FLIPPING THE GAME
From vertical broadcasts to immersive experiences, the UAE Pro League is revolutionising how football is watched
SECURE AND RELIABLE CONNECTIVITY ACROSS MENA
EsʼhailSat delivers satellite services for broadcast, broadband, mobility, corporate and government customers across the Middle East, North Africa and beyond.
OUR PRODUCTS AND SERVICES INCLUDE:
VIDEO SERVICES
• Direct-to-Home
• Broadcast Distribution
• Broadcast Contribution & Occasional Use
• Digital Satellite News Gathering
• Playout & Media Services
TELECOM SERVICES
• VSAT Networks
• Cellular Backhaul
• Maritime Services
• Oil & Gas / Energy Services
• IP Trunking
• Mobility Services
TELEPORT SERVICES
• Antenna Hosting
• Private Data Center Suite
• Co-Location Services
• Partial / Full Rack
• Studio Spaces
GROUP
Managing Director Vijaya Cherian vijaya.cherian@cpipromedia.com
+971 (55) 1053787
EDITORIAL
Editorial Director Vijaya Cherian vijaya.cherian@cpipromedia.com
+971 (0) 55 105 3787
Editorial Contributors
Kalyani Gopinath
Nusrat Ali
Urooj Fatima
Sub Editor Aelred Doyle
ADVERTISING
Group Sales Director Sandip Virk sandip.virk@cpipromedia.com
+971 (0) 50 929 1845 / +44 (0) 7516 993 862
FINANCE
Accountant Vijay Singh finance@cpipromedia.com
DESIGN & PRODUCTION
Art Director Mechielle Penera
EVENTS
Events Executive Sabahat Khan events@cpipromedia.com
DIGITAL SERVICES
Web Developer Hafiz Muhammad Waqas IT@cpipromedia.com
FOUNDER
Dominic De Sousa (1959-2015)
PARTNER
Maria De Sousa
Published by
WELCOME
This month Saudi Arabia appears to be the hub for everyone in Media & Entertainment, with Leap, followed by the Future of Media Exhibition (FOMEX) from February 19-21, and the BroadcastPro Summit KSA on February 25. We will have a stand at FOMEX too and look forward to meeting many of you there. It’s that final burst of activity before everything calms down for Ramadan – or will it?
The Holy Month of Ramadan remains the litmus test for where different TV channels stand and how successful they have been in investing in specific productions. There’s no doubt, however, that Saudi Arabia remains the most lucrative country and dominates the Middle East and North Africa (MENA) media industry with a market share of 30%, according to a January 2025 report from Statista. Although free-to-air (FTA) continues to dominate the Kingdom’s broadcast space with monetisation via TV advertising, it is slowly losing its power to new and emerging OTT platforms.
For the last 35-odd years, television alone held the attention of Saudi residents, but now, with the opening of cinemas, significant investment in content creation and the dramatic rise of vlogs, podcasts, videos and streamers, the pie is being shared. With so much activity in one of the region’s most dynamic and lucrative media markets, gaining insights from key decisionmakers, successful players and industry majors has become more important than ever. While FOMEX will bring together a multitude and help amplify the visibility of local players as well as international vendors, BroadcastPro ME prides itself on bringing together a smaller gathering of industry professionals to conduct a day of meaningful discussions. Both have their place, and each will offer a unique, in-depth perspective on Saudi Arabia’s media dynamics. See you there.
VIJAYA CHERIAN, EDITORIAL DIRECTOR
UPDATE NEWS
Apple Original Films wraps production of F1 at Abu Dhabi Grand Prix; stc tv partners with LiveLike for viewer engagement; Evision launches Bloom; WBD teams up with Fujairah Holding for Arabian Shores series; Rotana partners with MRC to introduce KSA TAM system; and more
ANALYSIS
FILM AND BEYOND: LEAPFROGGING INTO THE GLOBAL SCREEN INDUSTRY
The global screen industry is evolving, presenting GCC countries with a unique opportunity to lead in cinematic innovation. By leveraging new tech, cultural narratives, diverse landscapes and a young, digital workforce, the region could become a major film hub, says Strategy&
PRODUCTION COOKING UP A STORM
Nahla Elmallawany’s Qeesh Productions is shaking up the Arab world’s culinary TV scene with escape rooms, musicals and celebrity chef showdowns - serving up a fresh feast of innovation that keeps audiences craving more. BroadcastPro ME brings you an exclusive interview
COVER STORY UAE PRO LEAGUE FLIPS THE FIELD
December 2024’s Emaar Super Cup marked a milestone for the UAE’s broadcast industry, as the Pro League became the first in Asia to use vertical production for a championship, enhanced by cutting-edge tech. Get the exclusive tech report here
CASESTUDY AI BRINGS QATAR’S ARTBEAT TO LIFE
For Qatar’s 53rd National Day, Media City Qatar worked with ID8 Media and Google Cloud to unveil Qatar ArtBeat, an AI-powered initiative reflecting public sentiment. We unpack the tech behind it
GUEST COLUMN LIVE SPORT IS GETTING FASTER, SMARTER, BETTER
Live sport carries a potent ability to deliver high levels of drama and action, says Olivier Suard, VP of Marketing at Nevion
NEW PRODUCT
Nvidia RTX 5090 and 5080 launch alongside Nvidia app updates
TV
Al Kass Sports Channels first to use Fujifilm’s HZK Duvo Optics in MEA
Palestinian film Upshot competes at Clermont-
White Peaks Solutions and NPAW partner to enhance KWIKmotion OTT platform
INTERVIEW: Bringing the wild to the Middle East
TECHNOLOGY: Transforming the entertainment experience with tech
OPINION: Staying safe and ensuring continuity with cloud playout
NEWS
Canon EMEA appoints Shinichi ‘Sam’ Yoshida as new President and CEO
FILM
Ferrand film festival
OTT
Let’s create a vibrant online broadcast community!
TV
GoQuest Media expands global reach of Turkish drama Kuma
These deals are in addition to those recently closed by coproducers VIP 2000 TV in Paraguay, Peru and Panama
PRODUCTION
WBD and Fujairah Holding announce premiere of Arabian Shores
Hosted by food blogger Firas Kazma, the series focuses on environmental sustainability and the preservation of natural resources while celebrating the region’s identity
FILM
Doha Film Institute announces recipients of 2024 Fall Grants DFI has selected 47 projects from 23 countries spanning narrative, documentary and experimental films as well as series
NEW APPOINTMENTS
Ross Video announces new regional sales director for EMEA
Nancy Diaz Curiel, with more than 15 years industry experience, will spearhead efforts to expand Ross Video’s solutions within the corporate market
FILM
Saudi film The Seven Dogs begins production with record $40m budget
The Seven Dogs will be the first film shot at Big Time Studios and marks a major milestone in Arab cinema with a production budget exceeding $40m.
TRENDING
NEWS
BeIN Sports to air all 18
UEFA Champions League matches
NEWS
CNN announces major restructuring with new streaming service
NEWS
Saudi Film Commission launches initiative to empower art cinema
NEWS
Palestinian documentary No Other Land secures Oscar nod
NEWS
BeIN Media Group extends ATP Tour broadcast rights in MENA until 2028
Apple Original Films wraps production of F1 at Abu Dhabi Grand Prix 02/25
Apple Original Films has announced the completion of production for its feature film F1, following the conclusion of the 2024 Formula 1 season. Filmed at the Abu Dhabi Grand Prix with the support of the Creative Media Authority and Abu Dhabi Film Commission, the movie stars Brad Pitt and is directed by Joseph Kosinski. The film is set for global theatrical release by Warner Bros. Pictures, debuting in IMAX
E& LAUNCHES AICRAFTED FILM
E& has unveiled an AIcrafted film showcasing its Neo Home Experience platform. The film combines AI, CGI and liveaction elements to deliver a visually stunning narrative that envisions the future of home entertainment. The creative process merged AI with traditional filmmaking techniques, allowing the team to explore new creative frontiers. Over 5,000 AI-generated images were reviewed to shape key scenes, while AI textures were applied to 3D components to achieve a distinctive visual style.
and theatres internationally on June 25.
F1 is a collaboration with Formula 1, delving into the world of motorsport’s elite. Filmed during live Grand Prix
weekends across the globe, the story follows Brad Pitt as a former F1 driver making a comeback alongside Damson Idris, who plays his teammate in the fictional APXGP team.
A significant portion of the production took place in Abu Dhabi, utilising iconic locations like the Yas Marina Circuit, Zayed International Airport and twofour54 Studios at Yas Creative Hub. The cast worked alongside an international production team supported by a local crew of 284 and Epic Films. The Abu Dhabi Film Commission facilitated the shoot under its rebate programme.
STC TV COLLABORATES WITH LIVELIKE TO BOOST VIEWER ENGAGEMENT
stc tv has collaborated with LiveLike to enhance its platform with advanced interactive features. The partnership introduces gamification technology, offering viewers a dynamic range of features such as a rewards system, watch parties and leaderboards. These updates aim to make the platform more engaging, fostering greater viewer interaction and loyalty. By incorporating LiveLike’s tools, stc aims to deliver cutting-edge digital entertainment that adapts to the evolving preferences of its audience.
LiveLike CEO Miheer Walavalkar said: “We’re proud to partner with stc tv to introduce new ways for viewers to engage with their favourite content. This collaboration is a great example of how technology can transform streaming into something more personal and exciting. We’re looking forward to seeing how stc tv’s audience embraces these features and the value they bring to their experience.”
The partnership also supports stc Group’s broader mission to deliver worldclass connectivity and services to customers, businesses and communities across Saudi Arabia and beyond.
Director Joe Kosinski and star Damson Idris on the set of Apple Original Films’ F1 at the Yas Marina Circuit, home of the Abu Dhabi Grand Prix.
Evision launches preschool TV channel Bloom
Evision, the media and entertainment division of e&, has unveiled Bloom, a specialised preschool TV channel offering safe, highquality educational content for children aged two to five. Broadcasting 24/7 in both English and Arabic, Bloom is now available to audiences in the UAE, with plans to expand across the MENA region. Its launch was celebrated at Dubai’s Museum of the Future, where industry leaders gathered to discuss the shifting landscape of children’s media and Bloom’s potential to enhance
early childhood development. Designed to meet the growing need for preschool programming that combines entertainment with learning, Bloom prioritises children’s safety while supporting cognitive, emotional and social growth. Through engaging, age-appropriate storytelling, the channel aims to inspire curiosity, creativity and confidence in its young viewers.
Evision CEO Olivier Bramly said: “Our decision to launch a new preschool channel stems from a keen observation of the shifting
media landscape. While traditional linear TV faces disruption, the demand for high-quality, age-appropriate content for preschoolers continues to grow globally. TAM UAE data mirrors this trend, highlighting a surge in kids’ content consumption among preschool audiences. By introducing our new proprietary channel across the MENA region, we are not only addressing this demand but also reinforcing evision’s commitment to being the premier source of family entertainment. This addition to our proprietary
channel line-up solidifies our position as a leader in delivering quality content tailored to our audience’s evolving needs.”
Addressing parental concerns, Bloom offers a safe and trusted platform amid the abundance of digital content. A YouGov study reveals that 78% of UAE parents worry about their children’s exposure to inappropriate online material, with 92% agreeing that such content could harm mental health.
Sunil K. Joy, Head of Content, evision, added: “Bloom represents a strategic extension of our commitment to delivering premium, purpose-driven content for young audiences. Through collaborations with educators and engaging families via interactive campaigns, we aim to foster meaningful connections that extend far beyond the screen and support the next generation’s growth in meaningful ways.”
ROYA MEDIA GROUP TEAMS UP WITH MEDIANEST PRO TO BOOST CONTENT
Roya Media Group (RMG) has announced an exclusive partnership with Medianest Pro to optimise content acquisition and enhance distribution strategies. Through the operational support of Medianest Pro, RMG aims to streamline its content
procurement processes while maintaining its reputation for creative excellence and innovation. The partnership also focuses on exploring collaborations with global media networks to ensure that RMG continues to offer its
audiences a better media experience.
RMG CEO Fares Sayegh said: “Our partnership with Medianest Pro reflects our vision to strengthen RMG’s distribution strategy and expand our footprint across platforms.”
Zeina El-Tal, founder of Medianest Pro, said: “This collaboration with Roya Media Group marks an exciting milestone for Medianest Pro as we support an industry leader known for its innovation and audience-first approach.”
The teams from evision and Bloom.
DaVinci Resolve now includes new real time editing tools, making it the world’s fastest editor for broadcast editing in feature film quality. But you can even use it for live action replay! You can edit while HyperDecks are recording live and you can even cut in the viewer to edit without a timeline! Imagine doing broadcast replays and then posting them to social media!
Get Started in a Few Simple Steps!
DaVinci Resolve lets you do replay in a few simple steps It’s as simple as watching the input view in the viewer and then pressing the POI button when an exciting event happens That will switch you from the input view to playback media, where you can see the different camera angles you have in a multi-view Now just scroll back, select a camera and you’re ready to play by pressing the run button
Build the Custom Replay System You Need!
Building a high end replay system is easy as it’s storage centric, where multiple HyperDecks record and DaVinci Resolve handles the playback Then add more storage when you need extra space and higher speed Plus, you can add more than one DaVinci Resolve system and they will collaborate globally using Blackmagic Cloud shared projects
Load HyperDeck Files Even While Recording
To start working with replay, you simply load the HyperDeck recordings into the bin One of the reasons DaVinci Resolve can be used for replay is it can edit media files even while those files are still being recorded on disk The viewer will automatically advance as the files grow in length, so you can scroll forward and get to the latest media being recorded
Add a DaVinci Resolve Replay Editor
The DaVinci Resolve Replay Editor is a hardware control panel that combines features for both replay and for multicam editing Its affordable design has the same high quality keys that gaming keyboards use, so it’s reliable and feels nice to use With features for both replay and editing, it means the same operator can work on replays while loading them into the timeline
Rotana and Media Rating Company partner to introduce KSA TAM system
Rotana Group has entered a strategic partnership with the Media Rating Company (MRC) to enhance television and digital content quality in Saudi Arabia. This collaboration introduces the advanced KSA TAM (Kingdom of Saudi Arabia Television Audience Measurement) system, a state-of-the-art tool for audience analysis and media performance evaluation. Through this partnership, Rotana aims to leverage datadriven insights to improve viewer engagement and optimise media production
processes. The adoption of KSA TAM aligns with the General Commission for Audiovisual Media’s decision to use the system as the national benchmark for audience measurement.
KSA TAM offers granular insights into audience behaviour, including minute-by-minute tracking of viewership across regular, prime-time and special slots. It also measures advertising performance, providing advertisers with metrics like reach, frequency, CPM, GRP and cost per GRP, enabling more effective
media strategies. With its ability to capture natural viewing habits across TV and digital platforms, it empowers the development of comprehensive, audience-focused media strategies driven by content preferences.
Beginning in January, five of Rotana’s flagship channels have begun to use the KSA TAM system, delivering precise data on audience engagement, content consumption and advertising impact. This initiative reinforces Rotana’s commitment to using licensed, accurate data to enhance its offerings and stay aligned with global media standards.
The partnership also coincides with MRC nearing the completion of its pilot phase for audience
measurement using smart devices. This step reflects its dedication to developing advanced tools that empower media decision-makers with actionable insights to refine their strategies and better serve audience preferences. HRH Princess Lamia bint Majid Al Saud, CEO of Rotana Media Group, said: “This partnership is a strategic milestone for Rotana channels. The KSA TAM system enables advertisers and content creators to deeply understand audience preferences and deliver content that meets their expectations. It also provides advertisers with accurate insights into target demographics, enhancing advertising strategies and strengthening Rotana’s ability to effectively connect brands with their audiences.”
UNILUMIN STRENGTHENS MEA PRESENCE WITH NEW KSA OFFICE
LED manufacturer
Unilumin has announced the opening of a new office in Saudi Arabia as part of its strategic MEA expansion plans. Kyle Zhai, GM of KSA and Egypt, will oversee the company’s
Riyadh operations. Unilumin also recently revamped its Dubai office, which will now serve as a customer showcase for its latest product range and as its new service centre. This upgraded facility is designed to provide Unilumin’s clients with
hands-on experience of its products. The Dubai office is led by Zac Liang Haichuan, GM UAE and Qatar. Over the past year, Unilumin has successfully completed several high-profile broadcast projects in the UAE, Iraq, Saudi Arabia and Qatar.
The teams from Rotana and MRC.
The Unilumin team at the opening of the company’s KSA office.
WBD teams up with Fujairah Holding for Arabian Shores series
Warner Bros. Discovery and Fujairah Holding have joined forces to launch Arabian Shores, a new television series showcasing the cultural and natural beauty of Fujairah. The series will premiere globally on Discovery and Fatafeat in early 2025, with the official release date to be announced soon.
Arabian Shores
offers an exploration of Fujairah’s coastal landscapes, historical sites and traditions, providing viewers with a fresh perspective on
the emirate beyond its culinary heritage. Hosted by popular food blogger Firas Kazma, the series emphasises environmental sustainability and the
YANGO PLAY LAUNCHES NEW MUSIC FEATURES
Yango Play, an AI-powered entertainment super app, has unveiled a suite of new music features designed to enhance user experiences across multiple platforms. Combining video streaming, live TV channels, music and minigames, the latest updates focus on personalised playlists, seamless integration and expanded accessibility.
The standout addition is the integration of Yango Play with AndroidAuto and Apple CarPlay, allowing users to stream their favourite playlists and enjoy the app’s AI-driven My Vibe recommendations directly from their car’s dashboard. This feature ensures hands-free, safe and enjoyable music experiences during drives, with easy access
to mood-based music and personalised playlists.
For Android users, the updated My Vibe carousel now offers genre- and activity-specific suggestions powered by AI. This feature analyses listening habits, preferences and favourite artists to create tailored streams for a highly immersive experience. iOS users benefit from the ability to create unlimited custom playlists, ideal for any occasion. These playlists can be personalised with unique
names, cover images and curated music selections, all easily accessible in the My Collection section of the app.
Yango Play has also introduced support for Apple Watch, giving users control over their music directly from their wrist. With options to play, pause, skip tracks or browse songs, this feature adds convenience for users on the go or multitasking.
The app continues to expand its music library with approximately 100 new tracks added daily, featuring the latest releases from top regional and international artists. Whether it’s global chart-toppers or local hidden gems, Yango Play delivers fresh and diverse entertainment options.
preservation of natural resources while celebrating the region’s identity.
Layla Tamim, Director of AD Sales at Warner Bros. Discovery MENA, said: “This series is not just a celebration of Fujairah’s unique charm but also a testament to the power of storytelling in highlighting the cultural and natural treasures of the region.”
ROYA
TV WRAPS UP
FILMING FOR AQWA SOFRA WITH ALMARAI SEASON TWO
Roya TV has announced the completion of filming for the second season of Aqwa Sofra with Almarai, set to air during Ramadan 2025. The programme combines a competition with shared culinary experiences among families and friends. This season, 30 teams of family members and friends were selected to participate in the high-energy competition. The show also features a judging panel of renowned Arab chefs including Dima Hijjawi, Taimour AlMoaj and Youssef Iqlim.
Scenes from the series.
First Gulf Company and Avid bring regional media leaders together
First Gulf Company (FGC) and Avid recently brought together key end users and partners from the MENA media and broadcasting industry at an evening dinner to honour key clients for their continued support and dedication. The event, led by FGC’s Executive VP
Joe Chbat and Avid Sales Manager Ammar Fawzy, welcomed prominent guests
MMS REVEALS RAMADAN 2025 LINE-UP AND AD STRATEGY
MBC Media Solutions (MMS), the commercial arm of MBC Group, showcased MBC Group’s Ramadan 2025 programming and sponsorship opportunities at an event in Riyadh. The gathering brought together prominent figures from the entertainment, media and advertising sectors,
local and international companies, and government entities. MMS showcased MBC’s diverse Ramadan content, including comedies, dramas, talk shows and productions. It also highlighted its sports advertising solutions on Saudi Sports Company (SSC) platforms.
CREATIVE MEDIA AUTHORITY APPOINTS SENIOR HEAD OF STRATEGIC PARTNERSHIPS
Creative Media Authority has announced the appointment of Nabil Abou Samra as its Senior Head of Strategic Partnerships. A seasoned professional with more than 30 years of experience in the MENA
film and TV industry, Abou Samra has a track record as a producer, director and head of production.
In his new role, Abou Samra will oversee regional productions and ensure client requirements are met from initial contact to project delivery. He will also focus on establishing partnerships with key industry specialists to enhance the Authority’s infrastructure.
from the Saudi Broadcasting Authority (SBA), Ien TV, Asharq News, MBC Group,
Al Arabiya, Intigral and Misk, among others.
Chbat said: “This event served as a platform for us to hold meaningful discussions on future partnerships and opportunities for innovation within the media and broadcasting industry.”
RESON8 MEDIA AND FIVEFOLD STUDIOS FORGE PARTNERSHIP
Reson8 Media has joined forces with UK firm Fivefold Studios, a virtual production (VP) facility, to redefine the media & entertainment landscape. The collaboration blends Reson8 Media’s expertise in creative storytelling with Fivefold Studios’ advanced VP technology. Fivefold Studios will leverage Reson8 Media’s expertise in brand strategy, design and data visualisation to enhance the creative and production quality of VP projects. The partnership will deliver high-quality assets for film/TV, games, live events and broadcast projects. Together the companies aim to create immersive experiences, from
interactive marketing campaigns and next-gen training programmes to cinematic storytelling, offering clients ways to connect with audiences.
David Levy, CEO of Fivefold Studios, said: “Working alongside Reson8 Media allows us to combine our technical expertise with their deep understanding of creative storytelling. This partnership represents a synergy that will enable us to deliver transformative experiences to our clients and set new standards in immersive storytelling and content creation.”
The collaboration is already producing results, with several projects set to launch in the coming months.
FGC and Avid with key regional clients.
Radio Botswana makes the shift with Calrec’s Type R IP technology
Radio Botswana has replaced its 60-year-old analogue system with Calrec’s Type R IP technology to enhance flexibility, encourage growth and modernise its infrastructure. The upgrade, executed in collaboration with UK systems integrator Dega Broadcast Systems, brings modular and customisable solutions to the station, streamlining workflows and supporting future expansion.
Project Manager Rex Mogotsi said: “The shift from analogue to IP was driven by a desire for greater flexibility in our operations. IP simplifies connectivity, reduces the physical footprint of the equipment, and enables remote capabilities, all of which streamline our workflows.”
Type R’s IP-based framework allows Radio Botswana to significantly cut costs by reducing
cabling requirements and maintenance needs. Its modular design enables the station to scale operations based on demand while improving production efficiency and collaboration. The installation equips Radio Botswana’s studios to meet a variety of production needs. Live broadcast studios feature control surfaces with up to 16 faders, while editing and post-production studios utilise smaller configurations with six or eight faders. News and special programming studios are outfitted with 8–12 fader control surfaces to accommodate diverse programme formats. Mogotsi explained: “The modular system allows us to optimise each studio
for its specific production demands, while the flexible configuration ensures seamless transitions between studios. Three DSP cores power six studios, with a total of just 11 cores managing all 14 studios, ensuring seamless routing, resource sharing and cross-studio collaboration.”
The new setup enhances operational resilience, allowing simultaneous tasks such as live broadcasts and backup recordings across different studios. It also paves the way for future development.
Graham Murray, International Sales Manager at Calrec, added: “The station already has plans to launch a new channel and explore distributed production for even greater flexibility.”
VIU LEADS K-WAVE INTO 2025 WITH TWO ARABIC-DUBBED KOREAN SERIES
Viu, PCCW’s panregional OTT video streaming service, has bolstered its MENA offerings with two new Arabic-dubbed Korean series. Family by Choice accounted for 40% of Viu’s total Korean content viewership in MENA during its release and is now dubbed in Arabic. This is followed by the Arabic-dubbed
version of What Comes
After Love, slated for broadcast in January.
Samer Majzoub, GM of Viu MENA, said: “As
demand for Korean dramas grow, especially in key markets like the UAE and the Kingdom of Saudi
Arabia, Viu remains at the forefront of the K-wave by bringing high-quality localised content to Arab audiences across the region. We are excited to cater to audience preferences with one of the largest Korean selections in MENA, totalling over 300 Korean titles including those with Arabic and English subtitles.”
Radio Botswana make the shift to IP.
Viu has more than 300 Korean titles on its platform at present.
FILM AND BEYOND: LEAPFROGGING INTO THE GLOBAL SCREEN INDUSTRY
As the global screen industry evolves, the GCC has a unique opportunity to become a leading film hub. With cutting-edge technology, a young workforce, diverse landscapes, and rich storytelling, the region is primed for success. The Strategy& team explores how the GCC can attract global productions to drive economic growth and cultural exchange
Ongoing transformation in the global screen industry has created an opportunity for GCC countries to establish themselves as prominent players. As the industry grapples with the future of content creation and the demands of a global audience, the combination of an appetite for investment in state-of-the-art technologies and media hubs, a focus on attracting investors and producers, a young and digitally-savvy workforce, and a culture rich with stories and landscapes could enable the GCC region to become a centre of cinematic innovation. Success in this endeavour will require a collaborative effort between governments and the private sector to bridge the silos of geography, technology and media industry verticals.
The screen industry, which has expanded beyond movies and movie theatres, is facing the uncertainties that accompany the impact of new technologies on its production value chain, particularly GenAI (simply defined here as artificial intelligence
GCC countries can connect with wider audiences by honing this talent and investing in its development
that can generate video content from text, image and video prompts). Video tools like Runway and Meta’s Movie Gen, along with virtual production and other advancements, are raising questions: Will content be generated versus filmed? Will soundstages and physical locations still be needed? What talent and skills will be essential? How will budgets and timelines be affected? Creatives are soul-searching. Infrastructure investors are hesitating. Media conglomerates are experimenting. Big Tech is pouring billions into new tools. Yet the value is there to be captured. Strategy& forecasts that global video
revenues – cinema, OTT services and TV – will increase by approximately $165bn to $564bn by 2028.
Simultaneously, audience and economic dynamics are changing, driven by shifting viewer preferences and industry budgetary pressures. Audiences are fuelling demand for locally-produced content as they search beyond the once-dominant Hollywoodcentric model in search of relatable storytelling, cultural representation and authentic experiences. Film producers must do more with less as distribution and streaming platforms focus on profitability and tighten their budgets, thus making cheaper international content more appealing. This uncertainty and the changing dynamics create an opportunity for the GCC’s forward-leaning economies to position themselves as a global film production hub with five actions: First, link disconnected investments in technology startups, global media companies, AI models, media hubs and skills improvement programmes to create a next-generation pool of
talent and infrastructure. Known for embracing technological innovation, the region is well placed to lead in the provision of state-of-the-art resources and training programmes for filmmakers. While other markets deal with legacy infrastructure and entrenched business practices, the GCC countries can be agile, building a talent pool and production hub for the screen industry’s future, not its past.
Second, tap into and highlight the region’s rich cultural tapestry to produce compelling local narratives with global appeal. Whereas Egypt pioneered local storytelling, Saudi Arabia and the UAE can ride the global streaming wave and take their stories beyond regional borders. The opening of cinemas in Saudi Arabia has inspired a new generation of filmmakers. GCC countries can connect with wider audiences by honing this talent and investing in its development.
Third, use the GCC’s under-exposed landscapes and central location as a differentiator. As virtual productions and generative landscapes become the norm, producers will value unique and under-used locations. The region’s diverse blend of settings –historic and new, desert and coast – is complemented by a central geographic location and ease of access.
Fourth, maximise the attractiveness and ease of doing business for producers. GCC countries have already instituted substantial rebates for filmmaking, including 40% in Saudi Arabia and 50% in Abu Dhabi. Extending these incentives to cover a broader range of costs can improve the net rebate impact and compensate for the higher production costs in some areas. Additional financial tools, such as production loans, rebate advances and national film funds, can boost the region’s appeal. To accelerate attracting producers, the GCC countries should also streamline regulatory and production processes. The combination of broader financial incentives and ease of doing business
Strategy& forecasts that global video revenues – cinema, OTT services and TV – will increase by approximately $165bn to $564bn by 2028
can be packaged into tailor-made deals with international producers aimed at establishing production hubs and gaining regional spend commitments, thus assisting in developing domestic talent and ecosystems.
Fifth, reframe the view of GCC governments as stand-alone competitors to that of a cooperative ecosystem. The path to success in the global screen industry requires increasing the overall level of activity across the region, not one country snatching business from another. The GCC needs an inter-connected regional ecosystem that transcends borders: aligned incentives, large service providers, multiple production hubs and a fluid talent base. Such an ecosystem could overcome the challenges of talent retention, crew availability, cost competitiveness and infrastructure gaps. The global screen industry is on the cusp of a new era, an opportunity that GCC countries should grasp. With an attractive ecosystem that combines talent, incentives and infrastructure, GCC countries can become an international screen hub that promotes cultural exchange and drives economic growth. BY PARTNERS TAREK MATAR AND KARIM SARKIS, AND MAANSI SAGAR, MANAGER AT STRATEGY& MIDDLE EAST, PART OF THE PWC NETWORK.
UAE PRO LEAGUE FLIPS THE FIELD
December 2024’s Emaar Super Cup was a milestone in the UAE’s broadcast industry. The UAE Pro League used vertical production for the championship, a first in Asia, coupled with cutting-edge tech. Jamal Abdulnaser Ali, Broadcast & Television Production Director, UAE Pro League, speaks exclusively to BroadcastPro ME about the technology that powered the Super Cup’s 9:16 format and the key components that made it successful
Sports broadcasters are constantly exploring innovative technologies that offer more engaging and immersive experiences to fans. Among these, vertical broadcast is fast gaining traction. The first football match to be produced vertically was a German Football League (DFL) Bundesliga match between VfL Wolfsburg and SV Werder Bremen in 2019. Following the success of that trial, the DFL streamed the 2021 DFL-Supercup between Borussia Dortmund and FC Bayern München in the vertical format. Viewership soared: 1.1m people tuned
in on TikTok over the 90 minutes. This was the compelling proof broadcasters needed that vertical broadcasting was the way forward. Although the technology has been around for a couple of years, it reached the Middle East only in 2022, in a limited capacity. At the 2022 Qatar World Cup, FIFA distributed vertical format social media content captured via mobile phone to broadcasters, a first for a FIFA event. Only in December 2024, at the Emaar Super Cup (previously known as the UAE Super Cup), did vertical production truly arrive in
the region. The UAE Pro League claims to be the first in the Middle East and Asia to leverage vertical production for broadcasting. It employed a two-pronged strategy.
“The first objective was to deepen fan engagement and foster a stronger connection between them and the league,” says Jamal Abdulnaser Ali, Broadcast & Television Production Director for the UAE Pro League. “The next was to increase the league’s marketability and unlock new revenue streams by offering features such as branded augmented reality (AR) graphics, unique replay packages and enhanced sponsor integration opportunities. The League’s goals were supported by its chairman, His Excellency Abdulla Nasir AlJunaibi, who encouraged the production and broadcast team to continually raise the bar.”
Since the UAE Pro League’s existing broadcast infrastructure was primarily designed for horizontal feeds, integrating it with vertical production tech presented a daunting task. Although the production team targeted seamless streaming over multiple digital channels, the vertical videos were optimised specifically for TikTok and Instagram, platforms that thrive on mobile-first content.
“The team had to ensure that the AI-powered 9:16 adaptation could keep pace with the high-intensity action of football matches while preserving the team-oriented dynamics of the game. It was essential to fine tune the AI to capture both individual players and the overall flow of the match, ensuring the vertical framing didn’t miss any critical moments. The scale of the event added another
layer of complexity,” explains Ali.
The League collaborated with Quidich Innovation Labs to achieve these goals through its QuickFlip technology, which enabled the production team to convert a traditional widescreen 16:9 feed into a mobile-friendly 9:16 vertical format using AI. QuickFlip also automatically centred key actions – passes, goals, intense on-field moments – within the vertical frame. More importantly, it provided an automated adaptation process that seamlessly worked with the existing world feed, analysing and reframing it in real time to ensure that the content felt natural and engaging on mobile screens. This allowed the production team to focus on the main broadcast while QuickFlip handled the vertical feed seamlessly. Similarly, Sponix Tech’s SPov technology managed the Player Point of View Replay remotely. It captured key moments of the match, such as goals and tackles, from a player perspective. Using the live match feed, SPov created realistic replays without any extra equipment at the stadium. All of this was achieved without any major detractions to the 16:9 broadcast, and the original widescreen feed remained intact and high-quality. Producing sharp vertical content required the UAE Pro League to rethink some of the fundamentals of production, such as framing and lighting. “To ensure that the action remained centred and engaging for the entire duration of the match, we decided not to include peripheral details in the vertical feed. For instance, a player off-screen making a run wasn’t always visible in the vertical stream,” says Ali. Additionally, the lighting had to be top-notch
to ensure that AI could accurately detect and capture the action.
The production team also had to reimagine the graphics format. Since traditional overlays such as scoreboards and player stats don’t translate well to vertical screens, custom graphics were designed by wTVision for the 9:16 format. wTVision integrated AR elements into the graphics data to ensure they were both visually striking and easy to read on smaller screens. “Attention to small details such as these helped create a sophisticated mobile-first broadcast experience,” says Ali.
Besides this, the UAE Pro League also scaled up its camera count. “We increased the number of cameras from the standard 22 to 25, an enhancement usually reserved for finals or marquee events. The additional cameras enabled us to move beyond functional coverage to premium-quality production. The Super Cup’s gaming action was captured in immersive 180-degree
video content using Canon’s RF 5.2mm f/2.8 L dual fisheye lens. We recorded the video in 8K resolution and then scaled it up to 12K using AI-powered enhancement technologies,” explains Ali.
The extra cameras also enabled the UAE Pro League to provide a more in-depth narrative that included elements such as the players departing from their hotel, the atmosphere in the changing room and detailed coverage of the match. Moreover, the captured video content was fully compatible with all major VR headsets across various platforms.
Action from the Super Cup was also captured via drone and buggy cameras. To achieve smooth and dynamic drone shots, professionalgrade drones with high-resolution cameras, gimbal stabilisation and real-time video transmission were deployed. Backed by meticulous planning and advanced equipment including wide-angle lenses, interference-resistant controls
and backup gear, the drone shots blended seamlessly with groundbased and fixed cameras.
“All the drones were operated by certified pilots with expertise in live events who executed precise flight paths in meticulous coordination with the broadcast team,” says Ali. “Then we integrated the drones’ live feed into the central broadcast system
using real-time video transmission, ensuring it matched the quality and timing of other cameras. A dedicated operator communicated directly with the broadcast director, aligning drone movements with the overall production plan. The drones were constantly monitored in the control room to achieve precise timing and transitions, and all feeds were
We increased the number of cameras from the standard 22 to 25, an enhancement usually reserved for finals or marquee events. The additional cameras enabled us to move beyond functional coverage
JAMAL ABDULNASER ALI, BROADCAST & TELEVISION PRODUCTION DIRECTOR FOR THE UAE PRO LEAGUE
synchronised for smooth switching.” Another notable feature was the inclusion of digital advertisements. SponixTech’s SPboard added virtual ads directly into the live broadcast feed. SPboard used a cloud-based setup for this, eliminating the need for any extra hardware or on-site staff. The ads were added to the broadcast feed remotely, requiring only the live match feed. This approach kept everything efficient for the production team.
“We placed the ads in key areas like the centre circle, offside lines and near the benches, and ensured they blended naturally into the match without distracting viewers. The ads were also adapted to match the requirements of different viewing platforms, making sure they appeared clear and appealing on TV as well as digital channels,” explains Ali.
Needless to say, the introduction of vertical production and its
broadcast came with challenges. “Being the first in the region to implement these technologies, the UAE Pro League production team had no prior case studies or benchmarks to guide it. As pioneers of the tech, we had to navigate uncharted territory, from integrating drone footage into live feeds to synchronising innovative digital ads with the broadcast,” points out Ali.
The production team successfully addressed these challenges through extensive collaboration, rigorous testing and leveraging the expertise of its team and partners. “Our technology partners conducted tailored workshops and hands-on sessions to train the production team on new tools and their smooth integration into workflows. Such collaborative endeavours helped in fostering a culture of continuous learning and adaptability.”
The UAE Pro League’s efforts paid off: the viewer response was phenomenal, says Ali. On TikTok, for
instance, the vertical format drew higher retention rates and sparked more engagement than traditional formats. “Viewers loved how the content felt personal, as though it had been designed just for them and their phones. The Super Cup wasn’t just another broadcast; it was a reimagined experience for a digital-first audience,” explains Ali.
In a similar vein, the virtual ads delivered excellent results for Emaar. “Viewer feedback showed increased brand visibility and the ads reached hundreds of thousands of fans across different channels. With ads tailored to specific inventories, the championship’s sponsors gained strong exposure. These ads were also successful in creating a fresh and engaging narrative that resonated with fans. By highlighting the UAE Pro League’s excitement and aligning it with Emaar’s brand, the ads successfully positioned the league as a dynamic and modern sports entity while showcasing
Emaar as a leader in innovation and excellence. The synergy between the two brands in the digital campaigns amplified their visibility, reinforced their reputations and opened new opportunities for engagement and growth,” he adds.
To measure audience engagement, expert teams used advanced tools like Google Analytics and social media dashboards to track metrics such as impressions and shares. Surveys, focus groups and sentiment analysis gathered qualitative feedback, while broadcast teams analysed viewership data. This comprehensive, expertdriven approach yielded valuable insights for both brands,” notes Ali.
The Super Cup was a testament to how embracing innovative formats such as vertical production, drone footage and digital ads can set new industry standards. It also showcased how strong partnerships can amplify exposure and create mutual success, offering a model for other leagues to follow.
Footage from the Emaar Super Cup.
CREATIVE CONSCIOUS CONNECTED
BE PART OF THE FUTURE OF MEDIA AND CONTENT PRODUCTION
Tap into new business potential as thousands of key buyers, thought leaders and decision makers from over 120 countries come together to design, shape and co-create the future.
GAUGING THE PULSE OF A NATION WITH ARTBEAT
To commemorate Qatar’s 53rd National Day, Media City Qatar partnered with ID8 Media & Google Cloud to launch the Qatar ArtBeat initiative. The project harnessed the power of artificial intelligence (AI) to create an artwork shaped by the sentiments of Qatari citizens and residents. BroadcastPRO ME explains the tech behind the activation
While AI-generated art is not a new phenomenon in the digital landscape, the scale and technology powering Qatar ArtBeat made the initiative incredibly impressive. Reaching over 5.4m people, it earned a Guinness World Record for ‘Most People Contributing to an AI-Generated Image’.
“From a marketing perspective, Qatar ArtBeat shifted the narrative
from formal, top-down storytelling to participatory, people-driven and accessible narratives. This inclusive approach demonstrated the power of co-creation in building emotional connections,” says Nadim El Khoury, Director of Marketing & Public Relations, Media City Qatar.
Spearheaded by creative media agency ID8 Media for Media City Qatar (MCQ), this first-of-its-kind
activation set a benchmark for the integration of art, technology and community engagement. It demonstrated the potential of AI to unify people and amplify their voices in a way previously untouched. Qatar ArtBeat leveraged advanced Google Cloud AI capabilities to collect participants’ sentiments and transform them into an evocative visual.
From left: Ghassan Costa, Google Cloud Regional Director; Jassim Al Khori, CEO of Media City Qatar; and Omar Abdelqader, ID8 Media CEO.
From
a marketing perspective, Qatar ArtBeat shifted the narrative from formal, top-down storytelling to participatory, peopledriven and accessible narratives
NADIM EL KHOURY, DIRECTOR OF MARKETING & PUBLIC RELATIONS, MEDIA
CITY QATAR
The first step in activating the Qatar ArtBeat initiative was to foster meaningful dialogue around National Day. MCQ invited citizens and residents to share their memories and feelings on its social media channels between December 9 and 17. Participants were urged to answer questions such as ‘What does Qatar mean to you?’ and ‘What is your favourite childhood memory of Qatar National Day?’ The initiative also incorporated sentiments from broader public conversations about Qatar National Day 2024. Notably, both Englishand Arabic-language texts were included in the initiative, ensuring that every voice was represented.
As responses started coming in, ID8’s AI platform initiated the process of extracting insights and analysing sentiments, explains Ali Husseini, Partner with ID8. At the heart of the project is its proprietary Sentiment Analysis Tool (SAT), which utilised Google Cloud technologies such as Vertex AI, Gemini and BigQuery.
“We used this tool to analyse the participants’ text responses and monitored public social media
conversations about Qatar National Day using APIs (application programming interfaces) such as X.Com, Hootsuite and Instagram. The latter was used to integrate SAT with social media platforms, while X.com facilitated the continuous capture of real-time streams of tweets and posts. Asynchronous messaging service Pub/Sub was used for streaming analytics and data integration too.”
The next step in the process was data structuring and storage.
“This was essential for smooth downstream analysis and visualisation. Cloud functions
were used to parse the tweets and posts into predefined structures and extract relevant information such as the text of the tweet, and metadata including timestamp, username, hashtags and mentions. This processed and structured data was then stored in Firestore, a real-time NoSQL database chosen for its efficiency in data retrieval.”
Once the raw data was organised, SAT kicked into action. AI and ML (machine learning) were activated to transform the structured data into meaningful insights. This included the use of Vertex AI-powered natural
language processing (NLP) models to assess the sentiment of each post. Posts were segregated and tagged based on three categories: positive, negative and neutral (informational or unbiased posts). Next, AI models summarised similar posts and hashtags to create contextually relevant narratives.
“These narratives highlighted trends, recurring themes and emotional undertones, serving as the foundation for the visual artwork,” Omar Abdelqader, CEO of ID8, says.
Similar stories were grouped together and converted into text prompts to describe the desired visual concept. Vertex AI’s image generation module, Gemini, then translated these prompts into highquality images. Google Cloud’s Cloud Run was employed to create mosaics representing overarching themes with the images. Simultaneously, SAT also deployed Big Query and Big Query ML to generate engagement metrics, sentiment trends and demographic insights.
This data was not only used to analyse trends but also to improve SAT, adds Abdelqader. “In fact, it was used to train new AI models for enhanced sentiment analysis and narrative generation.”
These narratives highlighted trends, recurring themes and emotional undertones, serving as the foundation for the visual artwork
OMAR ABDELQADER, CEO, ID8
In addition to its advanced AI capabilities, ID8’s Sentiment Analysis Tool offered users an intuitive and friendly user interface (UI), ensuring seamless navigation and easy accessibility. The project dashboard featured a comprehensive view of the processed data, along with separate sections for managing tweets, reviewing generated stories and images, and analysing sentiments. It also provided realtime insights into participant engagement, sentiment trends, keywords and thematic highlights.
“These analytics offered a deeper understanding of community dynamics during the initiative. Since the analysis was real-time, it
ensured that operations were smooth and continuous,” says Husseini.
For a project of this magnitude, advanced security was a top priority, he explains. To tackle this, SAT includes advanced security features such as credential management and data encryption. Sensitive user data, like API keys, are securely stored using a secret manager. Further, all stored data, including structured tweets, stories, images and mosaics, are encrypted using Cloud Key Management Services (KMS). Its cloud logging capabilities enabled tracking of all system events, including API interactions and errors, for debugging.
“By automating the entire workflow, SAT provided a seamless and efficient way to convert raw social media data into actionable insights and visually engaging content,” Husseini explains.
In addition to the technology, the magnitude of Qatar ArtBeat is another aspect that sets the initiative apart.
The final image – the amalgamation of 23,738 user contributions and 70,904 social media engagements – was unveiled on December 18, Qatar’s National Day. It was projected across prominent locations around the country including the Corniche, Lusail
City and Katara Cultural Village. The artwork was also showcased on MCQ’s social platforms.
“Through Qatar ArtBeat, MCQ has showcased Qatar’s ability to cultivate digital spaces focused on inclusivity, accessibility and empowerment. This activation transformed individual reflections into observations of community trends, shared values and unity,” explains MCQ’s El Khoury.
Qatar ArtBeat broke barriers in community engagement and united the nation around a creative and groundbreaking initiative, he says proudly. Setting a benchmark in the integration of art, technology and community engagement,
Our mission has always been to bridge the gap between art and technology, and being part of this vibrant platform aligns perfectly with our values
ALI HUSSEINI, PARTNER, ID8
it showcased how culture and technology can be symbiotic.
“We were honoured to contribute to Qatar ArtBeat, a celebration of creativity and innovation,” says Husseini. “Our mission has always been to bridge the gap between art and technology, and being part of this vibrant platform aligns perfectly with our values. By leveraging our expertise, including sentiment analysis tool, we aim to amplify the voices of artists and foster meaningful connections within the creative community. Qatar ArtBeat is a testament to the power of collaboration, and we are proud to play a role in its success.”
Omar Abdelqader (l), CEO of ID8 Media CEO and ID8 partner Ali Husseini.
COOKING UP A STORM
Nahla Elmallawany’s Qeesh Productions has been whipping up a storm in the world of culinary programming. Its innovative productions, featuring whimsical escape rooms, musicals and celebrity chef competitions, have spiced up the region’s food shows to leave audiences craving more. In an exclusive with BroadcastPro ME, she shares the vision behind Qeesh and her unique approach and strategies
If Middle Eastern culinary programming had a face, it would be that of Nahla Elmallawany. With more than 200 hours of food programming to her credit, she is a prominent figure on the region’s broadcast circuit. Her career spans two decades working with industry giants like Paramount, Disney and Warner Bros. Discovery. However, her company, Qeesh Productions, has propelled her to new heights. Productions such as Escape Kitchen, Min Qalby and Master or Disaster have garnered regional acclaim as they revolutionised and elevated the standards of local culinary productions.
Elmallawany says showcasing local narratives has always been important to her. “The only place where I felt I could make a difference was with local content.” In this context, her work at Fatafeat, a Middle Eastern food and lifestyle TV channel with culinary formats, was pivotal in shaping her vision. It was here that she first felt the pangs to venture into something bigger and more representative of the Arab world.
In 2020, she resigned from Fatafeat and ventured into consultancy. As she mediated between production houses and channels, she soon identified the gap between the quality of content produced and channels’ expectations. Having worked extensively with channels, she knew which elements had to be added to enhance the programming quality. She also felt that the mediocre quality of productions would compromise her reputation in the market. Driven by these considerations and confident of her ability to fill the gaps, Elmallawany decided to set up Qeesh Productions in 2021.
Her vision was to produce Arabic content with universal appeal that
The only place where I felt I could make a difference was with local content
NAHLA
ELMALLAWANY, FOUNDER
&
CEO, QEESH PRODUCTIONS
transcended borders. She started with standard cooking programming, but soon began experimenting with innovative formats. The first programme to come out of this experiment was Khatri Akhater, a reality gameshow commissioned by Discovery Channel. Featuring three prominent Arab female influencers, Amy Roko, Hadeel Marei and Maha Jaafer, and filmed in Saudi Arabia, the UAE and Egypt, it was a resounding success with positive feedback from both audiences and industry counterparts.
Bolstered by its success, Elmallawany started experimenting with bigger and bolder ideas. “After Khatri Akhater, my team and I couldn’t imagine working on less
ambitious projects. We still wanted to work around food but make it more exciting,” she says candidly. This ambition led to the production of shows like Escape Kitchen, in collaboration with Fatafeat.
Unlike traditional cooking shows, Escape Kitchen focused on the game rather than recipes. The unscripted production featured 12 prominent chefs from across the Arab world competing in a haunted escape room
setting. Designed by professional escape room creators and game designers, every element of the escape room was custom-created, making it an entirely original production. Filmed in real time, the show captured the chefs’ genuine reactions, fears and determination, bringing greater authenticity to the screen.
Escape Kitchen appealed to food lovers as well as fans of competitive reality shows. The cherry on the cake
was how much the participating chefs enjoyed the concept, as it freed them from the pressure of creating perfect dishes. “They loved it – they didn’t have to prepare for anything. They just played the game.”
Not one to rest on her laurels, she still wanted to push the boundaries of creativity. Her restlessness resulted in the Fatafeat show Min Qalby, the Middle East’s first cooking musical. Starring celebrated singers
On location for one of the first shows Qeesh produced in 2021 titled Sehetak Ala Bali.
Yousra Elgendi and Youssef Ismail, the scripted series featured original Arabic soundtracks. Production was both exhilarating and challenging.
“It was great but scary,” Elmallawany admits, reflecting on the team’s lack of reference points for the concept. “Our focus deepened with every culinary project we took on. We explored different aspects of food culture, experimented with innovative formats and
continuously pushed ourselves to take on bigger challenges.”
These culinary productions highlight how far Middle East productions have come. It didn’t matter which show was being referred to; audiences and industry counterparts consistently pointed out the production house’s cinematography and vibrant set designs, says Elmallawany.
“Everyone kept saying the show looks international, as though it couldn’t have come from the Middle East. There’s this misconception, even within our own region, that Arab producers can’t deliver the same quality as their Western counterparts. But it’s not just about quality – there’s also a lack of belief in the original ideas coming out of our region. Even when a local format is innovative and strong, its chances of being picked up by
channels are slim. On the other hand, international formats pitched for adaptation in the region are accepted almost immediately. It’s a bias we’ve worked hard to challenge through Qeesh, proving that Arab producers can create both worldclass productions and original ideas worthy of recognition. That makes me incredibly proud.”
Food shows are often less attractive to channels outside of Ramadan ... This seasonal interest, combined with the higher profitability of international formats, makes it difficult for local culinary productions to compete yearround
NAHLA ELMALLAWANY, FOUNDER & CEO, QEESH PRODUCTIONS
She feels that simpler formats and standard cooking shows tend to yield better margins than larger-scale productions. “Although the budgets are lower, the smaller-standard shows could be more profitable. They have a repetitive format and we can shoot multiple episodes in one day. In contrast, big-ticket productions, whether studio-based or outdoors, come with significant challenges. These include managing complex logistics, securing permits, coordinating different crews across multiple locations or countries, and using specialised equipment. Additionally, outdoor shoots bring the added risks of unpredictable weather and extensive travel arrangements. These not only drive costs up and but also make it risky to accurately predict expenses when setting budgets with clients.”
Then there’s the challenge of continued demand.
“Food shows are often less attractive to channels outside of Ramadan, when demand for this genre typically peaks. This seasonal interest, combined with the higher profitability of international formats, makes it difficult for local culinary productions to compete year-round. There’s also a lot of discrimination in the commissioning too. For instance, big companies are given big budgets and small companies like us are given smaller budgets to work with. How will we be able to
match their quality of production if we don’t have access to the same resources? Everybody should get a fair chance to do the job.”
However, Elmallawany remains undeterred in her ambition and finds Qeesh’s quality of production to be its strongest selling point. “I love the creativity involved in these productions. They’ve allowed me to showcase what Qeesh is truly capable of,” she says. “Clients often approach me, impressed by the production quality and noting how efficiently it was achieved within a modest budget.”
Her approach to cost efficiency revolves around building long-term partnerships with the talent: “I never focus on a single deal or project. Instead, I aim for volume and package deals, which allow me to work with top-tier talent. When people know they will have consistent work, they’re more open to being flexible with budgets. My focus isn’t just on my own growth but on theirs as well, and this has paid off. As our shows gained success and recognition for their quality, more people wanted to work with Qeesh. They wanted to be part of the vision we were creating.”
Elmallawany’s ability to master cost efficiency and optimise resources has led to her success. She has also
reduced the number of episodes for some series but enhanced their scale.
“I can offer clients productions that are bigger and more ambitious than what they could typically achieve in-house,” she says proudly.
Studios in Egypt are more economical, and the talent pool is vast. This reduces costs by 20-30%
NAHLA ELMALLAWANY, FOUNDER & CEO, QEESH PRODUCTIONS
“When I started producing big-ticket shows, I realised the only way to do them within budget was to limit the episodes. I capped it at six to eight episodes but made them really grand.”
Another strategy to balance costs while maintaining high production quality has been to leverage her extensive professional network in Egypt. “I come from a production background in Egypt and have a strong network there. Studios in Egypt are more economical,
and the talent pool is vast. This reduces costs by 20-30%.”
While culinary programming remains Qeesh’s forte, Elmallawany’s versatility shines across genres, including travel and talk shows.
“We can produce any genre,” she says candidly, but especially enjoys travel and outdoor shows.
“I find them a lot less stressful than studio-based productions such as competition or cooking shows. With cooking shows, food preparation and having back-up recipes ready for each segment is a challenging process. In competition shows, the unpredictability can be overwhelming – some contestants may struggle to complete tasks,
The team in Fujairah, UAE for a shoot.
delaying the shoot, while others may finish too quickly, leaving episodes shorter than planned. This often requires us to think on our feet and create additional challenges on the spot to maintain the flow. The pressure to keep everything on schedule makes these productions far more demanding.”
She is currently supercharged about a new Qeesh talk show. “I really enjoy the conversations. The guests are very interesting, the discussion is unscripted and I feel like I’m a part of the audience,” she says. While details are under wraps, she confides that prominent personalities from across the Arab world have been invited to spotlight
their work and accomplishments.
To support the show, Elmallawany had to assemble a dedicated research and writing team. “Research is particularly important in talk shows, as it lays the foundation for compelling and engaging content. We ensure each guest’s story is explored in depth, covering both their professional achievements and personal journeys.”
One of the toughest aspects of the job is managing the large, diverse teams involved in a production.
“On location, everyone plays a crucial role – talent, presenters, crew and the extended team. Managing all these individuals is no easy task. It involves motivating people when
I can offer clients productions that are bigger and more ambitious than what they could typically achieve in-house
NAHLA
ELMALLAWANY, FOUNDER & CEO, QEESH PRODUCTIONS
we’ve been filming for long hours or working through sleepless nights, managing emotions under stress and ensuring everyone remains focused despite the pressure.
“At times it requires being firm with the crew and team when things go wrong, while also catering to the needs of on-screen talent, presenters and artists, making sure they are comfortable and happy so they can give their best performances.”
She highlights the lack of support when it comes to data and insights in culinary and unscripted programming. “We don’t have enough research to guide us in this genre, which is why when people ask me why I choose to produce certain shows, the answer is simple: passion and a willingness to take risks.”
For Elmallawany, introducing something different to the audience is about more than just content. It’s about showing that there’s more to explore beyond the repeated formats that dominate the industry. “Someone has to take the risk and lead the way. We don’t have data for ideas that haven’t been done before, and without someone stepping up to create these new formats, the industry will never evolve,” she concludes.
OLIVIER SUARD
Technology also allows broadcasters to ensure optimum video quality, further enhancing the experience at home
Why it’s game on for broadcasters of live sport
Sport remains a staple of live broadcasting around the world, which was no more evident than in 2024. The Euro 2024 football championship set a record for TV audiences in the countries of the participating teams, with a global cumulative audience in excess of 5bn. Alongside the global appeal of football, the 2024 Paris Olympic Games was streamed a record-breaking 218m times, more than double the 104m streams during the Tokyo Games three years earlier. With global viewership so high, Nevion’s consumer findings support the popularity of live sport.
The experience at home
Live sport carries a potent ability to deliver high levels of drama and action. Viewers enjoy witnessing big moments in real time and often feed off the sense of community it offers. A growing number of sports fans, however, are watching live coverage from home. The English Premier League, for example, is broadcast to 189 countries, with 1.87bn people now following it.
But what’s driving this shift towards home viewing? According to Nevion research, 45% of people like to watch live broadcast events with other people in the same room. Online communities are also being
built and fostered, where viewers can voice opinions, commiserate on defeats and celebrate victories with others on social media platforms. Sports clubs themselves have also set up official accounts to post real-time updates during matches and share exclusive videos. Our research shows that consumers use social media and messaging platforms to message friends and family directly about key moments (59%), followed by an interest in other people’s opinions on what’s happening (46%) and sharing thoughts with the wider community (33%).
Navigating cost pressures with enhanced experiences
For the most popular sports, the cost of attending games in person has become prohibitive. This is also driving consumers towards home experiences. For example, the cost of English Premier League tickets increased by an average of 6.7% this year. A combination of a high level of demand for live sports content on a global scale and cost pressures is placing a bigger emphasis on the service offered by broadcasters. IP technology is, therefore, the key for broadcasters, enabling them to benefit from distributed production. This allows the people, places and processing resources involved in a project to be connected, used and shared optimally as part of a wider ecosystem, regardless
of where they are around the world. Equipment such as studios, OB production trucks, live venues, mixers, video and audio processing solutions don’t need to be present at the venue. Staff can access them from any location. Production staff can produce multiple events in different locations at the same time, and tailor to time zones around the world. This reduces the need for expensive shipping of equipment to different locations, enabling broadcasters to pass on the cost savings to their customers. Sports events also often require meticulous planning to attract viewers, with visual quality and latency under the spotlight. Specialist solutions as part of this distributed ecosystem can allow providers to prioritise the transmission of low-latency broadcasts, so that viewers can experience a live sports event in as close to real time as possible. Technology also allows broadcasters to ensure optimum video quality, further enhancing the experience at home. With live sport increasingly accessible from home, broadcasters are seizing the opportunity to elevate the viewer experience with advanced technology and innovative approaches.
OLIVIER SUARD IS VP OF MARKETING AT NEVION
13-15 MAY 2025
Dubai World Trade Centre
SATExpo brings together leading experts, cutting-edge technologies, and visionary thought leaders, empowering participants to explore, connect, and shape the future of satellite communications, services, and manufacturing on a global scale.
Organised by
