Web Developer Hafiz Muhammad Waqas IT@cpipromedia.com
FOUNDER
Dominic De Sousa (1959-2015)
PARTNER
Maria De Sousa
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WELCOME
It’s ironic – during Ramadan businesses slow down, and yet the quietest season of the year in the Arab world is also the stage for the biggest flurry of activity with regard to television viewing and streaming. This year, Ramadan trends have been significantly different from previous years, with TikTok emerging as a prominent platform to watch drama series, signalling a departure from the ‘new’ conventional viewing habits. Then we have the 15-episode dramas that have become the new 30, as they say. Moreover, talented young people are carving out significant spaces in this dynamic market, bringing fresh perspectives and narratives. Their contributions are reshaping the industry, challenging norms and embracing diversity in storytelling. Our guest columnist, Mai Abaza, CEO of Publicist Inc., talks about some of the new trends that succeeded this year.
But moving on, I’d like to spotlight our cover story this month. We have covered Mohamad Yehya before, and he never fails to impress with the passion he puts into new projects. A few years ago, when he helped introduce new sports championships to the UAE, he mentioned a need for a more versatile space that could accommodate different kinds of events — from MMA championships and exhibitions to opera and studio spaces for drama series, alongside offices and fine dining. Back then, I thought it was just an offhand remark, but take a look at our feature on the Space42 Arena in Abu Dhabi. That’s his dream come true.
Reflecting on recent milestones, our KSA summit was a huge success with the perfect mix of end users and solution providers. We hope to summarise the discussions at the event over the next couple of issues.
As this edition reaches your tables, I am getting ready to go to Las Vegas for the NAB Show. We are also gearing up for the Manufacturer Awards in May. This year, we have added a few satellite categories to coincide with the launch of SatExpo at CABSAT. Send in those nominations. Until next time, Eid Mubarak and see you in Vegas!
VIJAYA CHERIAN, EDITORIAL DIRECTOR
RETHINK YOUR INFRASTRUCTURE
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UPDATE NEWS
Abu Dhabi’s Creative Media Authority (CMA) announces film and financing company registration; Myco secures exclusive MENA PSL 10 Broadcast rights; Space Live Productions brings full-service content studio; Warner Bros. acquires stake in OSN Streaming for reported $57m; Miljenko Logozar joins Fonn Group; TOD teams up with Skyworth to launch 4K streaming box in MENA; and more
Industry experts discuss new trends in Arabic content and how to take it to the next level
SPORTS BROADCASTING CHANGING THE GAME
The sports panel at our Saudi BroadcastPro Summit explored how storytelling, remote production, automation, AI and fan personalisation are shaping the future of sports broadcasting
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COVER STORY TAKING THE LEAD IN ABU DHABI’S PRODUCTION SCENE
From film sets and drama productions to fight nights, Space42 Arena has swiftly established itself as one of Abu Dhabi’s hottest and most versatile venues. Mohamad Yehya, CEO of LEAD Projects Management and GM of the Space42 Arena complex, takes us on a tour
CASE STUDY ASHARQ EGYPT UPGRADES TO REMOTE PRODUCTION
Asharq Egypt transforms live production with a state-of-theart remote studio connecting its Cairo and Dubai facilities.
Asharq Egypt CTO Omran
Abdallah and BSS CEO share details with Vijaya Cherian
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NAB PRODUCT SHOWCASE NEW LAUNCHES IN VEGAS THIS YEAR
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GUEST COLUMN DECODING THE RAMADAN DRAMA PHENOMENON
Publicist Inc CEO Mai Abaza offers a fresh take on the shifting dynamics in Ramadan TV production, highlighting key factors driving success in 2025
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24 YEARS OF IMPACT: FGC CONTINUES TO SHAPE THE GCC’S MEDIA LANDSCAPE
Ministry of Information Bahrain TV
FGC delivered a major upgrade for Bahrain TV with an advanced IP-based SMPTE ST2110 solution, enabling HD/3G and 4K broadcasting across six playout channels. Utilizing Harmonic Playout, Pebble Beach Automation, and Grass Valley Control Systems, this solution significantly enhanced operational reliability and efficiency.
Saudi Broadcasting Authority (SBA)
FGC enhanced SBA’s Studio A with state-of-theart VR, AR, and XR technologies, significantly elevating the quality and versatility of content production. Integrated acoustic and lighting systems, coupled with comprehensive staff training, ensured seamless adoption and optimal utilization.
Al Arabiya Media Network
FGC elevated Al Arabiya’s capabilities by designing and integrating specialized studios in Riyadh's Diplomatic Quarter for news, podcasts, and social media content. Implementing solutions from Avid, Vizrt, Telestream, and a 1PB Nexis Media Storage system improved workflow efficiency and content quality.
Abu Dhabi CMA announces film and TV financing company registration 04/25
Abu Dhabi’s Creative Media Authority (CMA) has announced the entry of Sherborne Media FZ LLC, a global film financing firm, into Abu Dhabi’s creative
sector. The emirate hopes this will be the first of many firms providing a range of film financing options and offering a complete financing cycle from Abu Dhabi.
With Sherborne Media’s presence, production companies operating in Abu Dhabi will have access to financial support options, executive producer services, and content finance advisory.
Mohamed Dobay, Acting Director General of CMA, said: “The financial cycle of securing funds ahead of shooting can often be a challenging process to navigate. Recognising this,
MYCO SECURES EXCLUSIVE MENA PSL 10 BROADCAST RIGHTS
Web3 digital streaming has secured exclusive MENA broadcasting rights for the Pakistan Super League (PSL) 10, making it the sole destination for PSL fans across the region.
Scheduled to begin on April 11, PSL 10 will feature 34 matches. Through this exclusive deal, Myco will broadcast it across the UAE, Saudi Arabia, Qatar, Oman, Bahrain, Jordan, Iran, Iraq, Algeria, Egypt, Syria, Libya and Yemen.
Fans can catch the action live on Myco’s platform via Android, iOS, TV apps and the official website. Myco’s
‘watch and earn’ model enhances the viewing experience by rewarding fans for their engagement, while advertisers enable users to benefit from their watch time.
Somair Rizvi, co-founder & CEO of Emerging Markets at Myco, said: “Our goal is to revolutionise sports streaming by making it more accessible, immersive and rewarding for viewers.”
we have attracted leading LA-based film financing firm Sherborne Media to Abu Dhabi. This firstof-its-kind partnership with Sherborne Media will undoubtedly pave the way for other local and international financial institutions to enter Abu Dhabi’s creative ecosystem, strengthening the potential for on-ground production and post-production through financial assistance.”
To make PSL 10 more accessible, Myco is introducing a subscription package that not only grants access to all matches but also allows users to earn back their subscription fee, and more, through cash prizes linked to their watch time. Withdrawals are seamless, enabling users to transfer earnings directly to their bank accounts or digital wallets in MENA.
Myco has a rapidly expanding user base
of over 20m registered users and an average watch time of 45 minutes per session. In just one month, the platform has facilitated over 15m microtransactions across multiple markets for cricket and other live sporting events.
The teams from Sherborne Media and CMA.
The Myco team.
Space Live Productions unveils full-service content studio
Space Live Productions, part of The Space Events & Sports, has launched with a full-service production studio that features multi-camera broadcasting, ultra-HD 12K cameras, drone services and professional-grade live streaming capabilities. It caters to brands, content creators and media professionals for various productions, including podcasts, photography sessions, video shoots, live streams and 360-degree content creation.
With a strong emphasis on high-traffic digital broadcasts,
Space Live is designed to handle global live streaming with uninterrupted highperformance coverage. Whether for corporate conferences, entertainment events, sports tournaments or record-breaking feats, the studio claims it can deliver seamless execution with toptier production quality.
Anna Morgenstern, CEO of The Space Events & Sports, said: “Our studio is designed to accommodate everything from high-end commercial shoots to large-scale live broadcasts, offering seamless
execution with industrygrade equipment and an expert technical team. This expansion is a testament to our commitment to providing a world-class production hub where brands, content creators and businesses can bring their vision to life.”
The facility boasts a soundproof studio with customisable lighting, highspeed fibre-optic internet for uninterrupted streaming, green screen technology for dynamic visual effects and an advanced post-production suite. Its multi-camera set-ups and integrated live mixing technology ensure professional-grade broadcasting for sports coverage, corporate presentations and entertainment productions requiring real-time audience engagement.
WBD ACQUIRES STAKE IN OSN STREAMING FOR USD $57M
Warner Bros. Discovery (WBD) has acquired a minority stake in OSN Streaming Ltd., a subsidiary of OSN Group, for approximately USD 57m, as reported by Bloomberg. The transaction is set to be finalised in stages and is contingent upon customary conditions, including regulatory approvals.
Jamie Cooke, Executive VP & MD, Central Europe, Turkey and Middle East at Warner Bros. Discovery, said the deal will enable both parties to invest “in highquality, locally produced content, ensuring a richer and more diverse offering for viewers”.
E& UAE AND EVISION LAUNCH OTT TV SERVICE FOR SMB SECTOR
E& UAE and Evision have unveiled Starz ON Business, an OTT TV service designed to enhance customer engagement for SMBs and enterprises.
Starz ON Business offers a tailored mix of curated live TV and VoD content catering to diverse industries such as restaurants, retail, fitness centres
and hospitality. The service also integrates digital signage, allowing businesses to seamlessly display brand messages and create visually dynamic customer experiences.
Esam Mahmoud, Senior VP, SMB at e& UAE – Business, said this journey “will redefine customer experiences across diverse sectors”.
Zahra Zayat, Chief
Commercial Officer, Evision, added: “This innovative service will provide businesses with powerful tools to entertain and captivate audiences through a curated mix of live TV channels and on-demand content specific to the respective industries, while allowing SMBs and enterprise companies to upsell their products.”
The studio at Space Live Productions.
MRC Saudi and Adspective partner to advance AI media analytics in KSA
Saudi media measurement and analytics company
MRC Saudi has partnered with Adspective, a pioneer in AI-driven advertising technology, to redefine audience measurement and ad personalisation. This deal aims to merge MRC Saudi’s
expertise in media analytics with Adspective’s advanced AI solutions, offering advertisers, media agencies, and content owners insights into audience behaviour, ad effectiveness and content engagement. The partnership focuses on some key pillars. Firstly,
AI-driven scene and audience analytics will leverage MRC Saudi’s real-time data to optimise Adspective’s AI models, ensuring ad placements dynamically align with audience behaviours. Secondly, a cross-platform measurement approach will provide holistic campaign performance insights by tracking engagement across TV, digital and out-of-home media. Thirdly, virtual product placement (VPP) will enable real-time, contextual ad insertions tailored to
viewers through the seamless integration of Adspective’s AI with MRC Saudi’s measurement systems.
Eng. Bandar Al Mashhadi, CEO of MRC Saudi, said:
“At MRC Saudi, we are committed to driving the future of media measurement through innovation and intelligence. Our partnership with Adspective represents a major leap forward in leveraging AI to deliver unparalleled audience insights and revolutionise ad personalisation.”
QVEST COMPLETES BROADCAST TRANSFORMATION FOR SKY NEWS ARABIA AT IMI HQ
Qvest has completed a large-scale broadcast transformation and modernisation of the media infrastructure for Sky News Arabia (SNA). This project facilitates SNA’s seamless transition to IMI’s headquarters at Yas Island. The new facilities enhance operational efficiency, foster collaboration and drive the future of media production.
Qvest led the design, supply, installation and
commissioning of broadcast and digital media solutions. The project involved deploying an IP-based, ST2110-compliant broadcast infrastructure, ensuring seamless workflows and integration with key thirdparty systems including Avid, Vizrt and Telestream. This modernisation effort guarantees future-proof broadcast operations that align with evolving industry standards.
IMI CTO Brad Elliot said:
“The successful completion of this project marks a significant milestone for IMI as we unite our leading media brands under one roof at Yas Creative Hub. These state-of-the-art digital facilities, studios and technologies, made possible through our collaboration with Qvest, have elevated our technological capabilities and redefined how we create and deliver content to our audiences.”
Beyond the core broadcast transformation, Qvest also designed and integrated advanced digital signage systems to enhance visitor engagement at Yas Creative Hub. These installations include a dual-sided display in the Welcome Centre, dynamic screens in the L4
Hub Area and high-resolution monitors on the L7 Executive Floor. Utilising seamless fibre connectivity, advanced video control systems and noisefree technology, these visual solutions create an immersive experience while ensuring operational reliability.
“ By implementing cutting-edge technologies and streamlined workflows, we have successfully enhanced IMI’s operational capabilities and supported its vision of becoming a leader in the media landscape. This achievement reflects our dedication to excellence, collaboration, and the advancement of storytelling through technology,” added Philipp Glanzel, CTO and GM at Qvest MENA.
At Sky News Arabia’s office at Yas Island.
From left: Rafał Radawiec, CEO of Adspective and Eng. Bandar Al Mashhadi, CEO of MRC Saudi.
Al Sharqiya deploys FOR-A switcher
Al Sharqiya, Iraq’s privately owned broadcasting network, has enhanced its news production capabilities with the installation of FORA’s HVS-1200 production switcher. While currently operating in HD, the switcher is equipped for a seamless transition to 12G-SDI when the channel upgrades to ultra-HD.
The newly integrated HVS1200 switcher brings advanced production capabilities to Al Sharqiya’s newsroom, offering seamless control over multiple camera feeds and sources. Its MELite technology allows the 2 M/E switcher to simulate the functionality of six M/E paths in HD, delivering high-quality visual effects. The built-in multi-viewer simplifies studio
CABSAT and Integrate Middle East are set to return in 2025 with their latest editions, taking place from May 13-15, 2025, at the Dubai World Trade Centre. CABSAT will bring together more than 450 exhibitors and 18,000 attendees for three days of engaging discussions, demonstrations, and networking. Among the key exhibitors are first-time
participants Nordlys and Stype, alongside returning brands First Gulf Company, Akratek and Advanced Media Trading.
In the meantime, Integrate Middle East, co-located with CABSAT, will return to shed light on the Pro AV and media technology sectors. As the only regional event dedicated exclusively to Pro AV, Integrate ME will present IoT and
operations by centralising control over monitor walls and on-set displays.
Ahmed BIN-Afif, CTO of Al Sharqiya Group, said:
“We’ve been using FOR-A equipment for over a decade and have consistently found it to be reliable, versatile and equipped with advanced features. The recent addition of their vision mixers to our system has been especially impressive, offering exceptional performance and delivering breathtaking true 4K outputs. FOR-A equipment is a vital part of our workflow, and we look forward to continuing our partnership for years to come.”
Mohammed Abu Ziyadeh,
FOR-A Regional Manager for the Middle East and Africa, commented: “We find that customers are increasingly choosing the FOR-A approach of traditional, proven hardware and SDI connectivity over our competition. The industry is in transition and FOR-A is well positioned for the move to IP, but for now users want the security of well-honed technology.
“Al Sharqiya is an excellent example. The station’s entire reputation is based on up-tothe-minute news coverage, so the studio producing it has to be on air non-stop. FOR-A’s established technologies guarantee that security.”
CABSAT TO RETURN FOR 31ST EDITION ALONGSIDE THIRD EDITION OF INTEGRATE MIDDLE EAST
AI-driven technologies as well as the latest innovations in digital signage, AV solutions and immersive experiences that are enabling seamless coordination across industries. It will also explore strategies to drive measurable business growth through transformative networking and exclusive market insights.
In this edition, CABSAT will feature an extensive showcase of satellite, broadcast, and media solutions. Key highlights include the organisation of Content Congress, where over 150 speakers will discuss topics
such as AI’s role in the Middle East media industry, the rise of esports in broadcasting and the surge of the Arab box office.
This year, the theme at Content Congress will be ‘Where Insights Ignite Change—Shaping the New Narrative of Media for the 21st Century’. It will feature a series of panels and keynotes delivered by key media industry leaders and figures, who will share their perspectives and opinions on the future of broadcast content.
At Al Sharqiya.
A file photo of CABSAT 2024.
NMK and Riedel power AV growth in GCC
NMK Electronics has partnered with Riedel Communications to deliver AV technologies to integrators and end users across the region.
This strengthens its position as a trusted partner for system integrators, consultants, end users and other professionals seeking world-class solutions.
FONN GROUP APPOINTS MILJENKO LOGOZAR TO DRIVE MIDDLE EAST MEDIA PROJECTS
Miljenko Logozar has been appointed Project Manager at Fonn Group. Logozar brings over 30 years of experience in broadcast technology and media operations to this
role. His career is marked by a strong record of building and managing advanced broadcast systems. As Chief Solutions Architect at Al Jazeera Media Network, he led projects that transitioned traditional broadcast systems to modern infrastructure and paved the way for cloud-based production, always ensuring smooth and efficient operations.
Nicolas Cox, Managing Director at NMK Electronics, said: “As the industry evolves, it’s crucial for us to align with brands that share our vision for excellence and technological advancement. Riedel’s expertise in delivering state-of-the-art communication and signal solutions makes them an ideal fit for our growing ecosystem of partners.”
“NMK Electronics has built a reputation for delivering
high-quality AV solutions and strong customer support,” added Tobias Kronenwett, Regional Sales Director Eastern Europe, Middle East & Africa (EEMEA). “With this partnership, we look forward to working together to bring next-generation communication and signal transport technologies to the region, ensuring integrators and end users benefit from the very best the industry has to offer.”
RESON8 MEDIA BECOMES VIZRT’S FIRST SERVICE DELIVERY PARTNER IN MENA
TOD TEAMS UP WITH SKYWORTH TO LAUNCH 4K STREAMING SET-TOP BOX IN MENA
TOD has partnered with settop box company Skyworth to integrate its QVWi 4K box technology with TOD’s premium content. The box features a Google-driven interface with a voicecontrolled remote, enabling
seamless navigation and online searches. It supports Dolby Vision for ultravivid imaging and Dolby Atmos for immersive audio, providing a cinematic experience at home when paired with a compatible
TV. Additionally, the device is equipped with 4K resolution and advanced high dynamic range (HDR) technologies, including Dolby Vision, HDR10, HDR10+ and HLG, ensuring rich colours and deep
Reson8 Media LLC, a regional provider of broadcast and immersive media solutions, has been appointed Vizrt’s first Service Delivery Partner. This allows Reson8 Media to support complex, high-profile projects that demand meticulous execution and visionary storytelling. Joanne Lewis-Rhodes, Director of Global Services Operations at Vizrt, called it “a significant step in expanding our service capabilities”. As Vizrt’s first Service Delivery Partner, Reson8 Media aims to set new benchmarks in broadcast and media services across MENA. By addressing regional challenges and fostering a culture of technological advancement, the partnership aims to ensure that broadcasters and content creators are equipped with the best tools and support to bring compelling stories to life. contrast for picture quality. The QVWi set-top box is currently available in online and retail stores across the UAE and will soon be launched in Egypt, Kuwait, Morocco, Oman and Tunisia.
The teams from NMK and Riedel.
Miljenko Logozar.
ADVANCED MEDIA HOSTS RED WORKSHOP IN UAE
Advanced Media Trading, RED’s exclusive distributor in the UAE, recently hosted a specialised workshop aimed at production houses, filmmakers and RED enthusiasts. The event provided an in-depth look at RED’s latest developments
During the workshop, Alexander Ward, Sales Engineer at RED, highlighted the significance of the newly launched Z Mount. “Two weeks ago, we launched the Z mount iterations of Komodo X and Raptor X. Orders have started shipping, so more customers should have them soon,” he remarked. He acknowledged the strong demand for RED products, which often leads to initial back orders.
The introduction of the Z mount is a major milestone for RED as its first proprietary lens mount since Nikon’s acquisition of the company last year. “This allows significant autofocus improvements with Z and Nikon F mount lenses,” Ward explained. “Autofocus improvements are particularly beneficial for solo shooters using cameras like Komodo X.”
While the Z mount is a breakthrough, RED remains committed to its RF mount systems. “One important point is that it doesn’t mean we’re leaving RF mounts behind; improvements for Z mount also benefit RF,” Ward stated. Customers will have the option to choose between RF and Z mount at purchase, with the possibility of moving from an RF to a Z mount at an authorised service centre, though it is not designed for user interchangeability.
A standout feature of the Z mount is its shallow flange depth, which enables users to adapt various lenses, including Sony E mount, while retaining autofocus. “This flexibility is great for users with existing lenses from different systems,” Ward noted. Additionally, RED has enhanced power capabilities within the mount itself. “We’ve also enabled powering servo lenses through the mount,
enhancing zoom and focus control without external power supplies.”
With over a thousand Komodos sold in the region using RF mounts, RED’s expansion into Z mount technology is set to provide even more versatility to filmmakers and operators. “Z mount opens up more versatility, appealing to different types of filmmakers and operators,” Ward said.
The workshop at Advanced Media covered RED’s entire range of solutions and capabilities. “Primarily, production houses and owneroperators looking for flexible, highperformance solutions attended the event,” Ward stated. “Most filmmakers are faced with challenges over flexibility, and the right feature set for specific jobs is crucial. So the more flexibility we can provide, the more attractive the solutions become.”
As RED continues to innovate, the company is gearing up for NAB, where it will showcase its latest advancements. “At NAB we intend to focus on our Cine Broadcast developments, building on last year’s soft launch,” Ward revealed.
The Advanced Media RED workshop provided valuable insights into RED’s evolving technology and how it continues to support the filmmaking community with cutting-edge solutions.
“We have continuously positioned ourselves as the mediator between the providers of latest technology and creative users. This event is a testament to yet another successful collaboration,” commented Pooyan Farnam, Head of Marketing, Advanced Media Trading. “We believe that with the introduction of the Z mount and its enhanced capabilities, RED is reinforcing its commitment to providing high-quality, adaptable tools for professionals both within the region and worldwide.”
Left, a RED workshop in progress at the AMT showroom; and above, AMT Head of Marketing Pooyan Farnam.
TAKING THE LEAD IN ABU DHABI’S PRODUCTION SCENE
From film sets and drama productions to fight nights, Space42 Arena has swiftly established itself as one of Abu Dhabi’s most dynamic creative hubs. Mohamad Yehya, CEO of LEAD Projects Management and General Manager of the Space42 Arena complex, tells BroadcastPro ME why the UAE needs another world-class venue
Over the past decade, the UAE has attracted several big film productions to its shores. Dedicated film commissions have been set up in Abu Dhabi, Dubai and Sharjah, offering lucrative rebates and simplified permits and approval processes. Alongside scenic natural landscapes comprising deserts, mountains and seas, the country offers filmmakers a slew of production houses equipped with the latest technology in cinematography.
As the demand for world-class production and event spaces rises, Abu Dhabi’s Space42 Arena is the latest addition to the UAE’s
burgeoning media and events landscape. The arena officially opened last year, with satellite communications company Space42 acquiring its naming rights.
Conceived to bridge a gap in the industry, Space42 Arena was conceptualised and developed by LEAD Projects Management. CEO Mohamad Yehya emphasises its unique positioning.
“LEAD has been deeply involved in entertainment, media production and consultancy, concept design, event management and entertainment across the UAE for the past two decades. Over time, we recognised a consistent gap in the market for mid-sized
venues – many events were either too small for large stadiums or too big for hotel ballrooms. Additionally, the demand for high-end production spaces in Abu Dhabi was increasing, especially with the city’s growing film and media industry. Space42 Arena was our answer to these challenges, a venue that caters to live entertainment, corporate events and professional productions in one integrated space.”
LEAD Projects Management was responsible for the architectural concept and aesthetics of Space42 Arena. With its sleek, hull-like design, it perfectly complements its waterfront setting beside Al Raha Beach. A visually striking steel- and glass-clad exterior gives way to an inviting and elegant
reception inspired by the hues of the desert. Contemporary light fixtures highlight the lobby’s dark wood accents.
“We collaborated with top professionals to create an arena that is not only a functional marvel but also adds significant beauty to the Abu Dhabi landscape, particularly enhancing the Al Raha Beach area,” Yehya explains. “We suggested the project, designed the architectural concept and managed the construction process. Our involvement ensured that the arena meets the highest standards of both design and functionality.”
LEAD Projects Management roped in specialists from several industries to create a truly versatile space. “We joined forces
with leading AV integrators, acoustic engineers, lighting designers and event infrastructure specialists to build a venue that is technically advanced yet flexible. We worked closely with contractors specialising in studio design, soundproofing, rigging and modular seating layouts to create a space that meets the diverse needs of concerts, TV and film productions, conferences and theatrical performances.”
Yehya’s own expertise has been a significant influence on the design aesthetic and functionality. As the founder of IP Studios and backed by over two decades of experience in project management, live sports production and consultancy in the media and entertainment
space, he understood the need for a production house and live entertainment venue.
“We saw that there was a clear demand for a mid-sized dedicated space that could accommodate audiences of 500 to 3,500 people, so our goal was to create a versatile stand-alone venue that seamlessly integrates live events, TV productions, film shoots, corporate gatherings, concerts and theatrical performances. By offering a venue that supports both entertainment and media production, we provide a valuable resource to the growing creative and commercial industries in the region.”
Flexibility is at the core of Space42 Arena’s design. The 2,500sqm main studio doubles as a multi-purpose hall, making it perfect for both production and event purposes. Thanks to a sleek modular design, the space can further be segregated into smaller
soundproofed halls complete with state-of-the-art AV, lighting, recording and presentation capabilities. Other features include ceiling clearance of 15.22m and platforms that support nearly 750kg per rigging point. These make the hall ideal for LED installations, chroma keys and other filming or TV production set-ups. There’s also a well-equipped 600sqm backstage area and several smaller units that can be tailored for specific needs, such as podcast studios, MCR rooms, editing suites or content creation spaces.
The arena also offers cuttingedge virtual and hybrid production capabilities, with complete control over lighting and sound environments. “You can start your production with a white canvas and our in-house design team will assist you in designing and implementing any concepts that fit your needs. We offer dedicated
We collaborated with top professionals to create an arena that is not only a functional marvel but also adds significant beauty to the Abu Dhabi landscape
MOHAMAD YEHYA, CEO OF LEAD PROJECTS
MANAGEMENT AND GM OF SPACE 42 ARENA
production spaces that cater to TV series, film and drama shoots, commercial and corporate video productions, music videos and live performance recordings. We also offer partnerships for equipment rental, including high-end cameras, lighting, control rooms and post-production suites.”
The arena offers several other benefits. “Customers can choose from various flexible leasing options. We are just 25 minutes from downtown Abu Dhabi and under an hour from Dubai. Over a thousand vehicles can be accommodated across the indoor and outdoor parking areas. All of these factors have been successful in positioning Space42 Arena as a preferred venue for event organisers and production houses alike.”
Establishing such a facility came with its own set of challenges. “Our biggest challenge was
ensuring that the venue met international standards while remaining adaptable to different types of events. Construction, acoustics and regulatory approvals also required significant coordination,” Yehya notes.
That effort has paid off. Since opening, Space42 Arena has welcomed numerous TV networks, media production teams and event promoters. It has hosted high-profile events such as the Compass Esports MENA Tournament 2024, shortlisted for Event of the Year at the HLTV Awards; the UAE Muaythai (UAM) Championship 2025; UAE Warriors Fight Nights; and K-1 Pro Night. The UAM Championship alone brought together a record 824 fighters from 61 clubs, with the final day featuring 173 bouts across four rings, a powerful demonstration of the arena’s organisational capacity and spatial efficiency. The arena also made history by hosting the Middle East’s first-ever Power Slap competition, featuring two of the sport’s most prominent athletes: Da Crazy Hawaiian and Dumpling.
At the heart of this success is Yehya’s deep-rooted passion for sports media. His pioneering work in launching the Media and Sports Production sector at UAM in 2018 has helped establish Space42 Arena as a central hub for sports productions, particularly in esports and fight nights.
The arena isn’t just limited to sports events. It’s also designed to host a wide range of corporate events, musical concerts, EDM and DJ shows, product launches and other productions. Over the past few months, it has been regularly transformed
into a unique destination by big names from various industries. Additionally, with a focus on live broadcasts, the arena has also been used as a studio set for special productions by regional TV channels. Here, Yehya’s experience in the creation and management of regional media platforms, including the launch of Majid Kids Channel in 2015, has stood him in good stead. Looking ahead, Yehya has ambitious plans for the venue: “We are exploring a potential partnership with the Abu Dhabi Film Commission, along with plans to host new sports championships and even boutique
theatrical plays. Soon the arena will expand to include a yoga and ballet studio, sports bar, a smaller event hall for private celebrations, dedicated F&B spaces, and office and retail complexes that overlook the picturesque Al Raha Beach.”
This vision is backed by an overwhelmingly positive response. Having already hosted multiple events and productions, the arena is witnessing strong demand from corporate clients, artists and production houses. With its growing portfolio, Space42 Arena is well on its way to becoming a premier destination for entertainment and media in the UAE.
ASHARQ EGYPT UPGRADES TO REMOTE PRODUCTION
When Asharq Egypt set out to redefine its live production capabilities, it envisioned a state-of-the-art remote production studio that would seamlessly connect Cairo to its Dubai headquarters. To bring this vision to life, the broadcaster entrusted Broadcast & Studio Solutions (BSS) with the systems integration. Vijaya Cherian brings you the tech details
Asharq Egypt, the broadcast network’s third cutting-edge facility after Dubai and Riyadh, recently made a multi-milliondollar transition to an IP-based remote production model that has significantly reduced its operational costs owing to more flexible production scheduling and a decline in travel expenses. Headed by Asharq
News Chief Technology Officer (CTO) Omran Abdallah, the project was integrated by local player BSS, whose role was to ensure that every element – from infrastructure to cutting-edge broadcast technology – was designed for efficiency, scalability and future growth.
“This project was not merely an upgrade but a complete transformation,” says Abdallah.
“The legacy systems in place were outdated, inflexible and incapable of supporting modern IP-based workflows. The new infrastructure,
designed from the ground up, allows for effortless scalability, whether adding new cameras, increasing audio capacity or expanding the network’s capabilities in the future.”
The upgrade saw the deployment of new technology designed to create a high-performance workflow tailored to the evolving needs of live broadcasting. The project went live last year without any disruptions.
Tareq Eid, Managing Director of BSS, says the integrator “was fully involved in the end-to-end delivery of the remote production
The new infrastructure, designed from the ground up, allows for effortless scalability, whether adding new cameras, increasing audio capacity or expanding the network’s capabilities in the future
studio in Cairo, supplying all the equipment, handling the installation and overseeing the commissioning of the entire facility”.
For the video set-up in the new IP studio, Asharq Egypt has opted for Grass Valley LDX135 full SMPTE ST 2110 IP cameras coupled with Canon lenses. This project includes the addition of four cameras, eight microphones, four bodypack receivers and two video wall engines, all integrated for a streamlined and efficient production experience.
The studio operation also features an Autoscript prompting solution, Vizrt graphics for dynamic visuals and Evertz sync generators to ensure precise system synchronisation. Audio workflows were designed with Dante Audioover-IP architecture and an SSL audio mixer. The system also incorporates RTS intercoms for real-time communication, essential for live production teams managing complex broadcasts. One of the most complex
challenges in this project was ensuring low-latency, highreliability connectivity between Cairo and Dubai to facilitate remote production. To achieve this, the team installed TVU RPC encoders and decoders as the main system and Nimbra for backup, ensuring seamless video transmission between both locations. After rigorous testing and optimising network performance, the integration team eliminated potential connectivity issues,
OMRAN ABDALLAH, CTO, ASHARQ NEWS
allowing real-time collaboration and remote management.
At the heart of the system is a Cisco network switch that ensures stable, high-speed connections, facilitating 25 client connections and supporting the demands of a modern remote production environment.
BSS ensured that all components adhere to SMPTE ST 2110, AES67 and Dante Audio standards, making it easier for Asharq Egypt to integrate future advancements without requiring major overhauls.
Although there was no formal vendor training on this project, Eid says BSS facilitated several indepth technical knowledge transfer sessions with the broadcaster’s in-house team. “We offered sessions that provided detailed insights into the system’s architecture, workflows and maintenance protocols. Additionally, BSS provided as-built drawings, manuals and comprehensive documentation to ensure a smooth transition and continued operational efficiency.”
BSS, as the sole systems integrator on this project, has delivered a futureproof broadcast facility designed to meet the current and future demands of a rapidly evolving industry
TAREQ EID, MANAGING DIRECTOR, BSS
“Our Eqypt facility has already started delivering tangible business benefits,” says Abdallah. “The integration of advanced video and audio solutions has enhanced the quality of live broadcasts, positioning Asharq Egypt as a major player in remote production. Furthermore, by consolidating
operations into a centralised, connected environment, we have achieved greater control over our workflows, ensuring efficiency and adaptability.”
The new system at Asharq Egypt has a modular design that allows seamless integration of new tools such as AI-driven automation, cloud-based services and enhanced robotics for even greater production flexibility.
“BSS, as the sole systems integrator on this project, has delivered a future-proof broadcast facility designed to meet the current and future demands of a rapidly evolving industry,” says Eid proudly.
As media organisations worldwide embrace remote production and IP-based workflows, Abdallah says Asharq Egypt’s investment is part of its objective to remain ahead of the curve.
“By being equipped with the latest innovations, we believe we will drive the future of broadcasting,” he concludes.
The second edition of the BroadcastPro Summit KSA brought together the region’s media leaders in a high-energy gathering, with over 180 professionals converging to shape the future of content production, broadcasting, streaming, gaming and podcasting. The event also featured a special felicitation for Hatim Abounassf, Executive VP for Engineering Affairs at SBA. Stay tuned as we unpack the summit’s most compelling discussions over the next two issues.
TRANSFORMING ARABIC CONTENT: STUDIOS, PRODUCERS AND REGIONAL IMPACT
With more demand for Arabic-language content, film production companies are ramping up investment and intensifying their content libraries. Blending culture and drama, tradition and modernity, these stories are increasingly drawing non-Arabic-speaking international viewers.
Even as government and private sector collaborations become inevitable to strengthen the Arabic content scene, the region is rising to the challenge of developing strategies to craft compelling narratives.
At the BroadcastPro Summit KSA in February, a trio of leaders from the Middle East’s film and content production landscape discussed cross-border co-productions and partnerships, creating engaging content and more. The expert panel featured Ben Ross, CEO, Image Nation Abu Dhabi; Hana Al Omair, Creative Director, MBC Studios; and Hussein Fakhri, Chief Commercial Officer and Executive Producer, Katara Studios. Moderating the session was Tarek Matar, Partner, Strategy& Middle East.
Navigating the scope and scale of Arabic content in the Middle East, particularly the GCC and Saudi Arabia, Tarek Matar explored regional potential and how homegrown stories could resonate on a global scale. Crafted as very localised productions, Squid Game from South Korea and La Casa de Papel from Spain had succeeded globally. He wanted to understand what tactics content producers could employ to replicate that kind of success for Arabic productions. With the AlRawabi School for Girls, Arabic content had travelled quite well, said Ben Ross of Image Nation.“I would say the Arab world has set the stage for good content already – Netflix’s AlRawabi is the
closest we have seen with successful content from the region. However, everything is developed to revolve around Ramadan. A lot of times things are reverse engineered based on a release date, which I understand is the economics of Ramadan. But we need to take time and not rush towards that deadline. It is often better to deliver something improved the following year than run something not good enough.”
Often, a universal story is a universal story. Though there are
Different cultures dictate different ways of telling the same story. Local audiences are usually drawn to a certain storyline and that popularity makes it go global
BEN ROSS, CEO, IMAGE NATION
genres typical to a region, narratives don’t always demand a certain theme that allows them to travel. Stories that are not too dissimilar to other cultures resound with viewers.
“Different cultures dictate different ways of telling the same story. Local audiences are usually drawn to a certain storyline and that popularity makes it go global,” said Ross. “What is important is staying true and being genuine, and if you’re not, it will simply not sustain. Make for your
local audience and if you do it right by them, then it can cross borders.”
Focusing on the local aspect is key to getting content to travel. Being sincere to the audience ethos and culture, the dialect, how they dress, all play a decisive role in delivering something that will appeal. “If you try to appeal to everyone, you will appeal to no one, risking alienation or not getting the right attention at the local stage, let alone the global stage,” agreed Matar. With the world such a small place right now, “Global audiences will know if the local audience hasn’t responded and they won’t bother watching it no matter the concept or story,” added Ross. Content is distributed and disseminated differently these days. Linear TV and cinema blockbusters are rapidly moving to OTT platforms. Alongside is a hoard of short-form content created on YouTube and other social media platforms. From the production point of view, steering content that can work on different formats to achieve viewership becomes a huge task, particularly with the need to suit the fleeting mindset of a younger generation.
“As a platform we concentrate on Shahid, but social media is very important right now,” said Hana Al Omair of MBC Studios. “It helps us gauge a show’s success through
audience interaction. Social media is a key measurement of success –it influences both marketing and content creation, which in turn shapes the content itself. It guides us in deciding what to create and makes us more aware of our audience.”
The Saudi market is at a nascent stage and promises to be upbeat. “But being a young market means it is at the discovery and experimental stage of growth, of what will work and what won’t. Even with content in Saudi, on Shahid we are exploring different genres, whether short-form or the miniseries or longer forms, and with every single experiment we are learning more about the needs of our audiences,” said Al Omair.
In this respect, it is important that content producers, distributors and OTT platforms put into place systems and data analytics that measure and analyse audience data and preferences. This real-time input helps a fast feedback loop that can be adapted to improve targetability and personalisation of content.
Big media hubs such as Neom and AlUla in Saudi Arabia, and others in Qatar and Abu Dhabi, have played a major role in stimulating content production while at the same time attracting global blockbusters to the region. In this support and collaboration between government entities and private sector players lies one of the ways to incentivise the industry.
“If we want to see a change in this industry, the private sector must come in at some stage, otherwise we are never going to see the growth that we should,” said Hussein Fakhri of Katara Studios. “The incentives and the rebates are great, and Abu Dhabi has been the pioneer in that respect in the Gulf. But more needs to be done to motivate and entice
the private sector. To do that, we need to show that there’s a return on investment for this industry.
“Investors don’t see a proper commercial viability for what we do and so getting investment in our industry is always a struggle. Governments must stimulate that first. Instead of doing an SAR 200m fund for content, they should do an SAR 100m fund and bring in the remaining 100m from the private sector and say, your capital is guaranteed. That is the future I see for a public-private collaboration.”
The region is witnessing the start of that alliance, with some funds created in Saudi Arabia today that have a government or public entity contribution, as well as some fundraising from the private sector. As soon as those returns begin to materialise, the industry will get that ‘hockey stick effect’ in terms of private sector attraction and growth in the industry.
Seeing the pace of advancement and the societal changes in the region means looking at narratives in a new light. The picture reveals an edging towards modernity, said Matar, especially on the larger canvas of cinema, as well as on visually attractive Netflix shows such as Dubai Bling
“It is obviously working for them,” said Fakhri. “It may not be my choice, but it’s not a subjective view and the point here is about staying authentic to ourselves. We have a treasure trove of IP and stories in this part of the world, we are storytellers, it’s in our DNA. And if we tell that authentically and properly, with the right production values, the right writing, the right development and you tick all the boxes, then by default it’s going to do well and it will have the ability to travel.
“India is a great example of a huge
If we want to see a change in this industry, the private sector must come in at some stage; otherwise, we are never going to see the growth that we should
HUSSEIN
FAKHRI, CCO AND EXEC PRODUCER, KATARA STUDIOS
industry that makes great content. They don’t get involved in nudity or things that are against their culture. It’s the same for us – we can tell stories that are representative of our culture, and those are the ones that will be successful.”
If the hesitation to tell stories is lifted and those straps fall off, “we are good to go”, added Ross. The advent of gen AI has affected the wider content ecosystem by revolutionising the way content is produced, and the prospect of production and post-production taking place virtually. While certain aspects of production have seen a spike in
Social media is a key measurement of success – it influences both marketing and content creation, which in turn shapes the content itself
HANA AL OMAIR, CREATIVE DIRECTOR, MBC STUDIOS
AI-aided functions, the practicality of production is not in danger for the next 15 to 20 years, said Ross.
“We are not as close as it is made out to be. Studios in USA, despite all their deep AI programmes, continue to buy into other studios or build new ones. As long as soundstages remain in demand, AI isn’t a major threat to the industry. But if major players start shifting away from physical studio spaces, that would be a sign that AIdriven production is gaining ground.”
From the production side, AI is a powerful tool in terms of getting things done faster or increasing volume but is not taking away fundamental production requirements
for the immediate future.
“It is not going to generate content that is authentic,” said Al Omair. “They are not going to replace the writer or the creative human force that is at work in the industry.”
The big misconception that people have about AI videos on TikTok or Instagram is that they are “instant and free”, said Ross. “Neither is true. You see the five-minute animation videos on TikTok and that’s fantastic. And then the creator in the comments below will say it took him 5,000 hours … so a lot of work hours go into this. Will it be cheaper? Absolutely. But is it instant? No. It’s going to be a long transition.”
Specifically with authenticity, it is difficult to see now how AI can create narratives that stay true to local characteristics and contextualise them to a market or region. While true-tolife genre-centric stories are popular, one segment that sees a lot of traction in the region, particularly in Saudi, is anime. “Anime is not a passing trend; it has its audience and is very appealing to the Saudi market,” said Al Omair.
Growing up in the region with anime, a lot of people pass those interests down to their children, said Ross. “Currently, we are working on an animation film called CatsAway and the organic thing to happen will be a fusion between anime-style animation and traditional-style animation.”
Following shows such as Squid Game and La Casa de Papel, we still need more of a breakthrough than AlRawabi School for Girls, probably the most successful Arabic show to date, said Fakhri. “We haven’t reached that tipping point yet, and the race is now on across the region to be the first to get there.”
Changes in consumption habits will possibly contribute to creating Arabic content that does not work around
Ramadan. “We’ve had Ramadan for the last 1,400 years, and I say this with the greatest of respect. We know it comes every year, and yet six months beforehand we get a call to say we need to do a Ramadan campaign. We need to get out of that cycle, of the 30-episodes sort of thing,” said Fakhri.
It is often challenging to change audience expectations when they are used to a certain genre each year. Also, standards for content differ between regional audiences.
“A lot of things are allowed to slide in Western content, such as not being authentic, suspension of disbelief, etc. But when it comes to local content, they are much less forgiving. They are drilled down on the literalness of what they see, and it’s something we collectively must try to get people over,” said Ross.
People expect a certain format each Ramadan, and when that cycle is broken they don’t necessarily support it. As platforms change with shorter series, and are not designed to fit with Ramadan, fresher ideas and concepts will take shape and audiences will be retrained to accept newer formats.
“The traditional 30-episode story was the heritage of the TV. But it is changing and today we have interesting stories, successful miniseries that are made in 10 or 15 episodes or less and being very popular, and not made in a special way just to fit in Ramadan. Gradually things will change,” said Al Omair.
With exciting developments in narrative scale, format and platform adaptation, Arabic content creation looks set to surge ahead. Backed by the government, a driven private sector can boost the content scene, making it more creative, commercial and competitive while enriching the ecosystem and enhancing viewer engagement.
USHERING IN A NEW ERA OF SPORTS BROADCASTING
At the BroadcastPro Summit KSA, the sports panel dived into the game-changing trends redefining sports broadcasting, from storytelling and remote production to automation, AI and fan personalisation. Here’s a closer look at the key takeaways
Over the past decade, the Middle East has hosted several prestigious sporting events including the World Cup. Hosting these competitions required not only exceptional physical infrastructure but also drove the region’s sports broadcasters to adopt innovative techniques and cutting-edge technology for game telecasts across various formats.
The Sports panel, featuring Ammar Hina, Senior Broadcast and TV Production Director, Saudi Pro League (SPL); Faisal Alshadokhi, Live GFX Manager, Alamiya Media; and Jamal Abdulnaser Ali, Broadcast & Television Production Director, UAE Pro League (UPL), was moderated by Zayed Alhammori, Excellence Director MEA, Vizrt.
Kicking off the discussion, Zayed Alhammori made two observations: “Sport transcends borders, and behind every thrilling game is technology and passion. The Middle East is especially passionate about football.”
Fasial Alshadokhi credited the region’s audience as the driving force behind the popularity of sports broadcasting and innovation
in broadcast technology. “In Saudi Arabia, the passion for football comes from the audience. They have been watching international football leagues such as La Liga and the Premier League for decades. They know the game and they’ve raised the bar very high for sports broadcasters. Our goal with the SPL is to have the highest standard when it comes to broadcasting. We work very closely with them to ensure that we meet the needs and passion of our audiences.”
SPL’s Ammar Hina concurred. “This is a very passionate part of the world for sports in general, and football in specific. Unfortunately, this isn’t known globally. I believe it’s time to show the world how passionate the region is about football. We need to show the world the real face of our fans. If we take the fans or audience as our main stakeholders and change the perspective from local to global, it changes the entire strategy of the broadcast. We’ve been working very closely with our partners to make the broadcast more international over the past few decades. There have been several challenges along the way, but I’m very proud to say that today SPL is ranked among
the top five leagues worldwide.”
While making sports broadcasts globally appealing, preserving a unique game identity is just as crucial, noted UPL’s Jamal Abdulnaser Ali. “There is no point in trying to build an international presence without establishing a clear game identity. There has to be clear messaging in the content that we produce. The audience must be able to identify our brand or league just by watching the content. As a league, this is the strategy we must adopt to improve our output. If it’s missing, after a certain period you start losing followers.”
Beyond engaging fans, broadcasters also have to meet the expectations of other partners such as television rights holders and sponsors, he highlighted. “We have to be in line with the standards or requirements from each side. For instance, you have to ensure maximum visibility for commercial sponsors and high production quality for TV rights holders. Today’s football fans consume content from multiple leagues such as the Premier League, La Liga, SPL and UPL in a single day. They are constantly comparing, which makes it vital to match global standards.” Technology is playing a massive role
in meeting these varied requirements. Discussing how it has revolutionised game production, Alhammori asked the panellists to share their views on remote production and its benefits.
“Remote production is a new trend in the region. Saudi Arabia is a vast country with matches being played in several cities. Instead of deploying separate teams, we can now produce multiple matches in a day from one central location with remote production. It’s costeffective, time-efficient and improves logistics,” said Alshadokhi.
The SPL is leveraging remote production for its international feeds, graphic overlays and English commentary, as well as for women’s competitions. It has conducted several proof-of-concepts over the past few months and plans to transition fully in due time.
Remote production can enhance connectivity too. “Currently we distribute on one or two signals only due to the limitations of broadcasting through satellite,” said Hina. “But if we have proper connectivity, then we can transmit and record feeds from several angles instead of recording everything on-premises. Better connectivity will
Zayed Alhammori, Excellence Director MEA, Vizrt, moderated the panel.
In Saudi Arabia, the passion for football comes from the audience … They know the game and they’ve raised the bar very high for sports broadcasters
FAISAL ALSHADOKHI, LIVE GFX MANAGER, ALAMIYA MEDIA
enable us to reach more international markets as well, with more efficiency. This adds to the league’s content value, enhancing our sustainability. This is one of the challenges we are working on addressing currently, and we hope to make a breakthrough in the next couple of years.”
The UPL is also preparing to adopt remote production soon, confirmed Ali. “We are confident that remote production has the ability to improve not just the quality of production, but also game identity. We are working on implementing it in the UPL. There are a few challenges, but we are working to resolve them.”
The UPL recently made a huge technological leap with the use of vertical production for the Emaar Super Cup in December. Ali said: “Football is consumed by audiences of all ages, so we have to produce content that appeals to everyone.
When we studied the market, we found that fans between the ages of 10 to 30 years – or maybe more – use social media platforms on their mobiles to watch the match. They prefer formats like reels and TikTok, which are all vertical. While we tested the technology in small ways in 2017 and 2018, we were able to make full-fledged use of it only last year. We used AI tools extensively to shoot the match in the vertical format and broadcast it on TikTok. It was a great experience and was very well received by the audience. I believe vertical production will become the future of many sports. In fact, it might even become a new category of rights. So soon we will have linear, digital and vertical rights.” Audience preferences are undoubtedly shaping the content. Hina highlighted the “TikTok effect” as the latest trend that production companies now have to deal with. “Younger
audiences prefer to consume content over a certain number of seconds. So our matches which are typically 90 minutes long, now have to be served in forms that meet these audience preferences. We have nearly five to six formats for each match which cater to the needs of various stakeholders such as news agencies and news outlets, TV channels, rights holders, social media platforms and influencers, and even the clubs and leagues themselves.”
He elaborated: “In the Middle East we also have 15-minute formats known as mini-matches. Broadcasters need these as an extra layer of content. These are extremely popular and there is constant demand for them. Instant highlights, such as fan reactions from the stadium, are also very popular and sometimes gain more attention than the full match.”
“In formats such as these, how critical is visualisation of
a game?” asked Alhammori.
Alshadokhi said it was very critical and likened a match to a story. “We use graphics to build our story. For instance, in last year’s Riyadh Season Cup we used graphic overlays to give the audience a visual numeric representation of which team was performing better. This included details such as who’s had more passes, who’s had more control of the ball, how many times and for how long. Additionally, we deployed in-game realtime tracking for all the players. We used eight graphic systems, AI and sky cameras to produce real-time graphics for player movements, including details such as speed, distance covered and the number of passes. It is challenging to produce all of this in real time, but we succeeded in creating a truly immersive experience.”
Hina recalled the time he and Ali worked together to create a 360-degree immersive viewing experience. “It was the first worldwide full 90-minute football 360-degree experience. But after the numbers came in, we discovered that 99% of the audience were technology geeks; they had nothing to do with sport. Tools like these have a niche appeal and may help in acquiring special sponsors.”
AI is an exceptionally diverse tool and can be used in several ways. Alamiya Media is using it to enhance lighting effects and expedite the production of analysis clips and graphics.
“Lighting was a significant challenge for us. Different stadiums have different lights and this would impact the keying. Now we use AI to do the keying and it’s a very smooth process,” clarified Alshadokhi. “We’ve also been using AI to create the sports analysis clips and graphics. The production process is not just about capturing the minutes of play,
We are confident that remote production has the ability to improve not just the quality of production, but also game identity. We are working on implementing it in the UAE Pro League
JAMAL ABDULNASER ALI, BROADCAST & TV PRODUCTION DIRECTOR, UAE PRO LEAGUE
but each event within a game. For this, the game graphics have to be generated rapidly in real time. Doing this manually is time-consuming, and by the time we complete it the game will have moved forward to the next event and we would have missed those. The director usually gives us a five-second window to display
the graphics on screen. Thanks to AI, we are able to do this within two seconds in just a couple of clicks.”
He went on: “Generating sports analysis clips previously took nearly 10 minutes; AI has brought this down to two minutes. This has been a real game changer for us, especially for the studio analysis segments. These segments usually run for 60 minutes and the analysts want to discuss several clips. If it takes 10 minutes to produce each clip, the audience isn’t going to wait that long and the entire effort goes to waste.”
The SPL also shares footage that rights holders could not air due to time constraints. “These usually contain extra angles that didn’t make it to the main broadcast output. Most of the trending moments on social media come from this footage,” said Hina. Additionally, the SPL uses AI to automate its clipping process for generating instant highlights. However, Hina believes production companies cannot rely fully on AI to get the best output. “Sports broadcasts are full of drama, passion and moments
that capture these emotions. Without human intervention, AI can’t identify these moments yet. For instance, if there were 35 passes before a goal was scored, AI would never trigger that. At the most, it will showcase about three or four passes just before that goal. It will capture the player celebrating the goal but may omit the players frustrated by that goal. So it misses the human part, and we may lose these emotional moments if we are to rely entirely on AI.”
The panel likened relying on AI to employing a production director who doesn’t understand the region’s language or the emotions and traditions surrounding the sport. “Even if you bring in the best operators or directors but they don’t have the right guidelines or standards, you won’t get the desired results. They will just not understand the pulse of the game and its people,” said Hina.
While most of the new technology in sports broadcasts caters to young audiences, the panellists noted that the viewing preference of mature viewers cannot be neglected. “These viewers still prefer traditional broadcast – a full 90-minute match without any extra effects. The overuse of AR and VR might put them off the viewing experience. Similarly, audiences in different countries have different preferences. So there is no one-size-fits-all approach. We have to keep customising the product depending on who is watching and from where,” said Hina.
All the panellists also agreed that content must be ‘glocal’ – global in nature but embellished with elements of local culture. Showcasing local talent is an important part of this effort. “Even when there are big names like Cristiano Ronaldo playing a match, you have to focus on the local talent,” said Hina. “If you keep focusing on
Sports broadcasts are full of drama, passion and moments that capture these emotions. Without human intervention, AI can’t identify these moments yet
AMMAR HINA, SENIOR BROADCAST & TV PRODUCTION DIRECTOR, SAUDI PRO LEAGUE
intervention to generate player stats and display them on the screen. This could include goal-scorers or players who get foul cards.
just one player and this player leaves the league in the future, what then?
There has to be a balance between all the players, local and international, and we have to work towards raising all of them. The game is not a product to serve only one fan segment.”
Although the panellists concurred that AI needs to be used judiciously, they felt confident about some areas where AI functions perfectly. Alshadokhi cited instances where AI works independent of human
All the technology used in game production is simply a means to cater to the human emotion behind every match. Noting this, the panellists suggested that the next progression in the use of AI would be to enable fans to customise their own viewing experience. “We should be able to give audiences different viewing experiences where they can watch the game on a normal programming feed, or on a mobile app with the ability to see the match from different angles – almost like a second screen. In fact, we experimented with this five years ago. It was a great experience, but at that point, it was ahead of its time and not a viable option, as many didn’t want to pay for it,” said Alshadokhi.
While innovation is vital, the panellists highlighted that awareness campaigns are equally crucial.
“No matter how advanced our technology gets, it won’t succeed unless audiences and rights holders understand its value. Education and engagement are key to driving adoption,” Alshadokhi concluded.
NAB SHOW TO SPOTLIGHT
AI, SPORTS, STREAMING AND CREATOR ECONOMY
The 2025 NAB Show, set for April 5-9 at the Las Vegas Convention Center, will focus on five key forces shaping the media and entertainment industry: artificial intelligence (AI), the creator economy, streaming, cloud virtualisation and sports. The show will feature groundbreaking technology, immersive sessions and thoughtprovoking discussions aimed at keeping professionals ahead of the curve.
Karen Chupka, NAB Global Connections and Events EVP and Managing Director, said: “NAB Show has led the charge in innovation for media and entertainment, and this year is no exception.”
A major highlight is the three-day Sports Summit (April 6-8), which will examine how technology is revolutionising the fan experience, live sports production and media rights. Gotham Chopra, filmmaker and co-founder of Religion of Sports, will deliver a keynote titled ‘Peak Human: Unleashing the Champion Within’, exploring the cultural impact
of sports narratives. The event will feature big brands in the sports arena including AWS, Arri, Avid Technology, Blackmagic Design, Canon, Ross Video, Sony and Verizon Business.
“Live sports are captivating audiences in unprecedented ways and unlocking fresh revenue opportunities for the media and entertainment industries,” said Chupka. “The Summit, coupled with trailblazing companies on the exhibit floor, are reshaping the way that fans are engaging and experiencing sports.”
The creator economy, now valued at over $191bn, is another focal point of the event. With tens of millions of professional content creators worldwide, the event examines how these individuals are redefining storytelling, independently financing projects and building substantial online audiences. The Main Stage will feature Forbes Top Creator Dhar Mann in ‘The Power of Positivity: Building the World’s Largest Digital Scripted Studio – Dhar Mann Studios’, highlighting
the shifting paradigms in content creation and distribution. The Creator Lab, powered in partnership with Blackmagic Design, builds on its 2024 debut with more hands-on learning and education from top thought leaders on topics including ‘AI as a Creative Partner’, ‘Winning the Algorithm War’ and ‘The Power of Authenticity’. In partnership with The Ankler, Nab Show will introduce the Business of Entertainment track, a two-day programme offering insider perspectives on significant industry shifts. Topics include media dealmaking, content bundling, new advertising models and the convergence of Hollywood with the creator economy. Attendees can expect sharp analysis and candid conversations addressing the evolving dynamics of audience engagement and revenue generation in the entertainment sector. This track features WWE President Nick Khan and Chief Content Officer Paul Levesque, who will discuss the company’s continuing evolution from global expansion and talent development to innovative storytelling and the integration of new technologies. With an agenda packed with cuttingedge insights and expert perspectives, the 2025 Nab Show is set to be an essential gathering for media and entertainment professionals. Whether exploring the latest advancements in live sports production, gaining a competitive edge in the creator economy or diving into the entertainment of business, attendees will leave with the knowledge and connections needed to thrive in an ever-evolving industry.
GRASS VALLEY TO DEMO END-TO-END MEDIA PRODUCTION SOLUTIONS
Grass Valley will present a refreshed layout designed to fully demonstrate the integrated GVMU ecosystem, covering the entire production workflow from image capture to delivery. The exhibition will highlight the power of the AMPP platform, the advanced LDX 100 Series camera line-up, production switchers and media infrastructure, emphasising
how these tools are shaping the future of media production. At the heart of the GVMU is the AMPP platform, an operating system for media production that bridges hardware and software solutions, powering high-performance workflows across live production, content management, automation and distribution. The platform has seen significant adoption, with
average monthly usage surpassing 11m hours. This success has fuelled Grass Valley’s growth, with over 25% organic expansion in 2024 and numerous industry accolades.
A key highlight at the 2025 NAB Show will be the debut of the LDX 180 camera, featuring a new Super35 Xenios imager that delivers cinematic depthof-field with enhanced definition and vibrancy. Maintaining the signature attributes of the LDX Series, including Creative Grading for precise artistic control, it seamlessly merges cinematic depth with the speed and precision of live production. Also on display will be the LDX 110 with RF for wireless production and the LDX 135 with 5G connectivity, allowing direct AMPP integration without ingest conversion. Additionally, the GV Forum 2025 at the Renaissance Hotel Las Vegas on April 5.
FOR-A TO UNVEIL HANABI HVS-Q12 SWITCHER
FOR-A will debut its HANABI HVS-Q12 switcher at NAB, aligning with its ‘Connecting the Present, Building the Future’ theme. Designed for broadcast control rooms and live event production, the 3G-SDI switcher can be upgraded to 12G-SDI, offering versatility in a compact 4RU design.
The HVS-Q12 supports up to 60 inputs and 30 outputs in 3G mode and up to 42 inputs and 21 outputs in
12G, with expandable keyer options for enhanced production flexibility. It features an intuitive web GUI, IP interface compatibility with Dante and NDI, and seamless integration with existing HANABI Series models. Satoshi Kanemura, President of FOR-A America, said: “The Q in HVS-Q12 stands for quantum. The HVS-Q12 represents a quantum leap in design for the HANABI Series. With its feature set, ease of use, stability, cost and spaceefficient design, the HVS-Q12 is a game changer for live event and broadcast TV producers. With the ease of its SDI to IP conversion,
the HANABI Series connects today’s high-end workflows to the future, while our software-based SOAR-A and FOR-A IMPULSE production platforms connect producers to a powerful future.”
In addition to event memory, the HVS-Q12 includes functions from the HANABI Series such as sequences, macros, GPI for external control, user flags and user button functions. FOR-A’s intuitive solutions offer a seamless migration path for all flavours of IP and feature full support for SMPTE ST 2110 standards.
Stand N506
RIEDEL TO DEMO ADVANCES IN AUDIO, NETWORKING AND CONTROL
At NAB, Riedel Communications will introduce its next-generation StageLink edge services, Smart Audio and Mixing Engine (SAME), and Virtual SmartPanel, all designed to enhance flexibility and efficiency in live production and broadcast environments.
The StageLink family of smart edge devices are compact, rugged I/O boxes designed to facilitate seamless network streaming and simplify IP-based audio and intercom workflows. Designed for live production, broadcast and studio settings, StageLink devices enable decentralised signal distribution over standard IP networks, reducing the complexity of traditional cabling and infrastructure. The StageLink series allows media professionals to capture and distribute signals with ease, ensuring a reliable and cost-effective transition to IP-based workflows.
For the first time, Riedel will also present SAME, an audio processing software suite designed to redefine broadcast audio workflows. It leverages commercial off-the-shelf server cluster technology to deliver high-performance processing that scales effortlessly with production demands. Riedel will also introduce VSP — a software solution that enables remote intercom connectivity via mobile devices.
LAWO PROMOTES HOME ENVIRONMENT
Lawo will showcase the latest advancements in audio, video, networking and control solutions. One key highlight at NAB will be its intelligent multiviewer solution. This system integrates .edge, the HOME platform and the HOME Multiviewer app to optimise multiviewer display performance. By adjusting proxy resolution based on picture-in-picture (PiP) size, it reduces bandwidth consumption and CPU
load, ensuring smooth operations even in high-demand environments. Lawo will also demonstrate four new HOME apps. Designed to enhance broadcast workflows, they run on standard server hardware and in the cloud, allowing broadcasters to streamline processing tasks without dedicated hardware.
COBALT DIGITAL TO UNVEIL LINE-UP OF IPMX-COMPLIANT SOLUTIONS
Cobalt Digital will showcase enhanced versions of its SAPPHIRE mini converters and PACIFIC encoders, now equipped with IPMX support and additional functionalities.
SAPPHIRE BBG mini converters deliver compact, high-performance solutions for seamless content display on HDMI monitors. Supporting single-, dual- and quad-channel configurations, they offer dual SFP cages with 10G and 25G Ethernet compatibility, audio sample rate conversion and the ability to mix audio channels independently
from video synchronisation. tHE PACIFIC 9992-ENC encoder, a highly flexible MPEG-2/AVC/HEVC solution, now supports ST 2110-20 (baseband) and optional ST 2110-22 for JPEG-XS video. With the capability to encode up to four 1080p60 signals or a single 4K feed, it provides seamless integration into IPMX workflows, allowing users to mix SDI, ST 2110 and IPMX sources within the same device. Cobalt will also highlight several other solutions at NAB.
Stand N623
12-15 SEPTEMBER 2025
Register your interest today
MAI ABAZA
Strategic, high-impact publicity – teaser trailers, exclusive interviews, behind-the-scenes social media content – generates massive anticipation and translates into record-breaking first-week viewership
Decoding the Ramadan Drama Phenomenon: What Makes a Winner?
Ramadan drama is a cultural cornerstone, a battleground for audience attention and a litmus test for entertainment trends across the Middle East. The battle for viewership begins months before a single episode airs. Strategic, high-impact publicity – teaser trailers, exclusive interviews, behind-the-scenes social media content – generates massive anticipation and translates into recordbreaking first-week viewership.
Important new trends this year
TikTok is the new Ramadan drama arena. It has emerged as the ultimate engagement driver, creating organic virality for series that leverage its power. Ahmed Malek’s in-character TikTok videos as Wel3a in Welad El Shams not only trended and built excitement for the show but also drove a surge in streaming for the tracks he featured. Traditionally, behindthe-scenes content was avoided for fear of leaks and spoilers, but TikTok has transformed it into an essential publicity tool that audiences now actively anticipate.
The next is the 15-episode series. The shift to 15-episode formats reached a tipping point this Ramadan, with 57% of series adopting this structure, up from 14% last year. Shorter narratives prevent mid-season fatigue, making them a preferred choice for modern audiences.
This year also saw a spike in the rise of digital-first Ramadan content. Streaming platforms like Yango Play, Shahid, Watchit, Viu and TOD are no longer just alternatives to TV, they are shaping Ramadan drama consumption. This year, El Mahatta, El Sharnaqa, El Halangi and Wohoosh bypassed traditional television networks entirely, premiering exclusively on digital platforms.
Impressively, we are witnessing a generational shift reshaping Ramadan drama. While legends like Nelly Karim and Ahmed El Sakka remain industry staples, rising stars such as Huda El Mofti, Ahmed Ghozi, Ahmed Malek, Taha Dessouky and Yasmina El Abd are driving fresh audience engagement. Producers are actively casting younger leads to attract Gen Z viewers, ensuring content evolves with shifting consumption habits.
TikTok has also become a talent incubator, with digital-native creators transitioning to acting. This Ramadan, around 10 TikTokers from Egypt and Saudi Arabia made their acting debuts in major productions, bringing built-in audiences with them. Shari’ Al Asha featured four content creators – Lama Al Kanani, Manal Al Ahmed, Maha Al Ghazal and Tarfa AlShareef – while in Egypt, influencers like Dona Emam (Athena), Malak Hassan (Montahy El Salaheya) and Amira Adeeb (3aysha El Dor) stepped into acting roles.
Another important factor is music, which has become a defining publicity tool and an integral storytelling device. Nostalgic classics fuelled the emotional impact of Kamel El Adad, Welad El Shams and Lam Shamseya. Layali Al Shumisi released its original soundtrack before its premiere, embedding the series into pop culture early. Similarly, the title track for Esh Esh connected with audiences even before they met the characters on screen.
What’s Next? The Future of Ramadan Drama
At the heart of every successful Ramadan series is a compelling story that resonates, provokes and captivates. Whether controversial, emotional or sensational, a great story is what ultimately sets a production apart. In today’s entertainment landscape, cutting through the clutter requires sharp writing and a strategic approach to digital engagement. The most successful productions of 2025 mastered the art of blending strong narratives with high-impact publicity, influencer marketing and streaming partnerships.
MAI ABAZA IS CEO OF PUBLICIST INC., WHICH RECENTLY RELEASED RAMADAN INSIGHTS REPORT 2025
Powering Production Excellence in the Middle East
Sharjah TV Elevates Broadcast Production with FOR-A's 12G Solutions
Sharjah Broadcasting Authority (SBA) has completed a major technology refresh across its studio and outside broadcast operations with solutions from broadcast technology specialist FOR-A.
The upgrade centres on the installation of the FOR-A HVS-2000 3ME production switcher with HVS-3355OUA panel for outside broadcasts, supplemented by the HVS-1200 12G video switcher as a backup and for studio use. Multiple FA-505 processors and FA-1616HB-12G units with Dante audio capability provide comprehensive signal processing throughout the facilities.
"This technology represents a strategic investment in our broadcast infrastructure," said Aisha Alzareef, Engineering Technology Sector Manager at SBA. "The FOR-A solutions provide us with a unified architecture across studio and OB operations, enabling seamless integration of 12G-SDI workflows."
Mounaf Hannouneh, Broadcast Engineering Manager, highlighted the benefits: "The multi-channel signal processors give us unprecedented routing flexibility and format conversion options, while handling multiple audio
formats has streamlined our workflows significantly."
For outside broadcasts, Senior OB Engineer Moath Faisal noted: "The new production switcher gives us exceptional flexibility for live productions, with powerful effects capabilities and an intuitive control panel."
The robust architecture, with main and backup switching capabilities, ensures uninterrupted coverage of government events and cultural activities, supporting SBA's commitment to delivering high-quality content to its audience.
Experience FOR-A's Innovation at CABSAT 2025 - Stand AR-G10
FOR-A IMPULSE
One Platform, Unlimited Possibilities
Consolidates signal processing, multi-view, switching, graphics, audio mixing and media playback into a single software-based platform. Create custom production pipelines instantly.
HANABI HVS-Q12
Compact Size, Maximum Performance
4RU design with up to 60 inputs and 32 outputs (30 SDI + 2 HDMI) in 3G mode, and up to 42 inputs and 23 outputs (21 SDI + 2 HDMI) in 12G mode. Optional support for Dante and NDI® available. NDI is a registered trademark of Vizrt.
FOR-A MixBoard
Unlimited Layers, Unlimited Creativity
Award-winning software-based switcher with unlimited layering capabilities. Available in 8 or 16-input versions with versatile format support.
