49% of the broadcasting market of India. When it comes to streaming, the merger will see the combination of Disney+ Hotstar, which currently leads the country’s subscription-based video streaming market with 38.3 million subscribers, and JioCinema, a prominent player in the ad-supported video streaming market.

As of September 2023, JioCinema had about 237 million monthly active users. This means that the new merged entity would have a combined library of 200,000 plus hours of content, which would include television dramas, movies and sport events.

THE CHARTIST: SOUTHEAST ASIA’S BALANCING ACT IN NEXT PHASE OF STREAMING GROWTH

Total subscriptions for paid over-the-top (OTT) video streaming services in Indonesia, Malaysia, the Philippines, Singapore, Thailand and Vietnam are projected to exceed the 50 million mark by the end of 2024, representing market value equivalent to US$1.9 billion.

According to new analysis presented by S&P Global Market Intelligence, estimated annual revenue growth for subscription streaming services in Southeast Asia rose at a faster rate of 38% to $1.53 billion compared to 21% for total paid subscriptions, which amounted to 44 million at year-end 2023.

Many streaming platforms in Southeast Asia recalibrated their pricing strategies to extract more value from new and existing subscribers. Subscriptions to streaming services have generally remained affordable in the region, providing enough room for services like Disney and Netflix to raise or introduce new fees in some major markets.

S&P Global Market Intelligence added that advertising and partnerships with local third-party

operators and content producers will continue to play critical roles in powering growth for streaming services in the emerging region.

Retaining subscriber bases

However, paid ad-supported streaming tiers might not gain much traction in Southeast Asia in 2024 as most consumers in the region continue to embrace the freemium model championed by local and regional platforms. Global services are more likely to continue relying on mobile-only plans as the cheaper alternative to encourage untapped price-sensitive consumers to sample their platforms

Kym Nator, an analyst at S&P Global Market Intelligence, said, “Achieving subscriber scale remains important in the long run, but many streaming players in South-east Asia have pivoted their focus to finding the right balance between expanding customer bases and generating higher average revenue per user amid mounting pressure to maintain healthy profit margins.

Estimated annual paid OTT subscription and revenue growth for 2023 (%)

Source: S&P Global Market Intelligence

The merged entity will be granted exclusive rights to distribute Disney films and productions in India

Ulrich Voigt

Mapping the future: 5 areas of interest that will be affected by permission marketing

The dawn of 2024 sees the global Media & Entertainment (M&E) industry standing upon the threshold of a new user-centric era, shaped by relentless innovation and shifting consumer dynamics. It is a new era where user choice will dictate the flow of content, and technology giants will carve the path forward.

Brajesh Jha, Genpact’s Global Head of Media, Publishing & Entertainment, claims that there are five major trends that will have an impact on the M&E industry in 2024:

Generative AI

Generative AI will make solid inroads. Initial use cases for production workflows, newsroom editing, and basic scriptwriting will become more universally adopted. Deepfake dubbing has huge potential to spread and propagate content across geographies. Regulations pertaining to using original IP in large-language-model training could open up new revenue streams.

Streaming bundles

More streaming bundles and partnerships will emerge. The Disney and Charter showdown in 2023 shook up the bundling market. In 2024, we are likely to witness the emergence of different types of bundled solutions for consumers – content and cable bundles, content hubs coming together such as Paramount+ and Showtime, and lastly, the Rokus of the world striking deals with multiple content providers. Some will be revolutionary, whilst others will mimic

traditional linear TV. Media companies will have to scrape for every subscriber dollar they can find.

Multi-platform local news

The local news and publishing industry will take on a new shape. Local newspapers and broadcast stations have been struggling for a while, but they still serve an important purpose in keeping communities connected and informed. As digital transformation accelerates and these outlets build a stronger social media presence, they will attract more non-profit dollars. Overall, we should see the emergence of multiplatform distribution models targeting local communities through print, digital, and broadcast.

Digital channel ads

Ad dollars will continue to shift towards digital channels. Overall ad spending is predicted to remain the same or increase in the low single digits. However, the shift toward digital channels such as social media, streaming platforms, and connected TV will keep increasing. As content providers seek higher average revenue per user, they will increase subscription video-on-demand prices, shifting more subscribers to advertising-based video-ondemand (AVoD), where ads will be more targeted.

Live events

Live events and associated revenue streams will boom in 2024. In the year just gone by, Taylor Swift did something that no one had done before. With her Eras tour, she radically transformed live events and their

associated industries. Ticketmaster collected US$2.2 billion in ticket sales alone, with the tour generating a massive $5 billion in consumer spending in the US. Beyond just live events, follow-up movie sales are also worth watching.

Mapping the industry

In this ever-evolving landscape, Evan Shapiro, cartographer with Media Universe, has dissected the pivotal trends disrupting traditional business models and provided actionable strategies for industry players to adapt and thrive in the rapidly changing media ecosystem.

The streaming sector is experiencing an unprecedented boom, reshaping the M&E landscape with its rapid growth and the challenges that accompany it. As streaming services proliferate, they face the dual challenge of saturating the market while striving to maintain and grow their subscriber bases.

“The Covid pandemic of 2020-21 served as a catalyst for an unprecedented surge in connected television (CTV) sales and subscriptions, leading to a scenario where more people have more smart TVs than they have ever had in more rooms,” says Shapiro.

“This proliferation of smart TVs has not only changed how consumers engage with content, but has also raised the stakes for content providers to develop a comprehensive CTV strategy.”

Permission marketing

Collecting and using data that consumers consider to be private may not be as easy in the future as it has been in the past few years. Past behaviour shows that consumers will change their attitudes if they believe companies have been irresponsibly using their data. Both Meta (formerly Facebook) and Wells Fargo saw significant fallout from privacy and data misuse scandals.

“People would be more willing to take legal action against businesses they don’t trust, leading to a long-term decline for companies who violate consumer trust,” says Shapiro.

“The change in cookie tracking and targeting will continue to make it difficult for quality advertisers to find their audiences. This signals a need to change their data approach, which opens the door for ‘Permission Marketing’ and gives businesses the chance to re-define how they think of loyal consumers and stops wasting marketing dollars on consumers who have indicated they aren’t interested.”

Live events and associated revenue streams will continue to boom throughout 2024.

As content providers seek higher average revenue per user, they will increase subscription video-on-demand prices

Ad dollars will continue to shift towards digital channels

Evan Shapiro

Brajesh Jha

The Future of CDNs: Meeting the Challenges of Operators and Content Providers

With the emergence of 5G and edge computing, CDNs have the potential to deliver low-latency video streams, reduce congestion and rebuffering, and enhance startup times.

The broadcasting industry has witnessed a tremendous shift in recent years, fueled by the increasing demand for quality video content and the advancement of technology. In this landscape, Content Delivery Networks (CDNs) have emerged as crucial enablers, facilitating the efficient distribution of video content to a global audience. However, as the demand for video consumption continues to surge and technology continues to evolve, CDNs face both new challenges and opportunities.

Nivedita Nouvel, VP for Product Marketing at the leading CDN provider Broadpeak, delved into the significance of CDNs at scale, the challenges faced in implementing and managing large-scale CDN, strategies for optimising CDN performance, the role of CDN in ensuring a seamless viewing experience, and the impact of new technologies on the future of CDN, amongst others.

CDN at Scale: Significance in the Broadcasting Industry

CDN plays a vital role in the broadcasting industry by enabling the efficient delivery of content to end-users across different devices and geographical locations. It has also become crucial that a CDN fit the demand for capacity, given the increasing consumption driven by the growing number of viewers and the demand for higher quality.

This is particularly important for live video content, where demand can vary greatly. CDNs need to be perfectly suited to handle the capacity requirements whilst also addressing energy and cost savings. CDNs deployed in operator infrastructures face unique

challenges that require careful consideration.

Implementing and managing CDNs at scale presents distinct challenges compared to smallerscale deployments. The elasticity of demand for large-scale CDN becomes significantly amplified.

“With small-scale CDN deployments, having a CDN dimensioned to handle peak traffic is not so much an issue since the impact on the costs will be low. With CDNs that need to manage streaming to millions of users, the elasticity of the demand is decupled,” said Nouvel.

Some of the key challenges that have to be overcome to efficiently manage streaming for millions of users are reducing the number of instances, managing elasticity, and adopting differentiated strategies based on factors such as device type, content type (premium vs. standard), and live vs. Video-onDemand (VOD).

Additionally, upgrading deployed solutions can be complex, especially when dealing with legacy bare metal deployments consisting of numerous servers. However, Nouvel recommended frequent upgrades when scaling up a CDN infrastructure. This is to avoid security breaches and attacks, amongst others.

To optimise CDN performance and efficiency at scale, several strategies can be employed. Utilising the latest technologies from chipset vendors, allows CDNs to reach high throughput rates per rack unit when combined with optimised streaming software. Well-designed network topologies that determine the optimal placement of Points of Presence (POPs) and implementing session creation workflows that minimise time loss are crucial as well. Meanwhile, deployment in a container environment may slightly impact per-instance performance but greatly enhances elasticity and ease of management.

“For live video delivery at scale, multicast ABR is a no-brainer: one single stream to address any number of viewers, it becomes relevant from 10,000 simultaneous viewers,” Nouvel added.

The Future of CDN at Scale

Looking ahead, CDNs at scale are poised to evolve with the emergence of new technologies like 5G and edge computing. Leveraging the capabilities of 5G networks and edge computing, service providers can deliver low-latency video streams, reduce congestion, and improve startup times.

Open approaches that combine built-in elasticity and context awareness will likely be developed, ensuring that CDNs deliver content with the best combination of technologies and from the most suitable sources.

With this demand for high-quality, energyefficient CDN, Broadpeak has recently unveiled its next-generation Advanced CDN solution for video streaming. With a focus on delivering a flawless, low-latency, and compelling streaming experience, Broadpeak’s Advanced CDN offers unparalleled performance, scalability, and sustainability, making it the ultimate solution for video service providers.

In a statement last April, Nouvel emphasised the importance of energy consumption reduction, cost reduction, and outstanding quality of experience for video service providers.

With this, Broadpeak introduced its newest CDN solution, which aims to be completely futureproof, offering the best streaming performance, an exceptional quality of experience, and a reduced carbon footprint, empowering video service providers to protect the environment.

Broadpeak’s Advanced CDN delivers video streaming services at an impressive rate of 725 Gbps from a single server, setting new benchmarks for Gbps per dollar and Gbps per watt ratios. This unparalleled performance enables video service providers to achieve significant energy savings, requiring four times fewer servers for video streaming compared to the previous generation. The built-in elasticity allows operators to dynamically manage horizontal and vertical scaling, ensuring optimal resource allocation.

The Advanced CDN solution from Broadpeak is highly versatile and can be deployed in any environment, supporting on-premises, cloud, and hybrid configurations. Operators can easily create and operate video streaming services with Broadpeak’s intuitive GUI and open APIs, providing full control over the content delivery network.

As the demand for high-quality video content continues to grow, CDNs at scale, including Broadpeak’s Advanced CDN solution, play a crucial role in meeting the challenges faced by operators and content providers. Optimising performance, ensuring efficiency, addressing security concerns, and leveraging emerging technologies are key factors in shaping the future of CDNs. Broadpeak’s advanced CDN solution sets a new standard in high-quality, energy-efficient video streaming, empowering video service providers to provide an unparalleled streaming experience whilst minimising their environmental impact. By adapting to evolving consumer needs and embracing technological advancements, CDNs will continue to play a vital role in providing seamless and immersive video experiences to a global audience.

As the demand for high-quality video content continues to grow, CDNs at scale, including Broadpeak’s Advanced CDN solution, play a crucial role in meeting the challenges faced by operators and content providers

EVENT NEWS: BROADCAST ASIA 2023

Next-gen tech drives media evolution at Broadcast Asia 2023

12 of the top industry leaders share exciting trends and innovations on Asia’s largest broadcast technology stage.

Joe Khodeir Vice President of Sales, Imagine Communications

At the forefront of Imagine Communications’ showcase are two main products: Vizio play out by Paul and the SNP (Selenium Network Processor). The Vizio play out by Paul offers a comprehensive solution for seamless content playback, while the SNP acts as an actively integrated IP gateway product, merging IP and SDI technologies along with various components of broadcast technology. Dubbed the “Swiss Army knife for broadcast,” the SNP facilitates efficient data transfer by harmonizing inputs and outputs from different sources.

Discussing the origins of the SNP’s nickname, Khodeir mentioned, “The line about the Swiss Army knife was actually one of our European clients. So we’ve been very successful with that product, and it met the objectives of our customers. They provided us with the tagline, so we use it with a lot of gratitude.”

Imagine Communications primarily caters to broadcast customers, focusing on TV channels and linear workflows. Their products and services aid in generating, monetizing, and executing broadcast workflows efficiently, while also facilitating the transition into the evolving media landscape.

Peng Sang Tan Senior Director for APAC,

Cobalt Digital

Cobalt Digital, a leading provider of broadcast and professional audio-video equipment, unveiled its latest products.

During an interview with Asia-Pacific Broadcasting+, Peng Sang Tan, the Senior Director for APAC at Cobalt Digital, provided insights into the products and their significance.

The company’s offerings included traditional products such as embedders and de-embedders, DAs (distribution amplifiers), up-converters, down-converters, and routers based on the openGear architecture. Additionally, Cobalt Digital featured several new products, including the Sapphire product family of converters, which enable the conversion of ST2110-22 and JPEGXS into HDMI or SDI formats.

Addressing the APAC region’s specific needs, Tan highlighted the RIST (Reliable Internet Stream Transport) based encoder and decoder. This product leverages the open internet to transmit content, ensuring reliable and high-quality delivery even in areas with high internet traffic.

Tan stated, “In Asia, as we know, the internet is very, very susceptible to high traffic at times. And this product actually can help you to deliver your content reliably, with high end high quality.”

Joe Hoo Field Systems Engineer, AJA

In a major product showcase at the BroadcastAsia Show 2023, AJA, a leading manufacturer of video interface and conversion solutions, revealed its latest offerings in the form of Dante AV 4K-T and Dante AV 4K-R. These cutting-edge products promise to revolutionize video transport capabilities for large-scale venues such as live sports arenas, convention centers, and concert halls. Joe Hoo, Field Systems Engineer at AJA, provided insights into the features and functionalities of the newly launched products.

The Dante AV 4K-T and Dante AV 4K-R enable the integration of SDI HDMI 4K video into a Dante AV network, utilizing the highly efficient JPEG 2000 codec. This codec ensures visually lossless compression, delivering superior 4K picture quality. Hoo explained the ease of use and flexibility provided by the Dante AV system. “With Dante AV, you can transport video to any location on the same network as long as you have a Dante system in place,” he said. This capability makes it ideal for seamless video distribution in environments where video content needs to be shared across multiple endpoints simultaneously.

Jonas Reucher Research and Development Manager, Arkona Technologies

In a groundbreaking announcement at the BroadcastAsia Show 2023, Arkona Technologies showcased its latest audio and video processing equipment, unveiling the 83 onwards, a powerful 100 Gig processing platform. This cutting-edge platform promises to revolutionize UHD production and HDR workflows with its exceptional versatility and compact design.

Jonas Reucher, the Research and Development Manager at Arkona Technologies, highlighted the remarkable capabilities of the 83 onwards. “It can do much UHD 16 times in 16 times out at 2110 Dash 20. It can do even more 3g, color correction, SDR HDR conversion, and has frame sings. It can connect SDI to IP, IP to SDI, SDI to SDI – it really doesn’t matter to the device,” Reucher explained. The standout feature of the 83 onwards is its ability to perform extensive processing tasks while occupying just a fraction of the space. “It does a lot of processing in quite a small footprint, only 1/3 of nowyou. So it’s probably one of the most dense application solutions right now on the market for anything gateway and processing,” Reucher added. This tech boosts UHD production and HDR in Asia.

Paul Shutt

Deputy Global Head of Customer Success, Vizrt

Vizrt, an acronym for “visualization in real-time,” offers a range of software-based solutions for professionals in the broadcasting sector.

Paul Shutt, Deputy Global Head of Customer Success at Vizrt explained, “We are the world’s leader of professionals, broadcast graphics, solutions and media products for visual storytelling. Our products are software-based and cater to a wide range of customers.”

He added, “What we are presenting here is our live production end-to-end workflow, with a specific focus on what’s new for Vizrt. Last year, we acquired a company called Flux, which provides HTML5 graphics and data working dynamically together. This product is now available for all Vizrt customers, including NDI, New Tech, and Flux.”

The market segments targeted by Vizrt’s offerings encompass a broad spectrum. Shutt noted, “We cover end-to-end all aspects of the market. Our clientele includes major broadcasters like CNN, as well as live streamers and gamers who rely on our solutions for their content creation and delivery needs.”

Dario Choi

Vice President of Asia Pacific, Irdeto

Irdeto, a renowned global provider of digital platform security solutions, recently showcased their latest innovations at the esteemed BroadcastAsia Show 2023. In response to the ever-evolving landscape of the pay TV market, Irdeto presented two key products aimed at effectively addressing the challenges faced by operators. The first offering centered around a comprehensive aggregation of content, metadata, and advertising. By seamlessly integrating these elements, pay TV operators can effortlessly launch both broadcaster services and over-the-top (OTT) services, effectively meeting the demands of the fiercely competitive market.

In addition to this, Irdeto also unveiled their revolutionary 360-degree anti-piracy solution, an issue of paramount concern within the industry. When probed about their target customer base, Choi responded, “Our solutions cater to a wide range of customers, including OTT service providers, broadcast operators venturing into the OTT space, and studios, among others. We have the privilege of serving a diverse clientele that can greatly benefit from our innovative offerings.”

Robert Shen Sales Manager, FOR-A

FOR-A, a leading manufacturer of video and audio systems, is showcasing its latest products at the BroadcastAsia Show 2023 in Singapore. Among the highlights is the MFR-3100, an allin-one production center that combines a router, switcher, and multiviewer.

The company is also featuring its FA-1616 IP processor and a new switcher with NDI capability. Robert Shen said “At BroadcastAsia, we are showcasing our MFR-3100, which is an all-in-one production center, a router, a switcher combined, as well as multiviewer. One of the products we are showcasing is our IP product, the FA-1616. This is the one with our IP processor. We are also showing our new switcher, NDI-capable switcher.”

The unique selling proposition of the showcased products lies in their versatility and streaming capabilities. Shen explained, “So it’s good for events and when you want to do live streaming. This can work. If you have NDI cameras, you can live stream.” Professional or high-end switcher manufacturers don’t normally have such small features. So the same technology that you getis available in such a small switcher, affordable price.” With its latest product lineup, FOR-A aims to provide cutting-edge video and audio solutions to its customers, ranging from small-scale productions to large-scale broadcasting operations.

David Barnard Managing Director of Gencom Technology for Farmerswife

Farmerswife, the leading representative for Farmerswife in the Asia Pacific region, presented their cutting-edge products at the BroadcastAsia Show 2023. The event, held in Singapore, showcased the company’s resource scheduling and facility management system, as well as their collaboration platform, Cirkus. David Barnard, Managing Director of Gencom Technology, provided insights into their innovative solutions. The Farmerswife resource scheduling and facility management system stands as their flagship product, catering to the needs of media professionals.

It offers a comprehensive set of features and is compatible with both Windows and Mac applications. Additionally, a lightweight web interface allows for seamless usage by talent, freelancers, and individuals requiring efficient task completion. Barnard further elaborated on Cirkus, a dynamic collaboration platform that enables teams to work together in a task-based workflow. The tool facilitates information sharing and empowers teams to create customized workflows for various projects. This flexibility allows media organizations, including production houses, post-production studios, and distribution companies, to tailor the system to their specific requirements. Their solutions cater to a broad range of customers, extending beyond media.

EVENT NEWS: BROADCAST ASIA 2023

Bob

Boster President, Clear-Com

Clear-Com, a leading provider of communication solutions for the professional broadcast industry, unveiled their latest product, Arcadia, at the BroadcastAsia Show 2023 in Singapore. Arcadia is a revolutionary one rack unit based intercom brain that consolidates multiple intercom systems into a single, flexible solution, catering to the evolving needs of broadcasters. Arcadia’s standout feature is its ability to attach any of Clear-Com’s three major freespeak based products, including freespeak two in 1.9 gigahertz, freespeak two in 2.4 gigahertz, and freespeak edge in five gigahertz. Additionally, it seamlessly integrates with Clear-Com’s awardwinning digital party line product, helix net. This consolidation eliminates the need for multiple intercom boxes and simplifies the setup and management process for broadcasters. Arcadia also boasts a comprehensive IO over Dante.

Bob Boster, President of Clear-Com, highlighted the significance of Arcadia: “Historically, setting up an intercom system required multiple boxes, which added complexity and cost. With Arcadia, we provide a onestop solution that combines all the necessary components into a single unit. It offers a flexible centerpiece for intercom operations and allows broadcasters to manage their communication needs efficiently and cost-effectively.”

Pierre Alexander Bidard Executive Vice President of Products and Services, Viaccess-Orca

A prominent focus of Viaccess-Orca’s presentation revolved around the surging trend of targeted advertising within the Asia Pacific region.

Executive vice president Pierre Alexander Bidard mentioned the successful launch and ongoing deployment of their solution, highlighting the positive reception and imminent news of notable achievements in the field.

“Our objective is to simplify the advertising process by offering a user-friendly approach,” explained Bidard. Recognizing the intricate nature of the advertising landscape, ViaccessOrca aims to streamline the integration of their advertising solutions into clients’ platforms.

To enhance market segmentation, the company has harnessed the power of artificial intelligence (AI), enabling customized ads to be displayed based on specific household demographics and preferences.

Bidard emphasized the ease and efficiency of their AI-driven solution as a key selling point. Leveraging cutting-edge cloud technology, Viaccess-Orca ensures swift deployment and seamless operation while prioritizing robust security measures. Viaccess-Orca’s comprehensive anti-piracy solution aims to safeguard operators’ interests and mitigate the impact of such malicious activities.

Anthony

Pesin Demo and Training Manager, Broadpeak

BBroadpeak, a leading provider of content delivery network (CDN) solutions, unveiled the innovative features of their new BKS450 server, including the lightning-fast Origin Packager and cloud DVR solutions. With a focus on energy efficiency and highquality streaming, Broadpeak also highlighted their multicast ABR feature, which allows for simultaneous streaming to one million sessions.

Anthony Pesin emphasized the importance of reducing energy consumption for the benefit of the environment. “We are talking about how we can save energy for the Earth,” he said, referring to the multicast ABR feature as an example.

Broadpeak aims to address the growing demand for premium content by offering support for Apple TV, delivering content in UHD 4K with Dolby codecs and HDR. As a facilitator between content providers and operators, Broadpeak aims to bring them together for seamless collaboration. “We integrate all the systems except the encoder part, but we have a lot of partners,” Pesin explained.

By optimizing their wall system and leveraging partnerships, Broadpeak ensures the delivery of the best possible performance and user experience.

The company’s multicast ABR techn enables efficient streaming through the simultaneous delivery of multicast and unicast streams.

Rob Adams Director of Sales and Marketing Worldwide, TSL Products

TSL Products worked with leading broadcasters and content creators to manufacture and design broadcast workflow solutions for over 30 years.

The company aimed to assist in simplifying operations in television broadcast, cable, satellite, IPTV, and IT industries. The company also specializes in audio monitoring, broadcast control systems, and power management tools.

Rob Adams, the Director of Sales and Marketing Worldwide, explained further on how TSL Products provide their service.

“We used to call ourselves TSL products. But actually, if you look at our logo, we now focus on audio, control, and power because that’s what we’re really selling. So, everything is networked. Where we got in the business domain, it’s about 50% of our business globally,” he said.

TSL has been focused on offering audio monitoring, control solutions, and power solutions. A commonality among the three were how their networks are controlled by control solution devices.

As an independent controls service provider, other user bases expected them to assist in enabling connectivity and suitable control solutions for broadcasters. The company reconsidered adding an IP or bolt on since they noticed people in hybrid environments nowadays have baseband installation.

ANALYSIS: OTT

Why OTT providers may not need to go right over-the-top to gain viewers in 2024

Offering verticalised content and personalisation options helps with customer retention and growth rates.

They say that familiarity breeds contempt while trumpeting the very real impact of viewer fatigue. Yet, the numbers speak for themselves. According to analyst firm Ampere Analysis, global over-the-top (OTT) subscription revenues hit the US$100 billion mark in 2022, while German online platform Statista predicts OTT TV and video revenue to reach the US$215 million mark by 2029 – hardly signs of a declining industry.

While consumption patterns continue to evolve and consumers cut back on spending as uncertainties over the global economy continue to loom large, it is clear that quality content that is affordable and easily accessible will continue to appeal to audiences seeking a temporary deviation from the stresses of their daily lives.

As operators continue to devise winning strategies to engage their audiences and attract new subscribers, app-management platform Applicaster has identified six shifts that are changing the OTT industry.

Asia as the biggest market

Surprisingly, Western Europe is likely to overtake Asia-Pacific as the second biggest OTT growth region in 2024, according to

The onceuniversal design templates are giving way to flexible, intelligent frameworks capable of adapting to subtle nuances in user behaviour, regional preferences and cultural influences

Ampere Analysis. However, collectively, these two regions are poised to challenge North America’s dominance of global OTT revenue streams in the near future.

Ampere Analysis also predicted that by the end of 2023, over 40% of the world’s streaming subscribers were found to be in Asia, a fact that has not gone unnoticed by the giants of the video streaming industry.

Netflix’s local content investment reportedly reached US$1.9 billion in 2023 and jumping on the global bandwagon for all things Korean, Netflix has committed to spending $2.5 billion on South Korean film and TV production through to 2027.

The rise of verticalised content

For myriad reasons, TikTok has grown to be arguably one of the most divisive videosharing platforms in the world. TikTok recorded 1.5 billion monthly active users in 2023 and is expected to reach two billion by the end of 2024.

It has also become a surprisingly effective way to build a community.

BookTok, a subcommunity on TikTok that brings together authors and bibliophiles to discuss their favourite works of literature, boasts 181.7 billion

viewers as of September 2023.

Niche and vertical markets, it would appear, are increasingly turning to OTT platforms to expand their reach and to distribute content.

According to Applicaster, OTT platforms focusing on cooking, music instruction and mediation, for example, have experienced an uptick in subscriptions, demonstrating a consumer demand for content that aligns closely with individual passions and needs.

“As they tailor their content and services to meet the specific desires of niche audiences, vertical streaming platforms are becoming an integral part of the broader OTT landscape’s growth, heralding a new era of streaming that is more segmented yet deeply connected,” Applicaster added.

Hyper-personalisation in streaming

Besides offering verticalised content, operators must also prepare themselves for a future of infinite personalisation in streaming services.

The industry, according to Applicaster, is heading towards the transformation of user interfaces, moving from static designs to dynamic experiences uniquely tailored to each individual’s preferences.

“The once-universal design templates are giving way to flexible, intelligent frameworks capable of adapting to subtle nuances in user behaviour, regional preferences and cultural influences,” Applicaster wrote.

“This approach extends beyond the content, encompassing navigation patterns, colour schemes and interaction styles, creating a streaming experience that feels intuitively personal and giving users what they want and expect.”

GenAI’s transformative role in OTT That AI in all its guises, has impacted multiple industries in 2023, is indisputable. For the OTT industry, generative AI will continue to have a pronounced impact in 2024 and beyond.

Generative AI, capable of creating content from minimal prompts, is “revolutionising” OTT operations by lowering barriers to content creation and diversifying available stories and voices.

This, said Applicaster, not only speeds up the production process but also enables the delivery of content that aligns closely with audience preferences, thereby enhancing viewer engagement and satisfaction.

While the Hollywood screenwriters who initiated last year’s strikes may not look so favourably upon AI, Applicaster is convinced that as AI redefines the dynamics

Niche and vertical markets are turning to OTT platforms to expand their reach and to distribute content

Netflix: content spend by region of production, (USD bn)

Source: Ampere Markets

of OTT platforms, it will present an opportunity for these services to transition from traditional content distributors to dynamic content creators.

“This evolution involves leveraging AI for rapid and varied content production while uploading the quality and authenticity that audiences demand,” Applicaster explained.

FAST streaming format

To circumvent the reluctance of some consumers to pay subscription fees for streaming services, a new TV streaming format is likely to gain traction in 2024.

Free Advertising Supported Television (FAST) presents content in a linear format, although viewers can choose when they want to consume the content. In terms of advertising, FAST differs from the advertising video-on-demand (AVoD) format increasingly being favoured by the likes of Netflix and Disney+. While some AVoD programmes allow consumers to skip commercials, this is not an option for FAST programmes.

Another drawback for FAST, Applicaster identified, is discoverability, where a vast array of FAST channels makes it difficult for individual channels to capture attention in a crowded marketplace.

“For OTT app owners, the key is to integrate FAST into a broader, more nuanced content strategy rather than relying on it as a singular solution. Incorporating linear channels alongside on-demand content within an OTT app offers a diverse viewing experience, catering to varying consumer preferences,” said Applicaster.

An

all-in-one

approach

to OTT

At the zenith of the pay-TV era, it was commonplace for many consumers, particularly sports fans, to subscribe to bundled packages to access their

favourite sports content.

Is this approach making an enjoyable renaissance within the streaming industry? Verizon, for example, is reportedly planning to offer customers a discounted bundle of streaming services that includes the adsupported tiers of both Netflix and Warner Bros. Discovery’s Max.

This approach, Applicaster highlighted, serves as an innovative solution to the high cost of user acquisition prevalent in traditional marketing. “By forging partnerships, streaming services can tap into new audiences, often with the added benefit of receiving payment for their content.”

Crucially, consumers are paying a fraction of the money for such bundled services, when compared to the costs they had to fork out to enjoy bundled pay-TV services. Affordability, it would appear, ranks up there with accessibility and quality of content when it comes to attracting eyeballs in an increasingly saturated market, and may be paving the way for the return of previously tried-and-tested methods.

“As the OTT industry continues to grow, bundling strategies are setting the stage for innovative user acquisition and retention models, reshaping how streaming services are expanding their reach and impact,” Applicaster concluded.

FAST’s promising future

According to new research from Digital TV Research, global Free Advertising Supported Television (FAST) revenues for TV series and movies will reach US$17 billion in 2029, up from $8 billion in 2023. By 2029, the US will be the only country generating more than $1 billion in FAST revenues, with the UK and Canada the two countries expected to reach near to $1 billion in FAST revenues. These three countries will account for nearly half of

ANALYSIS: OTT

the world’s total FAST revenues, while collectively, FAST revenues in the AsiaPacific region will reach US$3.8 billion in 2029, up from US$1.3 billion in 2023.

“FAST is a good way of showcasing content in countries where people are reluctant to pay for subscriptions,” Simon Murray, Principal Analyst, Digital TV Research, told APB+.

“FAST is also a good way to promote archive content by genre or even by title. To contradict this, the US is the largest FAST market by some distance. No other country has seen cord-cutting to such a large degree in the US, where consumers were fed up with paying a lot for traditional pay-TV.

With FAST, broadcasters and media companies can offer easily discoverable content through a thematic channel – one that features Star Wars content for example – on an app that is already part of the Connected TV user interface.

Robust growth

While Digital TV Research’s Murray expects robust growth for the global FAST market leading up to 2029, he also expects a fragmented market that will be dominated by three key players – Pluto TV, Roku Channel and Samsung TV Plus – who, between them, will account for nearly half the global FAST revenues by 2029.

Unlike the subscription video-ondemand (SVoD) market, globalisation will not happen in the FAST market as many local channels potentially emerge. Murray explained, “Advertising is much more localised than subscriptions. Each country has different advertisers and even if they overlap, the same companies run different campaigns for the same brand in different countries. Local companies are likely to benefit the most from FAST.”

Simon Murray

Netflix has committed to spending $2.5 billion on South Korean film and TV production through to 2027

ANALYSIS: SUBSCRIPTION-BASED MODEL

How to fight subscription fatigue while shaping your content monetisation strategy

Adding ads as part of a hybrid model combining subscriptions and ads is increasingly an attractive option.

As consumer behaviours change in the face of economic uncertainty, the subscription-based monetisation model for video streaming services has reached a saturation point where consumers simply cannot afford multiple subscriptions. To exacerbate the situation, account sharing, piracy and an upsurge in churn rate is steadily on the rise.

What then, are operators doing to mitigate this situation?

Adding ads as part of a hybrid model that combines subscriptions and ads is increasingly an attractive option, said Till Sudworth, Head of BU Video and Member of the Management Board at global video intelligence company NPAW.

He told APB, “Our 2023 State of Streaming Advertising and Analytics survey revealed that 76% of subscription-based streaming services globally plan to include ads by the end of 2024. Implementing a hybrid model (an ad-supported tier plus a premium, subscription-based one) is the preferred path for 59% of them — a move all these respondents agree is aimed at lowering the price of subscriptions.”

Cultivating a digital presence For more traditional broadcasters, there is perhaps more catching up to do, as Sudworth identified digital presence, or lack thereof, as one of the most under-utilised aspects of their businesses.

Most broadcasters, he observed, have only recently started deploying digital strategies that extend beyond the typical digital companion app that offers the same content as their flagship TV channel, live or on-demand.

“We are seeing them experimenting with digital-only content and sub-channels, whether that’s by offering free additional content with ads, or by including exclusive add-ons for premium-tier customers,” Sudworth added.

“Currently, we are witnessing an explosion of new content and formats that are digital-first and created to fit these hybrid strategies, coupled with improved digital app experiences akin to what leading streaming platforms are offering.”

With new channels and content offering the potential to tap into fresh customer segments and increase engagement among existing customers, changes are driven by opportunities to increase revenue and audience engagement.

To achieve real success, Sudworth advised broadcasters to ensure they

Currently, we are witnessing an explosion of new content and formats that are digital-first and created to fit these hybrid strategies, coupled with improved digital app experiences akin to what leading streaming platforms are offering

are utilising their content in the best possible way by partnering with external platforms through content syndication and distribution agreements. Additionally, they should tap into as many platforms and channels as possible to monetise their content, communicating with different audiences where they are and in the media language they speak.

“All in all, this is a growth model that aligns well with the outlook for the year ahead. This is particularly true for free, ad-supported options that offer additional ad impressions and revenue without burdening consumers during times of economic uncertainties and growing subscription fatigue,” he added.

Cross-platform selling

To drive a sustainable and profitable advertising business, media operators should start by understanding their total audience and inventory, said Steve Reynolds, President, Imagine Communications.

Cross-platform selling, planning, and optimisation, he explained to APB+, all work better when there is a single inventory management platform that has visibility to leverage placement opportunities

across linear, on-demand, streaming, and addressable delivery.

“To start down this path, media companies and operators need to have a modern, robust inventory management system that is connected to all of those delivery platforms,” said Reynolds.

“That inventory management system serves as the nexus between a crossplatform order management system (OMS), the optimisation modules that are tuned for each delivery type, demand sources, and the data sources that provide details about viewership, ratings, delivery performance, and audience.

“The inventory system must also provide the critical link to the billing and general ledger platforms, ensuring that proof-of-performance and affidavit requirements are met.”

To provide a consistent and cohesive set of business rules from the inventory system to the OMS, Imagine is offering its CrossFlight OMS, a cloud-based broadcast sales platform that automates management of ad sales, proposals, pricing and audience forecasting.

Orders that are then placed via the OMS can fully reflect the types of campaign plans that have long driven value for linear

Dynamic ad insertion (DAI) is one of the best ways to drive better content monetisation (Photo from Google Ads Manager)

Till Sudworth

ANALYSIS: SUBSCRIPTION-BASED MODEL

Do companies use 3rd-party analytics to identify customers at risk of churn?

inventory, including brand safety, category separation, time-of-day rules, and fixed placements for sponsorships.

Furthermore, as regulatory and privacy rules evolve around the globe, this model will ensure that brands can buy advertising in a way that is safe, effective, and compliant with local laws and restrictions.

Poor ad load management

To address the common complaint of viewer fatigue associated with what Reynold described as the “very poor management of ad load in the current generation of Connected TV (CTV) systems,” Imagine is also focused on bringing broadcast-grade ad decisions to digital and CTV.

He explained, “Many of the ad servers currently deployed in that segment are simply unaware of the business rules that support premium ad rates. These systems were simply not designed to operate cohesively with linear delivery, so they will require significant adaptation to fit into a true cross-platform, converged inventory and audience model.

“The newest generation of CTV ad decisions servers – such as the SureFire ADS from Imagine – are designed and implemented specifically to fit into the cross-platform future. SureFire was built from the ground up to provide linearlike control of digital inventory and to do this at a massive scale. Add to this the ability to seamlessly integrate into a cross-platform inventory management and optimisation system, and the path towards more profitable and sustainable CTV ad revenue becomes clearer.”

Improved profitability, Reynolds was quick to add, also extends to the linear side

of the converged advertising model. While there has been a slow decline in linear ad spending in some markets, Imagine continues to see substantial growth in linear ad revenue in markets that have moved towards trading linear on an audience basis. Commending this as a “simple yet very elegant” concept, he explained, “Instead of selling fixed spots in the schedule, operators are now able to represent their inventory as being an audience that can be dynamically traded and scheduled by an optimisation engine. This yields significant improvements for both the buyers and sellers of advertising.

“The buy-side gets a more predictable and effective delivery of their campaign goals (audience segments, reach, frequency, pacing), and the sell-side gets better utilisation of inventory and better yield from linear orders.”

FAST and DAI

Looking ahead, Imagine envisions a future where advertising is a converged model that brings together the entire audience by re-aggregating viewership across multiple platforms instead of eroding value through fragmentation.

“By creating a cross-platform environment that includes the OMS, the inventory management system, a CTV decision server that brings the premium of linear-like selling to digital, and a linear optimisation system that enables digital-like selling of audience for linear, we are creating an advertising platform that enables sustainable, scalable, and profitable growth for media companies around the globe,” Reynolds concluded.

Where ad-supported business models are concerned, the recent emergence of Free

Advertising Supported Television (FAST) has been touted in many quarters as a potential game changer.

When it comes to driving better content monetisation, building a FAST channel and Dynamic Ad Insertion (DAI) rank as the two key approaches for many broadcasters, according to Jay Ganesan, SVP, Asia-Pacific, Amagi.

He highlighted to APB+, “Broadcasters with an over-the-air (OTA) signal are already delivering free, ad-supported television, so putting that content on FAST only means that more people will see it.

“Many viewers continue to experience fatigue and discoverability issues with video-on-demand (VoD) services, yet the cord-cutting trend still shows no signs of stopping. FAST presents a wonderful middle-ground, enabling content owners to capitalise on the high demand for premium content while offering linear experiences akin to cable or broadcast.”

A DAI solution, meanwhile, can further enhance ad revenue for all linear TV formats by delivering personalised and relevant ads on a large scale. The primary goal of implementing DAI, said Ganesan, include enhancing viewer engagement, increasing cost per mile (CPM), and reducing ad fatigue.

“In fact, DAI facilitates the strategically placement of non-linear ads — such as graphic overlays — into video programmes, allowing channel owners to precisely control when and where these ads appear.

“With the ability to replace TV ads in real-time with personalised and targeted content, DAI is a powerful tool that can help broadcasters adapt to changing viewer preferences.”

It is however, the rise of FAST, that will truly revolutionise not only how broadcasters monetise their content, but how they reach a broader audience, declared Ganesan.

Steve Reynolds

Jay Ganesan

Source: NPAW 2023 State of Streaming, Advertising & Analytics

ANALYSIS: IP REMOTE PRODUCTION

How adopting IP remote production can cut costs and carbon emissions

It can significantly lower the associated costs of transporting staff and equipment to event locations.

In line with its diversity as a region, Asia-Pacific is displaying a range of varied adoption levels when it comes to IP remote production. Identifying Australia as a leader in IP remote production in the region, Gregor Erlitz, Head of Sales APAC, Lawo, told APB+, “Australia has already embraced remote production due to its large distances and relative sparse population, and the need for cost-efficient broadcasting solutions.”

He noted, “The country’s telco infrastructure supports this technology well, and Australian broadcast service providers are offering these services across the APAC region.”

Erlitz also sees Japan as holding “significant potential” for adopting remote production as more broadcasters seek to migrate to IP technology. Major networks like NHK are exploring these technologies, and he expects major IP installations to emerge in 2025 and beyond, thus increasing the acceptance of remote production concepts in Japan.

He said, “At the end, each country’s unique situation, from geographic challenges to tech transitions and WAN infrastructure, plays a role in how remote production technologies are being adopted and utilised.”

Operational changes

Like all technology migrations in the professional broadcast industry, the deployment of new technologies must go hand-in-hand with operational changes, maintained Kevin Salvidge, Sales Engineering Manager, Leader Europe.

He told APB+, “IP remote production will no doubt offer significant operational savings, but they have to be managed in conjunction with operational practices and not compromise the quality of the production to their clients and the endcustomer,” he told the magazine.

However, Salvidge was quick to remind us that IP remote production is not a one-size-fits-all solution. He is predicting that in 2024 many broadcasters will be evaluating new networking technologies, including SRT, JPEG XS and NDI, to find which one best meets their operational and production requirements, including supporting back-to-back productions.

The IP remote production trend in the Asia-Pacific region is continuing at a stable rate after the accelerated push during the Covid-19 pandemic; however, the traditional remote production model, which was more of a ‘venue’ to a central facility, is an outdated one.

Speaking with APB+, Fintan

IP remote production will no doubt offer significant operational savings, but they have to be managed in conjunction with operational practices

McKiernan, CEO, Ideal Systems, South East Asia, explained, “The current trend in remote production is the usage of cloud as the central facility and operators can be placed anywhere that has a decent internet connection or a central facility if required. This provides optimal flexibility.”

“The trend is enabled by next-generation cloud infrastructure. Users have already started moving away from traditional fixed infrastructure to cloud-based systems such as vision mixers like Vizrt’s TriCaster Vectar, which provides anywhere-access to software-based enterprise-grade 4K switching in the cloud,” he said.

Cloud vision mixers like Vizrt’s TriCaster Vectar reduce production costs, adapt well to changing production needs, and can be deployed on-premises, in the cloud, or as a hybrid solution depending on requirements.

According to McKiernan, production quality can be further improved by letting operators incorporate unlimited NDI sources and scale to any event size.

“Cloud systems also reduce travel, accommodation and equipment transport costs, as well as reducing CO2 emissions. While larger scale and increased redundancy can be delivered by spinning up new production capacity to meet temporary and permanent changes in demand.”

Challenges

As for the inherent technology challenges for IP remote production, McKiernan identified a lack of reliable fixed line high-

speed network connectivity, especially to stadiums. Previously, this challenge was circumnavigated with DSNG satellite connections from outside broadcast (OB) trucks, which were then replaced by the far more cost-effective bonded cellular packs.

“However, even with the added bandwidth of 5G now being available, using bonded cellular for live sports still adds significant latency over a fixed line connection,” he said.

IP remote production can significantly lower the need for large on-site teams and the associated costs of transporting staff and equipment to event locations. This, said Lawo’s Erlitz, is particularly beneficial in the Asia-Pacific region, where events can be spread across large geographical distances.

He added, “In parallel, this technology allows for the more effective use of existing broadcast infrastructure and equipment, which can be centralised rather than transported to various locations, resulting in lower cost and less wear and tear.

“Plus, fixed production environments can offer better conditions for high-quality productions than smaller OB vans or mobile units. This is particularly true for new production formats such as 3D audio, which may require more specialised production environments that are easier to achieve in a fixed environment.”

From a technology standpoint, Erlitz sees a significant maturity level for the tools and systems for IP remote production that are offering reliable solutions for the most critical live events. The challenge, he said, often lies in the commercial and

Cloud-based systems provide access anywhere, making workflows more accessible

Gregor Erlitz

ANALYSIS: IP REMOTE PRODUCTION

infrastructure aspects.

“In many parts of the APAC region, the necessary wide area network (WAN) infrastructure required for IP remote production is not readily accessible or optimised for broadcast requirements. Additionally, the costs associated with these connections can be prohibitive, especially for smaller-scale productions.”

Meeting APAC’s production needs

As Leader’s Salvidge pointed out, many broadcasters are evaluating new networking technologies to find the one that best meets their operational and production requirements. Where IP remote production is concerned, the growth of various standards highlights the democratisation of IP technology in the professional broadcast industry, he suggested.

“Because of the network usage fees associated with uncompressed SMPTE ST2110 being expensive, this has resulted in only Tier 1 productions considering ST2110. While the growth of JPEG XS will help with the adoption of ST 2110, SRT and NDI will appeal to more budget sensitive productions.”

However, Ideal Systems’ McKiernan is convinced that NDI will offer the best value for money for live sports production in the South-east Asian countries that typically work with lower budgets. “NDI is a professional video standard and has an ever-growing ecosystem of equipment manufacturers supplying equipment at significantly lower costs than was previously available.”

Describing NDI as a “Swiss Army” technology, he highlighted how the technology serves a multitude of purposes, from usage in pro-AV, non-broadcast video production, semi-professional video production, up to international broadcast 4K production level, all with strong support for cloud integration.

This is not to say that NDI cannot be approved upon, as McKiernan acknowledged, “NDI is still missing some defined broadcast standards for additional data within the streams for sync, subtitles,

and SCTE triggers, which are better covered in NDI’s more expensive big brother, ST2110.”

Using NDI and ST2110

Unlike NDI, ST 2110 can prove to be cost prohibitive to many, bar well-funded broadcasters and high-end production studios. McKiernan also refutes that ST2110 is the gold standard for IP video, despite many heralding it as such.

“ST2110 purely addresses uncompressed video usage within a production studio or facility, and was never envisaged, nor is suitable for long distance usage over WAN or cloud infrastructure. The additional technical complexity and significant extra cost in deploying and maintaining 2110-based solutions mandates very careful consideration of the benefits to justify its use over NDI.”

While recognising that there are use cases that favour ST2110, particularly for broadcasters with deep pockets, he maintains that NDI remains the logical solution for many broadcasters. “Faced with competition from over-the-top (OTT) operators and social media, especially in the SEA region, broadcasters want one or both of the following from their broadcast technology investment – a reduction in operating costs or an increase in revenue.”

While ST2110 is designed for professional grade and large-scale productions in environments that demand strict standards compliance and are prepared to invest in the necessary network infrastructure, NDI is gaining traction for its efficiency and cost effectiveness, and is particularly useful for applications that require flexibility and ease of use, assessed Lawo’s Erlitz.

He elaborated, “The current trend toward using commercial off-the-shelf (COTS)-based processing in live production infrastructures is facilitating a more flexible adoption and interoperability among different standards, including ST2110, NDI, and also SRT. This shift is particularly relevant as we see broadcast infrastructures evolve to be more software-centric, where core processing functions like decoding and

transcoding are more integrated.

“This integration will enable easier handling of different formats, allowing for a seamless mix-and-match approach. Ultimately, the choice between ST2110 and NDI in the APAC region will be defined by the specific facility requirements. The ongoing evolution of broadcast technology infrastructure towards more adaptable and software-driven solutions will likely enhance the coexistence and functional overlap of these standards.”

And it is likely to be the ongoing transition to software-based processing in live production environments that will prove to be the next game changer for remote productions, predicted Erlitz.

Scaling production

Utilising COTS technology, he explained, will facilitate the dynamic allocation of processing functions on demand, making these functions accessible anywhere within the network, while certain processing functions can be physically set up in locations that make sense, for example to address latency issues in remote setups.

Within this context, optional cloudbased processing will also introduce the flexibility to adapt to production demands as they change, while OPEXbased subscription models offer a scalable and efficient way to deploy and expand production infrastructures when needed.

“This technology shift signifies a move away from traditional hardwaredependent setups, towards a more agile and cost-effective model that can adapt to the varying requirements of remote production environments,” said Erlitz.

For Leader’s Salvidge, cloud is likely to play a pivotal role in supercharging remote production, as he described, “Cloud-based IP Remote Production is evolving rapidly and the adoption of NDI, SRT and JPEG XS for compressed productions is now being complemented by Amazon’s Cloud Digital Interface (CDI) for uncompressed. The growth of 5G using public networks is well documented, especially with broadcasters using it for major global events.”

This technology shift signifies a move away from traditional hardwaredependent setups, towards a more agile and cost-effective model that can adapt to the varying requirements of remote production environments

The future of remote production will be symbolised by a fraction of the physical hardware that is currently being used, and their costs will only be paid when they are in use, said Ideal Systems’ McKiernan.

“Spinning up virtual vision mixers, graphics systems, audio mixers, and glue products in the cloud when you need them is a total game changer. All that will be needed to go to events is cameras, mics, some camera and audio people, as some cameras will be remote controlled and soon AI controlled, and some talent to do interviews on site.

“Cloud-enabled remote production will allow production to be in a single remote facility or distributed. Once all content and production is in the cloud, the next step will be further streamlining and automation.”

Fintan McKiernan

Kevin Salvidge

Kiloview series encoders ensured a seamless live stream during the Formula X Racing Weekend (Photo from NDI)

REPORT: SUSTAINABILITY

Prioritising sustainability and profit is a balancing act

Once broadcasters understand the current state of their operations, they can then come up with sustainability action plans for improvement.

With more and more businesses prioritising a shift to sustainability to build resilience and achieve competitive growth, the broadcast and media industry, is unsurprisingly, not an exception. However, what does sustainability really mean for broadcasters and media organisations?

In the context of the broadcast and media industry, sustainability refers to practices and initiatives aimed at minimising negative environmental, social, and economic impacts while ensuring the longterm viability of the industry, said Barbara Lange, Principal & CEO of Kibo121, a boutique consultancy which works with the media industry to help educate and progress on sustainability initiatives.

Speaking to APB+, she noted, “This includes efforts to reduce carbon emissions, minimise resource consumption, promote diversity and inclusion, and foster ethical business practices.”

Sustainability action plans

As a start, Lange encouraged broadcasters to understand their current state of operations by running an assessment that measures energy consumption and waste reduction. “Once they understand their current state, broadcasters can then set out a plan for improvement in the form of a Sustainability Action Plan (SAP).

“The SAP can then be embedded into the operation to ensure the broadcaster can meet its ongoing sustainability targets.”

Examples of sustainability actions, she highlighted, include utilising energyefficient technologies and practices in broadcast operations and facilities; embracing eco-friendly technologies and production methods such as virtual studios and cloud-based solutions to reduce hardware and energy consumption; implementing strategies to reduce waste

during the production and broadcasting processes; recycling and reusing equipment and materials to minimise the environmental impact of media production; and being transparent about sustainability efforts and reporting on progress regularly.

Sustainability as a philosophy

From a philosophical perspective, sustainability is all about intent, suggested Siddharth Nakai, a sustainability consultant for the media and entertainment industry. He is the Co-Founder of Indiabased G.A.M.E, a sustainability solutions and consulting organisation that helps brands, studios, and production companies to envision and chart a strategic plan for their sustainability goals.

He told APB+, “In the context of the broadcast and media industry, sustainability can be defined as the conscious effort an organisation is willing to take to protect its crew and produce content with minimal impact on the environment.

“Sustainability is equally important both behind the camera and in front of the camera,” Siddharth added Therefore, leading by example is a powerful way to drive sustainability, as Siddharth explained, “The media and broadcast industry with its significant influence on public opinion and behaviour has a crucial role to play in shaping a more sustainable future.”

He is encouraged to see measures being put in place to shape this future in India. Starting with simple and effective measures, production houses are replacing single-use plastic with reusable ones and having appropriate waste segregation practices in place.

A concerted effort is also being put together to drive sustainability culture building by creating more modular and

low-waste production sets. “When the intent is right, people brim with ideas and solutions,” said Siddharth. “We have had instances where the production house themselves pledged to reduce the use of tissues on set. This includes the top actors and stars. When you look at the data, a simple change such as that comes with a lot of economic and environmental benefits.”

On a more global scale, Lange pointed to initiatives such as the Canadian Broadcasters for Sustainability, a group formed in June 2023 with the goal of increasing environmentally sustainable change.

Adopting holistic leadership

There have also been significant technology advancements that continue to drive sustainability, including virtual productions reducing a production’s carbon footprint by virtually eliminating transportation costs, while advancements in cloud remote production are reducing energy consumption in live productions.

Yet, Lange readily accepted that the broadcast and media industry lacks a sustainability infrastructure with a set of best practices and agreements on what to measure and how.

She elaborated, “We are in the infancy stage for developing such parameters that will help guide the industry. As the industry comes together through initiatives such as Greening of Streaming and the Media Tech Sustainability Series as well as recognising those who are leading the way, others will learn and follow.

“By adopting a holistic approach that encompasses environmental stewardship, social responsibility, and economic viability, the broadcast and media industry can contribute significantly to a more sustainable future. Continuous innovation, collaboration, and a commitment to positive change are key to ensuring long-term success in sustainability efforts.”

To support long-term sustainability, energy consumption is an area that needs to be prioritised, argued Siddharth. “In terms of what can be improved, infrastructure and access to greener technologies definitely top the list. Film studios in most Indian cities are not yet equipped with solutions like renewable energy and the industry must have a common pool of experts and finance to make greener decisions possible.”

Through G.A.M.E, his vision is also to create an alliance between leading media companies, environment, health and safety experts, along with government bodies, that will empower and drive a more sustainable future. “A common voice by the industry, and for the industry, is needed to drive faster changes within communities,” said Siddharth.

Throughout the entire value-chain, from planning, to ingest, quality control, censorship, subtitling, editing, right up to transmission, technology plays a vital role in each step of the process, said Dr. Ahmad Zaki Mohd Salleh.

Infrastructure and access to green tech must be a priority

Siddharth Nakai

Barbara Lange