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**If you’re reading the small print you, may be missing the big picture caveat emptor
FROM THE EDITOR
Streaming and broadcast are no longer on parallel tracks. Netflix’s deal with TF1 brings live television into a streaming platform, showing how two once-separate worlds are beginning to share the same space. We take a closer look on page 6.
Advertising tells a similar story. Streaming has now overtaken cable and FAST and AVoD platforms are expanding quickly. Real-time data gives advertisers the ability to match ads to context, timing, and audience behaviour, making campaigns more effective whilst avoiding the fatigue that turns viewers away. We share how industry players are tackling this challenge on page 10.
The trend is equally clear in Hong Kong, where the media and entertainment market is projected to reach US$15b by 2029. As consumer spending slows, companies are directing more resources toward advertising to keep growth on track. We take a closer look at this trend on page 7.
Behind these shifts lies the question of trust and openness. Media companies are adopting Zero Trust principles in their workflows, treating security as the foundation for collaboration rather than a bolt-on. Read the full story on page 12.
Children’s programming is also being reconsidered. Suzanne Ryan of SLR Productions argues that success cannot be measured by ratings alone. Stories that connect with families and classrooms show that impact can be counted in more than numbers. Our interview begins on page 14.
Finally, this issue highlights the Asia-Pacific Broadcasting+ Awards, which recognise outstanding achievements and innovations in broadcasting, digitalisation, and engineering across the region. You can check out the full list of winners on pages 18 to 21.
Read on and enjoy.
Tim Charlton
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MOST READ
Where once sports was the exclusive domain of pay-TV, it has arguably been transformed into a game changer for video streaming in recent years. According to Ampere Analysis, the combined spending of all streamers on sports rights in 2025 will reach $12.5m, one fifth of the global annual TV spend.
According to the International Olympic Committee (IOC), about 300 million people accessed Paris 2024 content via the Olympic website and app, whilst more than half the world’s population engaged through broadcast or digital platforms. This surge in interest is fuelling growth in adjacent markets.
The video streaming industry is booming like never before. Society is undergoing a change in the way companies make and distribute content, as well as the way that consumers view that content. Streaming has become fully embedded into many people’s lives due to the growth of devices and services.
Any technology that promises to offer flexibility, scalability and cost efficiency, is bound to pique interest. For the broadcast and media industry, the transition to cloud-based broadcasting has been rising as broadcasters move away from the constraints of traditional hardware-dependent storage and connection systems.
For Free Advertising Supported Television (FAST TV) to succeed, two overriding factors must be in place. Firstly, compelling content is the foundation for attracting and retaining viewers. Operators must also achieve effective reach by using marketing strategies to connect with audiences interested in the content.
The media landscape is in constant flux, driven by factors like advancements that reshape content. Amongst these transformative forces, IP broadcasting stands out, impacting the industry on a global scale. The method is a compelling alternative to serial digital interface, which is limited in terms of flexibility.
Streaming giants challenge broadcasts in sports rights
Hybrid models enable flexible content creation with real-time
Top 5 trends rewriting the playbook for sports broadcasting
2 key factors that must align for FAST Television to thrive
Are streaming platforms losing users with every price hike?
IP broadcasting reshapes live remote content delivery
OTT
CLOUD SOLUTIONS
BROADCASTING TECHNOLOGY
DIGITAL TV
VIDEO STREAMING
IP BROADCASTING
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CAN TELEVISION AND STREAMING COHABITATE?
There was a time when Netflix was perceived as the chief disruptor of traditional broadcast television; the catalyst for a demise that traditional broadcast television would never recover from.
Today, whilst the existential threat to survival is real, traditional broadcast continues to evolve and adapt to be relevant to viewers. Netflix, on the other hand, is just one of the many protagonists who continue to reshape the way media content is consumed.
With traditional broadcasters and networks rethinking survival strategies in an increasingly competitive market, can they plausibly find salvation from the very same actors who have played a key role in dismantling previously lucrative business models?
After all, if you can’t beat them, join them, as France broadcaster TF1 Group is demonstrating. Earlier this year, TF1 Group announced that from 2026, all Netflix subscribers in France will be able to watch all five linear channels from TF1 Group.
They will also be able to consume more than 30,000 hours of ondemand TF1 content in the summer of the year 2026.
“As viewing habits shift towards ondemand consumption and audience fragmentation increases, this alliance will enable our content to reach unparalleled audiences and unlock new reach for advertisers,” said Rodolphe Belmer, CEO at TF1 Group.
Can this Netflix-TF1 collaboration foretell a hybrid future where ondemand and live broadcast co-exist, and how can traditional broadcasters benefit from team up with various streaming platforms?
The integration of live streaming channels onto the likes of Netflix and Amazon Prime Video presents a real opportunity for broadcasters, suggested Rory Gooderick, senior analyst at Ampere Analysis.
Cloud tech gives linear TV a second life
Can there be a fully cloud-based linear channel management and playout system for distribution to multiple platforms, equipping media organisations with the tools needed to meet the demands and expectations of the new generation of viewers? The answer can be found in a relatively young technology disruptor called Veset, which was founded in 2011.
The 14-year-old company in the linear technology playout space firmly believes from the very outset that playout could be entirely cloud-based, as well as being able to deliver features comparable with traditional onpremise solutions.
“We have achieved what we set out to do,” Gatis Gailis, founder and CEO at Veset, told APB+ in an exclusive interview. “There were challenges for broadcasters who wanted to take the leap into the cloud – particularly because of the ‘We have always done it this way’ argument.”
Gailis said users still associate broadcasting with dedicated hardware and worry about latency, security, and cost structures if they should make the move.
“To overcome that, broadcasters should start with hybrid models, where cloud playout complements on-premise infrastructure and can be seamlessly integrated into existing ecosystems. It is also important to focus on education and training to help operational teams understand the efficiencies and capabilities of cloud workflows to ensure they are on board with the digital transformation right from the start,” the chief executive added.
“Our flagship SaaS product, Veset Nimbus, offers fully cloud-based linear channel management and playout for distribution to multiple platforms,” added Lelde Ardava, COO at Veset.
“Nimbus allows broadcasters to launch full-scale linear channels across any television distribution platform, from digital terrestrial, satellite, and cable TV to OTT. As a true cloud playout SaaS solution, Nimbus takes full advantage of the cloud, allowing content owners to manage multiple linear channels flexibly, whilst future-proofing their operations.”
Inside Veset
Veset was also one of the first cloudnative playout solutions that enabled distribution with AWS Cloud Digital Interface (CDI). By integrating support for AWS CDI into Veset Nimbus, broadcasters were able to use much higher-quality uncompressed video on their linear channels. Having the ability to distribute high-quality uncompressed linear video content entirely in the cloud drastically reduced latency, and improved the user experience for viewers, providing assurance that the quality would be akin to the experience associated with traditional TV.
Veset Nimbus was launched in 2015, and soon after it was selected by France’s Fashion TV, which became the first Nimbus subscriber. At the time, the broadcaster operated two channels, but after adopting Nimbus, it went on to launch 18 different variations, both regional and content-specific, of its main channels, which were delivered worldwide to pay-TV platforms, as well as to OTT platforms worldwide.
“This demonstrates how transformational switching to cloud playout can be,” said Ardava. “There was a growing demand for a managed service, so in response to that, we launched hosted and managed services in 2022, in addition to the existing selfservice offering,” she added.
Cloud playout systems can complement on-prem setups (Photo from Veset)
Lelde Aldava
Gatis Gailis
VIDEO STREAMING
VIDEO STREAMING
Advertising overtakes subscriptions in Hong Kong
Hong Kong’s media and entertainment (M&E) industry is tilting towards advertising as a growth driver as businesses cut back on consumer revenue strategies amidst a global push for digitalisation, according to PricewaterhouseCoopers International Ltd. (PwC).
This is in line with a global trend, in which advertising is expected to surpass consumer revenue by about $300b (HK$2.34t) by 2029. Internet ads, over-the-top (OTT) video, and cinema will drive the increase, it said.
“The ongoing shift from traditional to digital media by consumers and
advertisers is occurring concurrently with the rising impact of AI (artificial intelligence)-enhanced monetisation strategies by major tech platforms,” Cecilia Yau, PwC Chinese Mainland and Hong Kong media leader, said.
“Consequently, internet advertising will play an increasingly crucial role in driving growth. Given the trajectory of AI and digitalisation, businesses are likely to allocate larger portions of their budgets to internet advertising,” the media leader said.
Hong Kong’s M&E market is projected to grow 2.26% annually to $15b (HK$117b) by 2029, with advertising leading, Yau said.
“In Hong Kong, advertising revenue is projected to grow at a 4% compound annual growth rate (CAGR), compared with a 1% increase in consumer revenue,” she said. “Whilst consumers may be more reserved in their spending, businesses are prioritising marketing efforts to capture attention and drive sales.”
Globally, advertising will grow more than three times faster than consumer spending at 6.1% from the year 2024 to 2029.
“The recent economic environment has led to a slowdown in consumer spending growth,” Yau said. “During this period, companies have been increasingly investing in advertising to attract consumers, seeking to boost demand for their products,” she added.
Digital tools
She added that digitalisation is widening opportunities. “Ongoing advancements of smartphones and broadband have rapidly expanded the digital landscape, providing new opportunities within advertising.”
Ongoing advancements of smartphones and broadband have expanded the digital landscape, providing new opportunities within advertising
AI is central to the shift. Behaviour analysis and predictive tools enable personalised, relevant content, strengthening consumer connections and improving returns on ad budgets.
Video advertising is expected to gain the most from generative AI. “This tech is revolutionising video by reducing costs and production times, enabling advertisers to create highquality and dynamic content swiftly.”
THE CHARTIST: MEDIA FIRMS BOOST REVENUE WITH AI-POWERED PERSONALISATION
Every management consultancy worth its salt has been predicting humongous growth for the media and entertainment (M&E) industry in the latter half of the 2020s.
Recent projections by PwC’s report estimate that the media and entertainment industry will grow to $3.4t by 2028. This growth is fuelled by digital advancements, consumer preferences for personalised experiences, and the expansion of global connectivity, particularly in emerging markets.
Digital advertising, especially on mobile and connected TVs, is surging, with an anticipated 9.5% annual growth, driven by data-targeted and personalised ads. Additionally, over-the-top (OTT) video services are expected to reach 2.1 billion global subscriptions by 2028, reflecting a strong move towards on-demand content.
Video gaming, especially mobile gaming, is
forecast to exceed $300b, led by the Asia-Pacific market, the report added.
According to McKinsey, media companies that use artificial intelligence (AI) for customer personalisation can achieve revenue boosts of up to 15%. Beyond just recommendations, AI tools like IBM Watson are helping scriptwriters predict audience reactions, blending art with science in content creation, the consulting firm added. Moreover, immersive technologies such as virtual reality concerts are increasingly going mainstream, with 19% of consumers from the United States using the tech in 2020.
Key trends to watch in the future include the growth of generative AI and large language models throughout the video supply chain; the growth of multi-cloud and hybrid cloud deployments by video service providers; rising cybersecurity threats and the use of deepfakes.
Steady aggregate growth for E&M, 2019-2028
Source: PwC’s Global Entertainment & Media Outlook 2024–2028, Omdia
Hong Kong’s M&E market is set to grow to $15b by 2029
Cecilia Yau
MEDIA AND ENTERTAINMENT
EVENT NEWS: BCA 2025
AI and cloud power new broadcast era
12 top voices in broadcasting share fresh strategies and launches at BroadcastAsia 2025.
Straker Coniglio General Manager, APAC AJA Video Systems
We got the KUMO 6464-12G and then we’ve got the DANTE-12GAM. This model gives you two inputs, two outputs, 12G-SDI to and from Dante.
So far a lot of our Dante customers are really excited about that, and it’s our first throwdown converter that has a user interface on the front, so you can select the options directly on the unit itself, without having to connect through USB or through ethernet.
You can still do that, but a lot of customers have asked us for the ability to configure right on the floor. I do not think there is anything that directly competes with the DANTE-12GAM, it’s kind of a class on its own.
On the KUMO 6464-12G, there has been a lot of customers that have come by. I think they’re impressed with the form factor. It is small, compact, no fans, so it can run completely silent in a studio or an audio suite, and the density is really impressive.
Cris Garcia Head of Pre-Sales Engineering Cobalt Digital
We have these products that we find to be similar, but very innovative in their own way. Some of the products here are products that are addressing the new trend, which is 2110, IPMX, 12G also being able to be modular for multiple applications.
For example, here we have some bidirectional cards that can do SDI to HDMI, HDMI to SDI. We can also do 2110 to HDMI, but also SDI to 2110 and that is what we have here with these different cards.
We have many more products that are unfortunately not at the show, but we wanted to bring the ones that we feel add value to the Asia Pacific market.
The difference our company and our other other competition is that in our products, even though they are modular, we tend to add a little more value in terms of being able to activate licences that allow it to do, for example, colour correction.
Shakunt Malhotra Vice President, APAC Appear
VX is a new product that appeared at NAB, and now we are bringing it into BroadcastAsia this year. There is another product which is called X5, which has a lot of technology built in a small box, which was also launched at NAB. So in the case of VX, basically it is a lot of processing that takes place in the cloud.
So when I say ground to cloud services, that means we have products like X20 and X10, which are quite successful in doing a lot of contribution services, and they bring SDI and IP, which is captured or acquired on the ground. When we come into the cloud, it requires a lot of software processing, and that’s where the VX comes in. Of course, we still have X20. It has been there for very long. It has been successful in terms of contribution, because within the one box, you can do your encoding, decoding, you can do your SRT, and if you want, there can be modulators. This all comes into our UTC so it’s a very highly dense product.
Steve Russell VP, Video Entertainment Solutions Irdeto
We announced a new partnership with Astro, the leading Malaysian pay TV and streaming operator. In the announcement, we have worked with them to fully replace their streaming platform Sooka in order to deliver a radically different outcome for them as a business.
It’s a very significant new relationship for both Irdeto and for Astro. And maybe it’s worth exploring a little bit in terms of why Astro chose to work with us and what they were trying to achieve. And there, I think you need to look at the role of regional, major operators, what are they trying to do within their business?
Well, they’re trying to drive scale. It’s all about trying to drive subscription scale. How do you do that? Well, by creating a really unique and unified experience across all the different devices you’re delivering. To make it more personalised, it’s really got to pop, it’s really got to shine.
Kari Eythorsson Product Manager Clear-Com
We have so many things cooking in the engine room at Clear-Com that there is always something new to show potential clients.
So after NAB, we showed the Arcadia release with a new four-channel beltpack, the integration with our V series key panels and so on. Here we are showing something that we actually had in the backroom of NAB, which is remote controllability for our Station-IC, virtual intercom.
Station-IC runs on our PC and Max computers connect to either Eclipse intercom metric systems, LQ interfaces, or our Gen-IC Cloud Systems.
And with the new version of Station-IC that we have here, version 1.6, we are able to remote control it from various types of controllers that are out in the field, which are third-party controllers.
We have things that we are close to having ready, and we showed it in our deep dive areas at NAB but it was not something that was, let’s say, publicly released at the time.
Judy Zuo VP of Sales & Marketing Kiloview Electronics
We are showcasing our latest RF02 which is what we like to call the centre for all the media workflows, which integrated all the Kiloview technologies for all the AV-over-IP, encoding, decoding, chess coding, and also all the other MDI or SRT, all technology in the same platform. And then within our two are rackmount units, we actually put high bandwidth network switch inside, and also we have a high-performance CPU that can run our KiloLink server inside. That means we can connect not only all the Kiloview devices, there are also all the cards inside of this rackmount units, as well as our P3 Mini Bonding Encoders all together in the same units, which is very high density, reliable and very unified platform to make the management easy and also very convenient. What makes this unique is we actually make it very easy to install. So inside of the units, we can put all the cards inside, and all the connections are just through the internal PCIE, so there are less cables.
EVENT NEWS: BCA 2025
Tim Banner Solutions Architect Magna Systems & Engineering
We’ve got a number of our key vendors. So from Shotoku here, who are showing their SmartPed system with VR tracking. TAG Video Systems in the background are showing their end-toend monitoring solution focusing on their operator, QC Panel, which they’ve released this year. We also have Kaltura, an OTT platform that we’re working with and we’re looking for new opportunities. Enensys, who are showing their satellite OTT platform and we also got products from Manifold as well asArkona.
So Arkona is a 2110 gateway processing platform, and Manifold is the next generation of that which uses COTS, FPGA hardware to do multiviewing and up-down cross conversion, ideal for trucks and studio facilities.
We’re also showing Univision, which provides multiple products from SFPs through to bonded cellular backpacks for news operators. And then TSL, which sells power distribution products, audio monitoring products and control systems.
Travis Wigley Senior Director of Sales, Asia Pacific Ross Videos
We are showing the Carbonite Ultra 60, which is a modular production switcher, low cost, but it can be upgraded. We can add more IO and add UHD capabilities to it.
It’s a powerful switcher at a cost. We have here our brand new hyperconverged production switch called Carbonite HyperMax. This is an extension of our existing Carbonite series of production switches, which brings it all the way to the big switcher scale, up to eight MEs.
A powerful thing about this switcher is that it’s all software defined, so we can flip hardware from different capabilities being MEs or max scenes or mini MEs. We can also add multiviewers and frame syncs, audio mixers, and all software-defined licensing in there. We’re also showing our Ultrix router platform, which is another hyper converged platform and this one is an FR 12 system. We’ve got SDI, 2110, HDMI, DANTE audio– the list goes on.
Kok Leong Chong Regional Sales Director for APAC Net Insight
We showcase two product lines, one covering the managed network solution. We are introducing a suite of solutions and features that actually help broadcasters to transition SDI to IP, and I think the market is heading in that direction.
Many broadcasters in the region are looking into adoption of the IP and we have the knowledge from the SDI world, and we’re looking into the transition that helps a broadcaster to go into all-IP environments.
We also introduced unmanaged network transport for broadcasters, where we utilise broadband internet to send broadcast quality video for the broadcasters, and we basically incorporate and to help the customers be more effective in their workflow. We introduce solutions, including transporting and ad insertions that will help the customers to have a better workflow. We have a very unique solution.
I think all the major live spots, critical infrastructures require quality of service and reliability, and we are a brand name that’s been established all over the world.
Karen Clark CEO Telstra Broadcast Services
Being backed by Telstra, we are in a unique position to leverage Telstra’s infrastructure assets. Telstra owns an impressive subsea cable network of 400,000 kilometres, 77 data centres, 2000 hubs. It is really extensive global network. In Telstra Broadcast Services, we have the opportunity and the privilege of really bringing all that infrastructure to the media and entertainment industry globally. We take those network assets, we create media-specific solutions across those networks to deliver content from A to B, any way you like, in any format.
I think there’s probably two differentiations about us. I think one of them really is our scale. I mentioned some of the footprint from Telstra. We also have an incredible partner network globally. We are not a specific regional player, we are a global player. across our network, every day, we are running thousands of tier-one events, live news, and sport globally. Our client profile is anyone who is looking to maximise the value of their content investments, so we are moving content around the world.
Mark Donnigan Head of Strategic Marketing NETINT Technologies
NETINT is the founder of a whole new category of product called VPU. It’s custom silicon that’s optimised for video encoding, video transcoding. You can think about any video workflow that you would have as a broadcaster, as a streaming service, an IPTV platform, a social network.
If you’re delivering video, then a VPU will do it more efficiently. In fact, it can cut the cost by 80%. Traditionally, encoding or video streaming is done with software running on CPUs, often in the cloud, although it could be servers in a data centre as well.
CPUs are getting faster, but they cannot compete with dedicated chips that are built only for video processing. An RU server, which is a very common configuration in a data centre, can encode anywhere from maybe half a dozen channels, maybe as high as 10 or 12 channels using all of the standards that are required for delivering to a connected television or a mobile device or a set top box. With our technologies, you can get 320 1080p, full HD streams using H.264, HEVC, and AV1. It’s unheard of.
Aale Raza Managing Director Whiteways Systems
When we started a long time ago, it was a new industry. Not too many people were aware of the technologies and products. But now, over the years, we have seen that many people get to know what products are available, what they can do. Over time, technology has moved forward. A lot of new things have come up like artificial intelligence. So we design the new systems with the new technology capabilities that are now available to us, which were not available 25 years ago.
When we started everything used to be done on tape. Now everything is done on digital, everything is automated and a lot of things are moving on to the cloud. What’s unique about us is reliability comes first. We have installed the system 15 years ago, until today, people are using it to produce, to broadcast.
That’s our pride and joy.
But apart from that, yes, we need to keep up with technology. We need to give the latest. We need to give the latest. So that’s the main focus that I have.
How real-time data boosts ad value in FAST and AVoD
It can leverage signals like content context, time of the day, and viewer behaviour.
The television landscape is undergoing another seismic shift. Streaming consumption is rapidly overtaking traditional cable, and within this new paradigm, Free Ad-Supported Streaming Television (FAST) and Advertising-based Videoon-Demand (AVoD) are experiencing explosive growth. “Streaming consumption is surpassing viewing time on cable and is trending to be the predominant way of consuming video content overall,” said Jim Turner, vice president of product management, streaming platforms at Synamedia.
This transition is seeing consumers move from subscription services to FAST, a return to a model “consumers enjoyed for many years,” he added.
Real-time insights
This surge in FAST and AVoD viewership presents both an opportunity and a complex challenge for advertisers.
The ability to deliver relevant advertising without disrupting the viewer experience is paramount. “On FAST and AVoD platforms, real time data plays a crucial role in tailoring ads to individual viewers,” Guy Southam, senior product director of Advanced
Unlocking higher-value audiences requires investment in data infrastructure and strategic partnerships
Advertising at Synamedia, told APB+ in an exclusive interview.
“They can leverage signals like content context, time of the day, location, device, and viewer behaviour to deliver more relevant and engaging ad experience,” he stated.
However, Southam said this calls for a delicate balance as bombarding viewers with ads, however relevant, can lead to ad fatigue.
“To orchestrate the optimal viewer experience, platforms can apply techniques such as frequency capping and contextual targeting to minimise ad fatigue and repetition,” he said. Platforms should also be able to personalise ad loads, adapting the frequency volume of ads to match each viewer’s tolerance, he added.
The ultimate goal, he clarified, is “to create a seamless, non-intrusive ad experience that respects the viewer’s interests while driving results for advertisers.” Despite the advancements, the path to truly efficient data-driven advertising on FAST and AVoD platforms is not without its hurdles. A significant challenge, according to Southam, is the absence of user registration and login limits access to first-party
data, making personalisation and measurement more complex. He elaborated that whilst platforms often rely on device IDs and content engagement to build audience cohorts, this approach alone falls short of meeting advertiser expectations.
The solution
“Unlocking higher-value audiences requires investment in data infrastructure and strategic partnerships with second-party data or ID providers, all whilst respecting viewer privacy,” Southam advised.
The rise and rapid growth in programmatic advertising — which is driven by the demand for audiences at scale and data-led solutions — adds another layer of complexity, particularly in the Connected Television (CTV) space.
Southam added that challenges remain, particularly around fragmented data, inconsistent measurement, and identity resolution. Looking at trends in Western markets, he suggested that the convergence of platforms and services must be accompanied by greater standardisation to fully unlock CTV’s programmatic potential.
Synamedia, as highlighted by Turner, has developed a suite of products that enable them to deploy and launch channels quickly, while leveraging cloud services to deliver efficient scale and performance.
Their offerings, including Synamedia-powered scheduling, transcoding, packaging, ad insertion, and ad serving, allow providers to build a FAST solution that enables them to monetise their content with targeted digital ads on all CTV and mobile devices, without the hassle of complex technical integrations.
Looking ahead, AI and predictive analytics are set to play an even more significant role. Synamedia’s Southam is optimistic about AI’s impact. “AI is reshaping digital advertising by bringing greater efficiency, scale, and precision,” he told APB+. He sees AI as critical in automating campaigns, especially as programmatic adoption accelerates. “From real-time ad load delivery and contextual targeting to audience prediction, forecasting, troubleshooting, and inventory optimisation, AI enhances campaign performance end-to-end.”
Platforms should personalise ad loads to prevent fatigue
Guy Southam
Jim Turner
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Zero Trust rewires media collaboration
Secure-by-design frameworks turn fragmented systems into interoperable workflows.
Every year, the International Trade Association for Broadcast and Media (IABM) Technology & Trends Roadmap provides a visual representation of the lifecycle of business initiatives, particularly within the media and entertainment (M&E) industry, highlighting key technologies and their adoption curves.
To find out the pearls of wisdom the IABM Technology and Trends Roadmap 2025 has to offer broadcasters in 2025 and beyond, APB+ sat down for an exclusive chat with Stan Moote, chief technology officer at IABM.
How is collaboration evolving as end-to-end security and Zero Trust rise, balancing openness with protection?
Collaboration across media supply chains is more critical than ever, but it is increasingly shaped by the demands of Zero Trust (ZT) architecture and end-to-end content security.
As studios, post houses, cloud vendors, and freelancers work across geographies, the old perimeter-based security model no longer holds. Instead, we are seeing widespread adoption of ZT principles — where every user, device, and service must be continuously authenticated, authorised, and validated before accessing content or systems.
Viewing this as tension between opening and protection is a flawed perspective. Instead, we should recognise that adequate protection enables collaboration and openness by removing threats. This mindset fosters the development of integrated, collaborative tools and ultimately leads to more efficient workflows built on best-of-breed technologies.
The IABM Control Plane Working Group had extensive discussions around ZT in the context of control workflows, where immediate access and real-time feedback, such as when adjusting levels, are critical requirements.
In our collaboration with SMPTE on the ST 2138 Catena protocol, we aimed to ensure that the design aligns with ZT principles. To support a forward-looking ZTcompliant architecture, our team implelemted OAuth2 to attach an access token to each request.
These tokens are then evaluated by policy enforcement points situated between the client and the enterprise resource, ensuring that access decisions are dynamically and contextually validated.
The key is building forward-looking “secure-by-design” collaboration stacks, where openness no longer means uncontrolled access, but rather interoperability amongst systems that enforce strong, transparent, and auditable controls. The future of media collaboration is not about being less open — it is about being selectively open and verifiably secure. It is also important to highlight how the rise of AI tools further intensifies the need for strong security.
Many AI-powered workflows require ingesting sensitive assets into external models, raising concerns about content
provenance, data leakage, and model training compliance. In response, M&E organisations are increasingly embedding ZT-compliant guardrails into creative tools themselves, and not just at the network layer.
How has the industry advanced tangible sustainability in the past year, and what key metrics are being tracked?
I reached out to Barbara Lange, founder and CEO of Kibo, a company focused on sustainability in the media technology industry, for her perspective on this topic.
Barbara also contributes to the IABM Technology & Trends Roadmap, specifically around sustainability. Having worked with her during her 12-year tenure as executive director of SMPTE, I know she remains deeply connected to the media and entertainment industry.
She shared this insight: “As someone watching sustainability in media-tech, I’ve seen encouraging signs of progress, but we’re far from widespread, consistent reporting. The challenge now is to move from isolated pilots to industry-wide accountability, with shared metrics, transparent disclosures, and a clear path from intention to impact.”
Adequate
From Moote’s perspective, the media technology and broadcast industry has made measured progress toward more tangible sustainability practices over the past 12 months. However, this progress remains uneven and largely incremental. That said, some MediaTech companies have prioritised environmental sustainability for several years, and have taken steps to publish detailed reporting, primarily focused on Scope 1 and 2 emissions.
Stan Moote, CTO at IABM GLOBAL
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What makes children’s stories meaningful
SLR Productions’ Suzanne Ryan focuses on stories that spark conversation and carry cultural depth.
At SLR Productions, storytelling is not just about animation and adventure; it is about heart, purpose, and emotional connection.
Led by SLR Productions’ chief executive officer and executive producer Suzanne Ryan, who is also the founder of the annual Australian Children’s Content Summit, SLR Productions is redefining what meaningful children’s content looks like, blending emotional depth with imagination, and championing diversity, resilience, and authenticity.
APB+ sat down with Suzanne to understand the motivation and inspiration behind SLR’s passion to create stories that resonate with viewers around the world.
What are SLR’s core values in telling children’s stories?
At SLR Productions, storytelling is guided by heart, imagination and a deep respect for our young audience. Our goal is to create stories that not only entertain but also empower. We believe children deserve emotionally rich and thoughtful content and programmes that reflect their world whilst sparking curiosity, kindness and creativity.
Our values are rooted in inclusivity, resilience and positivity. Whether it is an adventurous heroine like Alice-Miranda navigating friendship and growing up, or a science-driven space adventure like “Space Nova” inspiring young viewers to dream big, our stories aim to feel both personal and universal.
We encourage children to think critically, embrace differences, and use their imaginations.
We also place high value on original storytelling with both local and global resonance. Children benefit enormously from seeing their own voices, environments and cultures reflected on screen. Family viewing is equally important to us. Stories that unite generations to laugh, learn and connect lie at the heart of what we do.
How do you define success for a series beyond numbers? Whilst ratings matter, we believe true success goes beyond data. A successful SLR Productions series is one that becomes meaningful to children and families, stories that are loved, revisited and remembered over time.
For us, success means emotional impact, cultural longevity and lasting relevance. We look at how deeply a series connects. Are children bonding with the characters? Are parents or educators telling us that a show has sparked conversations at home or in classrooms?
These moments of genuine connection and reflection for our audience are incredibly rewarding.
A strong example is “Guess How Much I Love You – The Adventures of Little Nutbrown Hare,” an animated TV series based on the books written by Sam McBratney. Its gentle storytelling and universal themes of love, family and emotional expression have made it a global favourite. Lines like “I love you as much as all the stars in the sky” are now part of everyday family language. The show explores timeless ideas such as connection, curiosity and unconditional love, with values that transcend borders.
At SLR Productions, we also define success by the integrity and care that go into a production. When a show becomes
We believe children deserve emotionally rich and thoughtful content that reflects their world
part of a child’s memory and encourages empathy and imagination, that is the kind of success that matters most.
What’s the journey of a show from idea to screen at SLR?
Every series at SLR Productions starts with a strong concept. This might come from a well-loved book, an in-house idea or an external pitch. We begin with development, building the characters, world and narrative arc. We create a series bible, pilot scripts, and visual samples to ensure the project is creatively sound and ready to present.
From there, we take the project to market and secure partners including broadcasters, co-producers, and funding bodies. SLR Productions has a strong track record in managing global partnerships, which helps ensure each show has a solid foundation for international distribution.
The production stage is when the story comes to life. Scripts are written, voice talent is cast, designs are developed and animation begins. Sound design, music and editing bring everything together. SLR Productions oversees this process closely to make sure the vision remains consistent and continues to meet the highest standard.
Behind each production are hundreds of talented people from writers, directors, designers, animators, editors and more, who are often working across multiple countries. These teams spend years bringing shows to life with care, skill and creativity. They are the heart of what we do.
Suzanne Ryan, CEO and executive producer at SLR Productions
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Innovative companies spotlighted at Asia-Pacific Broadcasting+ Awards 2025
As the broadcasting industry grapples with rapid digital transformation, shifting audience habits, and the relentless rise of streaming platforms, leading companies across the Asia-Pacific region are stepping up with bold innovations and adaptive strategies.
The Asia-Pacific Broadcasting+ Awards 2025 puts a spotlight on these trailblazers — exceptional industry players who are not only navigating the evolving media landscape but also redefining what’s possible in modern broadcasting.
This year’s awards programme, held on 28 May 2025 at the Crowne Plaza Changi Airport, recognised outstanding broadcasting initiatives across the Asia-Pacific region.
Asia-Pacific Broadcasting+Awards 2025 winners:
ABP, powered by WASP3D
• Virtual Production – India
ABS-CBN Global – TFC
• IP Transformation – Philippines
Media Prima Berhad, powered by Ace Identity Sdn. Bhd.
• News Room Computer System – Malaysia
Ada Derana 24
• Technology Animation – Sri Lanka
Al Jazeera Media Network
• Technology – Qatar
I-Sport Company Limited, powered by Appear
• Sports Broadcasting – Thailand
Asharq News
• Online Election Campaign – United Arab Emirates
• Technology Animation – United Arab Emirates
ASTRO
• Cloud-Playout Migration – Malaysia
Astro Studios Sdn Bhd
• Audio Description – Malaysia
Audio+
• Series Production – Malaysia
Awaan
• OTT Platform – United Arab Emirates
Sanlih Entertainment Television (SET TV), powered by Beyond Space Technology
• Virtual Production (Streaming) – Taiwan
Taiwan Television Enterprise, Ltd., powered by Beyond Space Technology
• Virtual Production (Terrestrial Broadcasting) – Taiwan
It marked a celebration of incredible advancements in the broadcasting landscape, recognising those who create compelling experiences for audiences across platforms.
The distinguished panel of judges for the Asia-Pacific Broadcasting+ Awards 2025 consisted of Wilson Chow, Global Technology, Media and Telecommunications Industry Leader and China Artificial Intelligence Leader, PwC China; Jason Yau, Partner and Head of Technology, RSM; Kiran Karunakaran, Partner, Singapore, Bain & Company Singapore; and Sarovar Agarwal, Senior Partner, Asia Pacific Leader – Communications Media and Technology (CMT) Practice, Kearney Australia.
See the full list of winning companies below:
BFM MEDIA
• Multi-Platform Campaign – Malaysia
CJ ENM
• Main Channel on Cable and Satellite Platforms – South Korea
• Series Production – South Korea
DAZN and HOY TV, powered by Caton Technology Asia Pte Ltd
• IP Broadcast Solutions – Singapore
Dubai Media
• Virtual Production – United Arab Emirates
DZME 1530 RADYO TV
• Radio and TV Cross Platform Production – Philippines
Ideal Systems and NIN9 Studios launch Singapore’s first commercial podcast studio using NDI
The NDI-powered studio enables high-quality, commercial-grade video podcasting and live streaming.
Ideal Systems, Asia’s leader in NDI video solutions, has collaborated with NIN9 Studios in Singapore to offer commercialquality video podcast productions.
NIN9 Studios, a well-established commercial photography studio in Kallang, Singapore, has upgraded its studio with a new fitout from Ideal Systems to allow highquality video production and streaming for commercial podcasting.
The new podcasting studio is based on Ideal Systems NDI reference architecture, centred on the VizRT Tricaster TC1 Pro with Tricaster Dual Flex Control Panel, which provides top-quality production and live streaming from multicamera (Birddog NDI HX X4 Ultra’s and DSLRs) and multi-audio channel inputs, with integral graphics, and teleprompting functionality running Telescript International teleprompter.
Fintan Mc Kiernan, CEO of Ideal Systems Singapore, said, “Cost-effectively upgrading a traditional photography studio into a full-function video production studio for
commercial podcasts is yet another case study highlighting the benefits and flexibility of NDI. Reduction of cost and ease of use allow Vinod and his team endless creative headroom in their productions, where they can leverage their years of photography experience to enhance the quality and look of their podcasts.”
“Our collaboration with NIN9 Studios goes further than just the current fit-out. NIN9 Studios will work with us to test and use new NDI products as they hit the market; thus, this is more than just an NDI-based video production studio, it is a NDI test lab, where we can benchmark and test cameras and other NDI infrastructure together.”
Seamless virtual studio integration
The productions are shot in NIN9 Studios’ fixed studio or using virtual sets supported
in the TriCaster. The Tricaster also enables Microsoft Teams and Zoom integration for live video conferencing within the Podcast.
The studio production control room (PCR) uses Kiloview NDI infrastructure, including encoding SDI to NDI from the DSLRs;’s and decoding NDI to HDMI for the large Hisense video display with the award-winning Kiloview CUBE R1 recorder system designed to capture and store high-quality video content from multiple NDI video sources.
Vinod Rai Sharma of NIN9 Studios stated, “The equipment and system provided by Ideal Systems have opened up a whole new business channel for NIN9 Studios. Podcasting isn’t just a creative outlet offers real, measurable commercial benefits for businesses, brands, and individuals. High-end commercial podcasting is now becoming important for brand awareness, and
The equipment and system provided by Ideal Systems have opened up a whole new business channel for NIN9 Studios
NIN9 NDI podcast studio
creates monetisation opportunities through sponsorships and advertising, whilst helping to attract new customers and enhance networking and partnerships through guest interviews with industry leaders and influencers. With this growing demand for video production and podcast content, we were quickly and easily able to upgrade our studio and extend our commercial offerings to new and existing customers. We already had the space and the studio lighting; we can even reuse our DSLRs and lenses and convert them to NDI and mix with the camera feeds from the BirdDog cameras, giving us a great range of shots in our productions. ”
Award-winning broadcast innovation
For the success of its NDI-based Video Production and Streaming System, in partnership with Singapore Polytechnic, as well as for successfully designing and relocating Sony’s Singapore broadcast facility to Culver Max Entertainment’s (formerly Sony Pictures Networks India) new state-of-the-art hub in Mumbai, Ideal Systems (S) Pte Ltd was honoured with the Live Event Streaming - Singapore and MultiChannel Playout System - India accolades at the Asia-Pacific Broadcasting+ Awards 2025. Asia-Pacific Broadcasting+ Awards commends companies, industry partners, and
vendors in the broadcasting industry that introduce technological advancements in the field. The awards programme highlights projects and initiatives in areas such as digitalisation and engineering.
About Ideal Systems Group
With 14 offices across Asia and the Middle East, Ideal Systems is the region’s largest broadcast and media systems integrator. Ideal is a multinational organisation providing innovative AV and Broadcast, consultancy and solutions to sectors including broadcasting, media, house of worship, corporate and government. Ideal Systems provides services that range from systems and business consultancy, AI and cloud integration and cutting-edge systems design, deployment and support.
CONTACT
Company name: Ideal Systems Group
Contact: Melody Bilegt
Contact number: +65 6684-8770
Website URL: melody.bilegt@idealsys.com
About NIN9 Studios
Web: https://gallery.nin9studios.com/ Facebook: https://www.facebook.com/ NIN9Studios/ Contact: vinodraisharma@nin9studios. com or +65 8228-4659
NIN9 NDI commercial podcast studio Singapore
NIN9 corporate podcast studio with NDI
From game-changing visuals to seamless workflows, discover how Ross helps teams create truly unforgettable moments.
• Scalable, integrated production solutions
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he MVP Group's Christmas campaign produced by MQuest Ventures Inc has been honored with the lti-Platform Campaign, Philippines Award at the recently held Asia-Pacific Broadcasting Awards 2025 in Singapore
DR AMAL PUNCHIHEWA
AMS 2025: Paving the road to a futureready media landscape
Asia Media Summit (AMS) 2025 marked a significant milestone – the 20th since its inception – and brought together AIBD members, partners, and global media leaders under the theme “Celebrating Two Decades of Excellence & Beyond.”
The theme, developed in consultation with stakeholders, reflected both a celebration of the summit’s legacy and a commitment to shaping the media landscape for years to come.
As a unique broadcasting event in the Asia-Pacific region, AMS 2025 attracted around 500 top-ranking broadcasters, decision makers, media professionals, regulators, scholars, and stakeholders from both within and beyond the region.
With the broadcast and media industry focused on future growth and innovation, the AMS 2025 held in Siem Reap, Cambodia, from 21 to 24 July 2025 was hailed as a success. Organised by the Asia-Pacific Institute for Broadcasting Development (AIBD), AMS is the institute’s flagship annual international media conference.
In addition to seven plenary sessions and seven pre-summit workshops, AMS 2025 also provided a platform for inter-governmental dialogues aimed at raising the standards of the regional media industry.
Battling disinformation and exclusivity
Session 1 of AMS 2025 focused on “Disinformation: The Role of Media and Government”, and was moderated by advocate and solicitor Leon Loganathan. This high-level panel set the tone for a deeper commitment among member nations to combat disinformation collaboratively. Distinguished speakers included Dr Cosmas Zavazava, Director of the Telecommunication Development Bureau (BDT) at the International Telecommunication Union (ITU); H.E. Neth Pheaktra, Minister for Information of the Kingdom of Cambodia; along with other senior officials and media leaders.
A special presentation on “Enabling Accessibility in Broadcasting” educated more than 500 broadcast and media professionals on the importance of captions in promoting inclusive broadcasting. For individuals who are deaf or hard of hearing, captioning and visual cues are essential substitutes for audio content. As the industry moves towards greater inclusivity, it is crucial to serve these communities with more effective projects and initiatives.
The session showcased how advancements in AI have made realtime captioning not only accurate but also increasingly accessible and affordable. AI Media, a captioning solutions provider, demonstrated those capabilities during the presentation. All plenary sessions throughout the summit were live-captioned and displayed on two side screens flanking the main presentation screen, reinforcing the commitment to accessible communication.
On Day 3 of AMS 2025, Dr Cosmas Zavazava delivered a special presentation highlighting the role of the ITU and the importance of global collaboration in the broadcasting sector. He underscored a critical challenge: 2.6 billion people worldwide still lack meaningful connectivity, posing a significant obstacle to achieving universal access to information, particularly through public service broadcasting.
DR AMAL PUNCHIHEWA Advisor/Consultant AIBD
In another forward-looking session, Chetan Sharma, CEO of Chetan Sharma Consulting, dwelt on the emerging field of quantum computing, exploring how it could shape the next evolution of AI. He introduced concepts such as Physical Intelligence (PI), Dexter Intelligence (DI), and Autonomous Intelligence, or what he described as “Nirvana”, reflecting a vision for a future where intelligence systems transcend current AI capabilities.
Planning for the future
Following the special presentations, two key sessions delved into the future of media — “Sustainable Strategies for Legacy Media” and “Bridging Legacy and Innovation: Technology’s role in Media Evolution.” Both sessions explored the complex challenges broadcasters face in adopting new technologies, particularly the significant upfront and recurrent investments required.
A central concern raised was the non-deterministic cost structure of public cloud services, which often contrasts with the promised flexibility and agility touted by technology providers.
Transformation is no longer optional — and not only to adapt and survive but to thrive in a rapidly evolving media landscape, broadcasting companies must act decisively and continue to effectively serve their target audiences.
Reflecting on the need to balance tradition and innovation, Kumaran Subramanian, Head of the Academic Division at IPPTAR (Malaysia), said, “Legacy media is not static. By integrating credibility and broad reach with innovation, collaboration, and sustainability, it can evolve from a historical relic to a trusted pillar in the digital age.
“Embracing change while upholding public service values ensures legacy media continues to shape, inform, and unite society responsibly and resiliently.”
As a panellist in Session Six, I had the opportunity to share my experiences and insights on how broadcasters are navigating the ongoing transformation process.
In today’s landscape, we are witnessing not revolutions but evolutions, and it is a gradual yet impactful shift in how content nowadays is produced, delivered, and consumed. I presented a case study illustrating one broadcaster’s transition from analogue terrestrial TV to direct-to-home (DTH), digital terrestrial TV (DTT), digital first and mobile first strategies.
Today, the same broadcaster is simulcasting its three DTT channels as a streaming service, thus enabling the company to reach fragmented audiences across any device, anytime and anywhere, all within the boundaries of copyright restrictions.
For those interested in a deeper exploration, I have addressed each of these distribution mechanisms in detail in my regular monthly articles, available online via the APB+ website.
On 21 July 2025, AIBD proudly hosted a series of pre-summit regional workshops in Siem Reap, Cambodia, laying the groundwork for meaningful dialogue and collaboration ahead of the 20th AMS.
