SMART, SAVVY AND SUCCESSFUL
Featuring Arab women making their mark across the MENA media and entertainment industry
GROUP
Managing Director Vijaya Cherian vijaya.cherian@cpipromedia.com
+971 (0) 55 105 3787
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
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Group Sales Director Sandip Virk sandip.virk@cpipromedia.com
+971 (0) 50 929 1845 / +44 (0) 7516 993 862
FINANCE
Finance Executive Yonwin D’souza finance@cpipromedia.com
DESIGN & PRODUCTION
Art Director David Fraser design@cpipromedia.com
EVENTS & MARKETING
Events Executive Sarah Nathan marketing@cpipromedia.com
DIGITAL SERVICES
Web Developer Hafiz Muhammad Waqas IT@cpipromedia.com
FOUNDER
Dominic De Sousa (1959-2015)
PARTNER
Maria De Sousa
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WELCOME
It is often said that technology shapes the media and entertainment industry. Less frequently discussed are the people driving that transformation, especially women.
Across the region, women remain under-represented in the technical layers of media production, broadcast operations and systems integration, even as their presence in the wider digital economy continues to grow. But change is underway.
This month, we highlight three outstanding women from our industry. It is not always easy to bring these voices into focus. Access can be limited, and many professionals choose not to take part in interviews. Nevertheless, we continue to run a series of profiles that bring their work and impact to the forefront.
In this edition, we feature Razan Takash, Head of Film at SAE Dubai, who has gone far beyond academia to launch film initiatives and build collaborations with international organisations that broaden student exposure. Her work ensures that learning extends into real-world industry experience.
We also speak to Ruba Abdelsamad, who thrives in the highpressure environment of network operations at Al Mashhad, and Maya Shokor of First Gulf Company, who brings a distinctive creative perspective to systems integration. Together, these women represent the talent and innovation driving the future of media and entertainment technology in the region.
Apart from that, it has been a relatively quiet month despite the geopolitical undercurrents in the region, with projects continuing apace and business largely as usual at CPI Pro Media. Our nominations for the Manufacturer Awards are now in and voting will begin shortly, after which we will move to the shortlist stage. Unlike in previous years, there is ample time to plan ahead before we gather for the awards in October. So get ready to vote for the industry’s best.
VIJAYA CHERIAN, EDITORIAL DIRECTOR
UPDATE NEWS
Qvest modernises Bahrain TV workflow; MAD Solutions and Iraqi Film Fund partner to boost Iraqi cinema’s reach; MBC Studios reveals new slate of Saudi films and TV shows; SRMG to raise Thmanyah stake to 75%; and more 4
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COVER - BEHIND THE SCENES MASTERING EVERY FRAME
Moving between writing, producing, education and festival leadership, Razan Takash has developed a career that spans multiple sides of filmmaking. In this edition of BroadcastPro, she reflects on her journey and the role regional stories continue to play in her work
DRIVING PRODUCTION
BRINGING MAGIC INTO CAMPAIGNS
Director of Photography Shadi AbuSharar shares how the Infiniti QX80 social media campaign was shot entirely on the Blackmagic PYXIS 6K and finished in DaVinci Resolve to deliver polished, high-impact visuals
COVER - WOMEN IN FOCUS SIGNALLING PROGRESS
Ruba Abdelsamad, Assistant Manager NOC-MCR, shares what it takes to keep live broadcast workflows running under pressure, from evolving IP infrastructure to realtime decision-making across Al Mashhad’s hybrid television and digital operations
COVER - AN ARTISTIC PERSPECTIVE DESIGNING MEDIA INFRASTRUCTURE
At First Gulf Company, Maya Shokor brings together design thinking, technical coordination and client strategy to support the delivery of some of Saudi Arabia’s most ambitious broadcast projects 24
NEW LAUNCHES THE HOTTEST PRODUCTS ON THE MARKET
Continuing our NAB Show product showcase, this edition features the latest innovations in IP production, audio workflows, transmission systems, media decoding and cloud-based broadcast infrastructure
Qvest modernises Bahrain TV workflow 06/26
Qvest has completed the deployment of a new media workflow platform for Bahrain TV, delivering a major upgrade to the broadcaster’s media archiving and management infrastructure. The project included metadata migration and integration with existing broadcast infrastructure. The upgraded platform can support simultaneous multi-user access and features advanced search tools for faster content retrieval and more efficient handling of large media files, improving collaboration and accelerating decision-making
across production teams.
The upgrade also included a new Spectra Stack Library storage system that replaces the broadcaster’s previous archive infrastructure.
As the project’s primary technology partner, Qvest handled the complete system integration and installation process. The deployment includes integrated MAM capabilities with customisable workflows, updated media capture and transcoding technologies, and enhanced storage systems for faster processing of large media files.
A major component of the project was the deployment of the Avid MediaCentral platform, which provides a unified web-based interface for media resource access and production workflows.
A Telestream Kumulate system, integrated with the Avid MAM platform, enables Bahrain TV’s teams to manage media archiving, restoration and partial restoration processes more efficiently. The platform provides full support for Arabiclanguage metadata fields. Furthermore, the system integrates with existing production, news, tape and ingest systems for seamless operational workflows.
CMA TO DRIVE GLOBAL CONTENT PRODUCTION WITH ANTOINETTE MEDIA
The Creative Media Authority (CMA) has entered into a threeyear partnership with US production company Antoinette Media, to strengthen Abu Dhabi’s position as a global destination for content production, talent development and creative media investment.
Under the agreement, Antoinette Media will establish a long-term
production presence in Abu Dhabi, contributing to the development of its production and workforce ecosystem, through large-scale production activity, local hiring and practical industry training.
Antoinette Media will produce at least six major projects in Abu Dhabi, including feature films, TV series and commercial campaigns. At least 50% of the workforce on these productions will include Abu Dhabibased freelancers and licensed professionals. It will also host at least six talent development workshops and offer internship opportunities.
Lashan Browning, founder and CEO of Antoinette Media.
MAD Solutions and Iraqi Film Fund partner to boost Iraqi cinema’s reach
MAD Solutions and the Iraqi Film Fund, a national initiative focused on advancing the country’s cinematic sector, have agreed to strengthen Iraqi cinema’s international presence and expand global opportunities for Iraqi filmmakers. The partnership will support Iraq’s film industry through international collaboration, distribution and long-term infrastructure development. MAD will take on a key role in sales and distribution, while actively supporting the growth and visibility of emerging and established Iraqi filmmakers. At the same time, the Iraqi Film Fund
will develop a broad slate of projects including feature films, documentaries and short films reflecting contemporary Iraqi stories and perspectives.
JMC EXPANDS CAPABILITIES WITH TVU MEDIAHUB DEPLOYMENT
Jordan Media City has strengthened its broadcast infrastructure through a new partnership with TVU Networks and its regional partner MEBS, introducing advanced IP-based content distribution capabilities across its operations. The deployment of TVU MediaHub brings cloud-native connectivity and scalable distribution services to its longestablished operations.
At Jordan Media City, TVU MediaHub
currently distributes five channels to seven receiving sites. Each channel operates with a main and backup source simultaneously, while every receiving site receives both feeds. This results in a total of 70 active streams running across the network at the same time. The dualstream architecture ensures uninterrupted service, automatically switching to backup feeds in the event of any issue with the primary stream.
Dr Jabbar Joudi, President of the Iraqi Artists Syndicate and Director General of the Cinema and Theatre Department at the Ministry of Culture, stated: “We believe that Iraqi cinema holds significant creative potential that deserves wider support and visibility, and that building strategic partnerships with key industry players is essential to developing a sustainable and internationally competitive film sector.”
HOUSSAM AL KHALED JOINS EVERTZ
Evertz, a global media technology solutions provider, has appointed Houssam Al Khaled as Business Development and Solutions Consultant, further strengthening the company’s presence and strategic focus on playout, streaming and media management solutions across the Middle East.
Al Khaled brings more than two decades of experience in broadcast and media technology. Over the course of his career, he has worked with leading regional and international organisations, including twofour54, Ericsson Broadcast & Media Services, Red Bee Media and Cleeng. In his new role, he will lead business development initiatives while also providing strategic solutions consulting to customers across the Middle East.
MAD Solutions and the Iraqi Film Fund teams.
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MBC Studios unveils Saudi film and TV production slate
MBC Studios has unveiled several upcoming Saudi film and TV productions as part of its participation in the 79th Cannes Film Festival last month. It will continue its plans to adapt several acclaimed works by Saudi author Osamah Almuslim. The studio revealed that the
first, Jahim Al-Abireen, has completed production and is set for theatrical release later this year. Two more feature adaptations based on the author’s works are in the pipeline. Spider’s Web is a horror series with production expected to commence in Q4 2026, while Khawf will be a fantasy television series.
MBC Studios is also set to begin production on several additional projects in the coming months. One is Mafiosos, an action-comedy film written by Saudi writers Nawaf Al-Muhanna and Hazem Al-Jaryan. Another is Forever, a love story written by acclaimed Saudi actress and writer Sarah Taibah. The studio also plans to produce a joint feature film with Telfaz11 by the end of the year, the first co-production between the two companies. Telfaz11 is known for hit Saudi films such as Alzarfa, Sattar and Mandoob
BEIN STREAMING PLATFORM REBRANDED AS TOD BY BEIN AHEAD OF 2026 WORLD CUP
BeIN Media Group’s streaming platform TOD will now operate as TOD by beIN. The rebranding reflects beIN’s strategy to unify its digital streaming services under its globally recognised brand while strengthening its position in the region’s fast-growing streaming market.
Mohammad AlSubaie, CEO of beIN
MENA, said: “The evolution to TOD by beIN marks an important milestone in our digital growth at a defining moment for sport and entertainment in our region. This unifies beIN’s digital streaming proposition under the globally recognised and trusted beIN brand ahead of the FIFA World Cup 2026, while reinforcing
our commitment to innovation and a world-class viewing experience for our audiences.”
Peter Mrkic, Managing Director of TOD MENA, added: “With TOD by beIN, we are creating a powerful, seamless destination for sport and entertainment where fans can enjoy sport anywhere, anytime and on any device.”
QATAR BUSINESS CHANNEL NOW ON EUTELSAT
QBC Business Economic Channel, a new businessfocused television channel from Qatar Media Corporation, is broadcasting in 4K/UHD through Eutelsat’s 7/8° West video neighbourhood. Officially launched last month, it is one of MENA’s first end-to-end 4K and SMPTE 2110 economic channels. The platform is designed to deliver financial news, market updates and expert business analysis to viewers across the region.
SAUDI FILM COMMISSION RAISES REBATE TO 60%
Saudi Film Commission has increased rebate rates to as much as 60% of eligible production expenditures. The programme includes stronger evaluation mechanisms to ensure long-term economic and creative value for film projects produced in the Kingdom, and faster disbursement.
Hana Al Omair (R), Creative Director MBC Studios, with Saudi author Osamah Almuslim.
SRMG to raise Thmanyah stake to 75%
Saudi Research and Media Group (SRMG) will increase its ownership in Thmanyah from 51% to 75% through its subsidiary Arab Media Company, while committing significant new funding to support the platform’s next phase of growth.
SRMG plans to inject approximately $14m into Thmanyah through a capital increase, reflecting the
settlement and capitalisation of previous financing and payments already extended to the company. As part of the transaction, Arab Media will also pay $11.99m in cash to Thmanyah’s existing partners, including Abdulrahman Abumalih, Aseel Baabdullah and Meem Company for Research and Studies. The transaction remains subject to KSA’s
ADIL MEMON JOINS SPORT SPIRIT FED AS CEO AND MANAGING PARTNER
Former Zee Middle East executive Adil Memon has joined Sport Spirit Fed as CEO and Managing Partner, as the company looks to expand its sports IP business beyond the region.
Memon will oversee operations at SSF and lead the company’s efforts in sports IP creation, execution, production and technology integration. He will report directly to founder and Managing Director Mohammad Saif.
Founded in 2021, Sport Spirit Fed is an Indian company with operational offices in Dubai Motor City and Sheikh Zayed Road. It has launched several regional initiatives including Camp With the Champ, the Dubai Open for Cricket Academies (DOCA), the Titans Cup in football, the Pickleball Open and the Dubai Open for Tennis Academies (DOTA). It also works alongside the Dubai Sports Council, UAE Tennis Federation and International League T20.
regulatory approvals.
Arab Media has also committed to providing up to $53.31m in additional financing over the next four years under standard commercial terms, with the funding designed to support Thmanyah’s operational growth, content expansion and platform development.
SRMG said the financing will be drawn based on future
business requirements and market conditions, with loan maturities extending up to four years. This move builds on SRMG’s initial investment in 2021, when Arab Media acquired a 51% controlling stake in Thmanyah for $8.88m. SRMG expects the financial impact of the arrangement to begin in H2 2026.
NBCUNIVERSAL SELECTS WPS FOR TELEMUNDO FAST LAUNCH
White Peaks Solutions SAS (WPS) partnered with NBCUniversal to support the launch and ongoing operation of Telemundo’s 24/7 FAST channel on Peacock, delivering an end-to-end streaming workflow designed to ensure reliable, scalable and high-performance content delivery for the always-on channel.
WPS built a real-time streaming architecture optimised for lowlatency, uninterrupted delivery. High-quality SRT contribution feeds are processed and redistributed using both HLS and SRT playback options, enabling adaptive content distribution across multiple
platforms. A central part of the solution was real-time SCTE35 trigger insertion through KWIKmotion, allowing accurate ad signalling for monetisation in the FAST environment. The company also introduced advanced content routing tools to ensure seamless distribution across all required endpoints.
WPS also implemented live AIgenerated captions providing real-time subtitles during live broadcasts, alongside embedded CEA-608 closed captions for compliance, to improve viewer engagement and expand accessibility for multilingual audiences.
SIGNALLING PROGRESS
Al Mashhad’s NOC-MCR is a fast-paced environment where live feeds and broadcast systems run around the clock. Speaking to Sarah Nathan, Ruba Abdelsamad, Assistant
Manager NOC-MCR, discusses her role in this setting and how she helps keep operations tightly coordinated under pressure
Overseeing a team of two MCR supervisors and seven engineers, Ruba Abdelsamad holds numerous active responsibilities at the heart of the operations centre – from monitoring signal activity and overseeing content quality to managing workflows, resolving technical issues in real time and coordinating between technical and editorial teams. “At Al Mashhad, the environment is highly dynamic and focused, and every second matters,” she explains.
Al Mashhad features a traditional television channel alongside a digital platform that delivers news, talk shows and entertainment content, designed primarily for digital-first viewers across the region. With its services operating across both channels, each demands its own technical pace.
Linear broadcasting calls for consistency and precise timing, while digital platforms require flexibility in formats, streaming capabilities and user experience. Balancing these while ensuring high-quality output requires an integrated and adaptive approach.
“Ensuring consistent quality across both is definitely challenging, but at Al Mashhad, we focus on integrating workflows and maintaining strict quality control standards to meet the expectations of both audiences.”
Abdelsamad explains that the broadcast network takes a hybrid approach to delivering entertainment to screens. Core signal distribution continues to rely on SDI, though NDI is increasingly adopted to enable more flexible IP-based video transport across the network.
For Al Mashhad’s audio workflows, audio-over-IP systems provide greater flexibility, scalability and efficiency in managing and routing audio signals across studios, control rooms and wider broadcast operations. Al Mashhad has also developed inhouse AI-driven tools to support tasks such as downloading, transcoding and ingesting social media content for broadcast use, helping streamline workflows and enhance operational efficiency.
At Al Mashhad, I’ve witnessed a strong commitment to empowering women through equal opportunities
RUBA
ABDELSAMAD, ASSISTANT MANAGER NOC-MCR, AL MASHHAD
In a dynamic environment, things can go awry at any time during live productions. But as a space where there is no room for error, the NOCMCR is tasked with making correct decisions in a very timely manner.
“No two days are ever the same,” says Abdelsamad. “Each brings new challenges, whether it’s a different programme, a live event, breaking news or unexpected technical issues. This variability is what makes the role both challenging and exciting,
requiring continuous learning, adaptability and the ability to respond quickly to changing situations. It’s a high-pressure environment but also extremely rewarding when everything runs smoothly.”
Besides technical processes, seamless communication between technical teams and content producers is key to ensuring things go smoothly. A customised in-house booking system allows assignment teams to schedule live feeds and ultimately enables engineers to efficiently prepare, record and deliver content. “Coordination is essential in broadcast operations and depends on clear communication, structured workflows and strong collaboration between teams,” says Abdelsamad, adding that the key is to stay calm and act quickly.
Resilience has been an important aspect of her career. Her foray into the broadcast space in her home country, Syria, was marred by obstacles. With limited access to vendors and minimal technical support, she had to persevere to be successful.
“I was promoted to Broadcast Engineering Manager at Syrian TV – the first woman in this role within the news department – and led key projects such as system migrations and activating unused technologies, while training teams and optimising costs,” she recalls. Although the experience was demanding, it laid the groundwork for what followed in her career.
Her move to Al Mashhad brought a raft of new resources. Her new environment had advanced infrastructure, high-speed connectivity and access to the latest in broadcast technologies. Workflows were more integrated, systems more scalable and the pace of innovation significantly higher. But she believes she has brought with her lessons learned in Syria.
“The core skills I developed back home allowed me to adapt quickly and contribute effectively. The experiences strengthened my resilience, leadership and problem-solving skills. At Al Mashhad, I continue to apply this mindset by approaching challenges proactively and contributing effectively within a more advanced and structured environment.”
Flexibility and adaptability are key when it comes to leadership, she emphasises, using this mindset to guide a team that is capable and resilient to the inevitable challenges that arise. “In a dynamic environment, you need to adapt. As a mentor, I focus on supporting team members, understanding their strengths and helping them grow, while adjusting my approach to different situations to
ultimately build a strong and confident team. That applies to how you manage systems and how you support people.”
Of the wider broadcast industry, Abdelsamad notes that technologies around her are continuing to
I enjoy problemsolving, working under pressure and being part of environments where precision and critical thinking matter
RUBA ABDELSAMAD, ASSISTANT MANAGER NOC-MCR, AL MASHHAD
evolve and she expects the NOCMCR environment to keep pace. Broadcasting is steadily veering towards IP-based infrastructures, cloud-native workflows and increased automation. Committed to evolving alongside the broadcast realm, Al Mashhad intends to continue harnessing AI for monitoring and content processing, as well as replacing physical systems with virtual environments. “This can enhance efficiency and scalability. These innovations will allow our teams to focus on more high-level decisionmaking rather than manual tasks.”
With the rapid changes around her, she is keen to keep her repertoire of skills up to date. “I combine formal training, what I see at industry events and continuous hands-on
learning. In this field, staying current is not optional – it’s essential.”
Over the course of her career, Abdelsamad has not been oblivious to the primarily male presence across the broadcast field, particularly within engineering. However, she says she has never actively had to face associated hardship. Instead, her innate love for all things technology has been so strong a driving force that nothing else has mattered.
As a child, how things work fascinated her – how signals travel, how images appear on screens, how technology can connect people in real time. Her curiosity for understanding these nuances eventually grew into a very clear direction for her further education and career.
“Choosing engineering was a pure reflection of my personality. I enjoy problem-solving, working under pressure and being part of environments where precision and critical thinking matter. I believe that challenges, whether direct or indirect, can become a source of motivation. Instead of seeing the prevalence of males in the industry as resistance, I saw it as an opportunity to prove that capability and dedication are what truly matter. Over time, this mindset helped me build confidence and establish myself based on my work and performance.”
Encouragingly, Abdelsamad says she has seen more women enter the field of engineering. She notes that their contributions are increasingly being voiced and received, bringing new perspectives to the table and reshaping decision-making processes.
“There is still room for growth, particularly within the representation of women in senior technical positions and leadership. At Al Mashhad, I’ve witnessed a strong commitment to
Each [day] brings new challenges, whether it’s a different programme, a live event, breaking news or unexpected technical issues
RUBA ABDELSAMAD, ASSISTANT MANAGER NOC-MCR, AL MASHHAD
empowering women through equal opportunities and a professional environment that supports growth regardless of gender.”
Abdelsamad’s advice to incoming generations of engineers is to stay curious, embrace challenges and be confident in one’s capabilities. “Focus on building your technical skills, stay open to learning and don’t be afraid to step into roles that may seem challenging at first. The broadcast industry can be challenging but also very rewarding. Growth comes from pushing boundaries.”
CONNECTING CINEMA, STUDENTS AND THE FILM INDUSTRY
Razan Takash wears many hats in the region’s filmmaking scene: a writer, producer and director of short films; Creative Director of the Black Sheep Festival; and Head of Film and Senior Lecturer at SAE University College Dubai. Her most impressive story, however, is the path to where she is today. Sarah Nathan sat down with Takash to learn more about her creative journey
Razan Takash did not always have her sights set on a career in storytelling. As a child, she dreamed of becoming a veterinarian. However, a brief internship during high school in her home country, Jordan, quickly revealed that working with injured animals was not her calling: “It was too sad and I just couldn’t do it.”
An avid theatre kid, Takash wrote and directed multiple plays in high school. She spent much of her week at the movies and regularly watched film coverage on television. Once a film was released on DVD, Takash would promptly watch the director’s commentary. “Titanic was my first exposure to what goes on behind the scenes,” she recalls. “I watched it several times at the cinema and I was always so fascinated by how they built the ship and other production aspects.” Still, she never considered filmmaking as a profession.
At 18, Takash enrolled as a multimedia student at the American University of Sharjah. Again, she
quickly discovered the field was not her future: “I wasn’t artistic enough to stick with the design aspects of the course, so I remained undeclared.”
An elective film course called for her to create a short film – her first – as part of its final assignment. Her professor, Kim Bigelow, suggested a career in film and appointed her to be her teaching assistant, which gave her access to books on film, learning resources, equipment and the opportunity to create more short films and, ultimately, her future. “From then on, I knew this is what I was supposed to do.”
In 2009, Takash released her next short film, Mitwarret, a blackand-white political thriller about revolutionaries amid regional instability in Jordan in 2008. Soon after, she enrolled at the Red Sea Institute of Cinematic Arts, ultimately earning a Master of Fine Arts in Cinematic Arts.
Early in her career, Takash consistently sought experience on
Hollywood productions. Scoring an internship on Zero Dark Thirty and later hired to work on the set of Star Wars: The Force Awakens in the UAE, she witnessed “another planet of filmmaking”. Her regional work included producing, directing and serving as first assistant director on TV productions with notable channels such as ADTV and MBC.
While she primarily created psychological thrillers in her twenties, Takash eventually gravitated towards genre films. Her most recent project as a writer/producer, Karayr, premiered in December 2025. A post-apocalyptic short film directed by Neo Apelian, it is set in the aftermath of a biological war that has reduced mankind to ape-like creatures and follows a lone survivor trying to civilise one of these cavemen. It was filmed in Jordan with the support of local crew and production houses. After eight years of developing the film, Takash is still stunned that it ever saw the light of day. For
I just love films so much. I’m okay spending my whole life in the cinema all day, just watching movies
RAZAN TAKASH, HEAD OF FILM, SAE UNIVERSITY COLLEGE DUBAI
five years, Karayr failed to secure funding from typical sources. “This was such an ambitious project and it’s a miracle that it exists. We ended up crowdfunding in spaces like Comic Con, Stars Con and META Film Fest,” she explains. “We eventually raised enough money to cast SAG-AFTRA actor Jay Abdo and secure private donors and a product placement sponsorship.”
After filming came the next round of fundraising for post-production. Takash sold an old camera to fund sound effects in Estonia and Portugal, even making use of SAE’s sound room, while an old film school classmate oversaw production at his
company in Egypt. “It’s easy to discard a project when you feel nothing has progressed, but this industry demands persistence in the face of insurmountable odds,” she says. “You think there’s no way for something to happen, but if you keep at it, you get a taste of triumph here and there.”
The film recently won the Best Dramatic Sci Fi Short award at the Philip K. Dick Film Festival in New York City and the Best of Fest Award at the HollyShorts
Dubai. The latter automatically enters the film into the running at the Oscar-qualifying HollyShorts in Los Angeles this August.
At SAE University College, Takash strives to give students the same opportunities she leveraged, but admits it is difficult. The region has a large indie scene but close to no commercial productions, which means students forfeit experiences that could be meaningful and educational.
“Hollywood productions are usually interested in local crews,” she explains. “They’re very strict about that, so it leaves behind a large gap between film productions and student productions. There are many initiatives that try to fix that, but it’s not easy to get students onto Hollywood sets.”
Although she recently saw students reach the casting department of Dune 2, she noticed that they had more luck accessing local productions such as Al Kameen and City of Life – Continuum
Through the Black Sheep Film Festival, Takash tries to bridge the gap between the industry and aspiring filmmakers. What began as a small
At SAE Dubai, Razan Takash hopes to create the same opportunities that shaped her career.
showcase of student films within the SAE community now features appearances from major industry players, with Paramount Hotel Dubai as venue sponsor. Last year, the festival celebrated a new record – a full house for an Emirati filmmaker panel starring Nayla Al Khaja, Maitha Alawadi and Nawaf Al Janahi.
“Every year, the festival becomes a little more prestigious and we attract bigger names and see higher footfall,” Takash says. “I see it as a way for industry members to recruit students who are willing to help out on a set to gain experience.”
Takash also instituted the UAE Student Short Award, inviting 21 submissions from high school and university students across the nation. Ten were shortlisted and screened at the festival. In partnership with HollyShorts Dubai, the winning short films are automatically in the running for the competition next year. Besides seeing young creativity take the stage, she was especially touched to witness students from
various schools network and celebrate their peers: “It was magical to see students cheering one another on.”
Takash hopes to eventually take the festival across the region. Adamant that such an endeavour is a group effort, she calls upon the industry to do its part in widening the horizons for incoming generations. “One filmmaker does not create an industry. The industry needs education, because education is going to drive its future – that’s the
real foundation for its growth.”
Her time on both commercial Hollywood sets and regional indie productions has given Takash insight into how the two differ. Hollywood productions are well-oiled machines that churn out movies like clockwork. “Each individual’s skill level and the technology and equipment are all so impressive. There’s a creative and technical energy that makes you feel part of something so much larger than yourself.”
However, this suppresses a very strong, meaningful human quality – community. “During my time on Hollywood sets, I only knew people
I don’t think there’s any challenge for women wanting to break through the film scene anymore. What the industry cares about is your competence
RAZAN TAKASH, HEAD OF FILM, SAE UNIVERSITY COLLEGE DUBAI
Takash filmed Karayr against the mountain landscapes of her native Jordan.
in my department. And that wasn’t even the art department, but just the set dressing sub-department. I knew 10 to 15 people from a crew of 120.”
Middle East sets are smaller and more intimate, traditionally geared towards producing indie art house films. With lower budgets, creative teams are still figuring out how to navigate challenging waters.
The industry needs education, because education is going to drive its future – that’s the real foundation for its growth
RAZAN TAKASH, HEAD OF FILM, SAE UNIVERSITY COLLEGE DUBAI
“That brings people together. A sense of camaraderie develops, because everyone’s there purely out of passion for creating a film. You end up collaborating with the same people time and time again because the community is smaller, but that just means they end up becoming your friends.”
Nevertheless, Takash identifies a prevalent pillar across both cultures – the love of filmmaking. “Everybody loves movies, whether you’re here or there. A lot of the same challenges exist in both. We’re always questioning what makes a good film, discussing the subjectivity of film and art and the landscape of opportunity, competition, funding, resources and platforms.”
As a woman, Takash has a firsthand understanding of the place of female filmmakers within the industry. According to her, the wave of female-centric stories within the region has come and gone. Instead, there is an encouraging rise in the number of women behind the lens.
“Sales agents and distributors at film festivals are keeping an eye out for female storytellers, producers and directors,” she explains, citing as an example Nayla Al Khaja, the first female Emirati director to have a film screened at the Cairo Film Festival. “Many of the films that we’re hearing about are coming from female storytellers.”
Takash is keen to bring women’s achievements to larger stages. At this year’s edition of the Black Sheep Film Festival, a panel titled Spotlight Women in Film starred AFAC x Netflix-backed Eiman Alkhalifa and Sundance winner Dania Bdeir.
Takash has also witnessed a shift in the demographics of her student body at SAE. It was once a room of primarily men, but now women outnumber them. “It’s not just the opportunities but also the interest. Women are increasingly pursuing storytelling.”
Takash reflects that she has been fortunate to never experience a notable challenge in being a woman;
Takash is the Creative Director of the Black Sheep Festival that aims to bridge the gap between aspiring filmmakers and the industry.
Razan Takash at HollyShorts Dubai where her sci-fi film Karayr won the Best of Fest Award.
instead, it has simply been a matter of fact. “It isn’t a hindrance, but it’s not an advantage either.”
In Jordan for Karayr, however, she was aware of her identity when filming in the mountains at night.
“The normal challenge of being a woman in the middle of nowhere was scary, but what counted was knowing how to get things done. My co-producer, Dalia Al-Nimer, was also Jordanian, so together we knew how to navigate our home country to get the things we wanted. I don’t think there’s any challenge for women wanting to break through the film scene anymore. What the industry cares about is your competence. If you’re competent, it doesn’t matter what you are.”
Takash continues to be a storyteller and has another film in the works as writer and director.
Moving away from the postapocalyptic genre to dabble in horror, her upcoming project, The Family House, draws upon her personal story and culture. “As a Jordanian,
This industry demands persistence in the face of insurmountable odds
RAZAN TAKASH, HEAD OF FILM, SAE UNIVERSITY COLLEGE DUBAI
I will benefit from focusing on my own culture and experience this time to bring something more authentic to the screen.”
At the core of Takash’s work is her enthusiasm for the form. “I just love films so much. I’m okay spending my whole life in the cinema all day, just watching movies.”
This drives her perseverance within the industry. “There are moments where filmmaking can feel like a nightmare. It’s a onesided love; we love film, but rarely does it love us back. When it gives you the tiniest kernel of love – an award or exposure – you’re okay to relive the whole experience.”
Takash also launched the UAE Student Short Award, with winning films automatically qualifying for the HollyShorts Dubai competition.
DESIGNING THE FUTURE OF BROADCAST
Maya
Shokor’s path into broadcast systems integration
has been anything
but conventional, moving from interior architecture to working on some of Saudi Arabia’s most ambitious media infrastructure projects. In conversation with Vijaya Cherian, she reflects on her role at First Gulf Company and the changing demands of the Kingdom’s broadcast sector
Maya Shokor had already spent a decade building a career in design when her professional journey took a new direction at First Gulf Company (FGC), one of Saudi Arabia’s largest systems integrators. She initially joined the company as a Design Consultant but over time transitioned into the role of Key Account Manager, where her remit requires her to combine creative thinking with technical coordination and client strategy.
Shokor works closely with broadcasters, government entities, engineers and presales teams in Saudi Arabia. Her experience mirrors the transformation taking place across the Kingdom itself: a market once cautious and traditional that has become one of the most ambitious broadcast and media technology environments in the world under Vision 2030.
But long before studio builds and IP workflows became part of her day-to-day life, Maya Shokor’s interests lay elsewhere entirely.
“When I was younger, I was deeply drawn to the arts,” she recalls. “I knew I wanted a career that allowed me to be creative, but I also craved structure. This led me to explore how I could blend artistic expression with something more foundational and organised.”
That led her to pursue a degree in interior architecture.
“Interior architecture allowed me to use my creativity to design spaces while respecting the technical and structural requirements of building. It’s about creating an environment that is both beautiful and functional, which is what I bring with me to the broadcast world.”
When she joined FGC, the SI needed someone with an extensive
design background to oversee a studio project. “I joined as a Project Manager for a specific studio, not realising it would open a whole new world for me.”
At that time, Saudi Arabia’s broadcast sector was entering a new phase of expansion. Broadcasters, media groups and governmentbacked initiatives were beginning to invest heavily in infrastructure, studios, next-generation production facilities and new technologies. FGC was deeply involved in major regional projects, exposing Shokor to the many facets of broadcast, and Saudi Arabia’s media expansion that included deploying the latest standards in the market.
“SMPTE 2110 is the standard everyone is moving toward as we embrace IP-based workflows. Alongside that, virtual production and augmented reality (AR) in studios are huge trends. Clients want more immersive storytelling tools that blur the lines between the physical and digital worlds.”
The transition, however, came with its own learning curve.
“It was a complete hands-on experience. My colleagues were incredibly supportive, teaching me piece by piece as we went along. I realised that my design acumen could help guide intricate projects like large-scale TV studios in a way that technical teams might not see.”
The shift also coincided with broader changes in the market, as broadcasters increasingly moved toward more integrated and flexible production environments. Today, her role involves translating client ambitions into workable technical frameworks.
“No day is repetitive, and that is what drives me. I act as a strategic conduit between the client’s
ambitious vision and our engineering reality. My design background helps me focus heavily on how a space and technology will interact. We then collaborate with presales to build the technical framework. The most important point is communication and ensuring that the technical execution never loses sight of the client’s original goal.”
She says “collaboration is key” internally. “I don’t try to be the engineer; instead, I work handin-hand with the teams in-house.
As the market has become more demanding and innovative, it has opened doors for diverse perspectives
MAYA SHOKOR, KEY ACCOUNT MANAGER , FIRST GULF COMPANY
I explain the ‘what’ and the ‘why’ from the client’s perspective, and our engineers provide the ‘how.’”
Shokor’s career has unfolded against the backdrop of dramatic societal and industrial change within Saudi Arabia. Having worked in the Kingdom before the rapid acceleration of Vision 2030 reforms, she has witnessed firsthand how opportunities, particularly for women, have transformed.
“Saudi Arabia is the place to be right now. Years ago, I was often the
only woman in the room during technical meetings. Today, you see several women on both the vendor and the client sides. The environment has become incredibly encouraging and inclusive. As the market has become more demanding and innovative, it has opened doors for diverse perspectives. There is a real sense that if you have the drive and the skill, the opportunity is there, regardless of your gender.”
That perspective also informs the advice she gives young women considering careers in technical industries.
“Don’t be afraid of the new. My ambitions when I was younger made me fearless about entering a field I knew nothing about. If you are creative, technical industries need your perspective. Also, don’t rush. Enjoy the process of learning.”
Looking back, she wishes she
had “enjoyed the moment more … I was so focused on becoming a successful adult that I often forgot to enjoy the silly, small things in life as a student. However, that same drive is what gave me the courage to try new things.”
I realised that my design acumen could help guide intricate projects like large-scale TV studios in a way that technical teams might not see
MAYA SHOKOR, KEY ACCOUNT MANAGER , FIRST GULF COMPANY
For Shokor, the industry’s rapid evolution only reinforces her sense that she entered broadcast at the right moment.
“Being involved in the Vision 2030 projects is already a dream realised. I am proud to be part of the long-term partnerships we have with the region’s main broadcasters. My goal is to lead the integration for one of the upcoming massive media city projects that will define the future of the region.”
For all the technology, infrastructure and complexity involved in broadcast integration, however, she ultimately believes the industry is still driven by something far more human.
“Passion is the most important skill you can have. You can learn the tech, you can learn the software, but you can’t teach the excitement of seeing a massive TV studio come to life from a blank piece of paper. That’s the magic of what we do.”
Create the Moment
TO INFINITI AND BEYOND…
Designed for instant impact on social platforms, the new Infiniti QX80 campaign demanded a tightly controlled yet adaptable production workflow. DoP Shadi AbuSharar reveals how he developed the visuals using the Blackmagic PYXIS 6K and DaVinci Resolve
The new Infiniti QX80 is the newest addition to Nissan’s luxury SUV lineup and the latest to be sculpted in the brand’s ‘Artistry in Motion’ design language. The social media campaign promoting it came with a brief that demanded a refined visual aesthetic combined with a deliberate behind-the-scenes quality that would bring the audience into the ‘making of’ the commercial.
It would require a dynamic, attention-grabbing end result that would engage audiences in an instant.
But as the project’s Director of Photography Shadi AbuSharar explains, the limitations of the production environment proved challenging.
“The project was developed for social media, in a fully controlled studio environment with entirely artificial lighting and limited freedom of movement,” he says. “I had to create a dynamic sequence of images to capture the audience’s attention in a fraction of a second.”
Shot at Dubai Creative Studios, the production required flexible movement between detailed interior shots, overheads and exterior sequences while maintaining a distinct visual continuity. To meet the challenge, the production team needed a camera that could be adapted quickly across different support setups including sliders, motion control and gimbals.
The choice for the job was a single Blackmagic PYXIS 6K. “What made the PYXIS work for this shoot was how quickly we could adapt it across different support setups without slowing the production down. That flexibility was essential for creating sequences where the bodylines, finishes and details gradually emerge through controlled movements,” AbuSharar explains.
Overhead shots were captured using a Panther Ubangi slider positioned above the vehicle, with the camera
What made the PYXIS work for this shoot was how quickly we could adapt it across different support setups without slowing the production down
SHADI ABUSHARAR, DIRECTOR OF PHOTOGRAPHY
inverted to create seamless interior/ exterior transitions. “We opened the car’s roof, mounted the camera upsidedown with a 20mm wide-angle lens and slid the slider over the vehicle.”
For the interior shots, the team used a JK Jika motion control system to capture close-up passes across materials and finishes. The camera was paired with a 90mm DZOFilm macro lens to capture close-ups of the car’s finishes while maintaining image depth.
“These lenses work very well with the PYXIS 6K’s full-frame sensor. They are lightweight, have excellent focus stability and very low chromatic aberration, qualities that make them ideal for automotive filming,” says AbuSharar. Sequences involving models were shot on a Ronin 2 gimbal paired with an Easyrig to capture their interaction with the car in as natural a way as possible.
Reflection control
Given the shoot was taking place in a studio environment, controlling reflections on the vehicle’s bodywork became a key consideration in how lighting was applied on-set, particularly when using black or white backdrops. To balance specular highlights on the bodywork with darker interiors in the same frame, AbuSharar used the camera’s dynamic range to smooth highlight roll-off on reflective surfaces while preserving texture in materials such as leather and trim. A diffused base was established using ceiling-mounted Aputure LS 300c units with double-layer diffusion and a large butterfly
Director of Photography Shadi AbuSharar selected the Blackmagic PYXIS 6K for its flexibility across a range of shooting environments.
frame. “Our lighting setup was built around reflection control. We relied heavily on diffusion to soften the contrast between light sources and achieve a more uniform blend.”
ARRI SkyPanel S60 and SkyPanel X fixtures introduced variation in the background, while an ARRI M18 was used when additional separation was needed.
With multiple artificial sources in play, maintaining visual continuity across the shoot became more of a challenge. Exposure was set to retain detail without pushing light levels too far. Working with ISO values between 1200 and 1500 allowed AbuSharar to capture more detail in the interiors without having to overly increase the lighting intensity. “This allowed me to maintain good detail in the shadows while still controlling reflections on the bodywork.”
Shot in 6K Blackmagic RAW at 3:1 Constant Bitrate, balancing image quality with manageable
file sizes, the campaign took advantage of an integrated DaVinci Resolve Studio workflow from editing through to delivery.
Finishing touches
Post-production was completed in DaVinci Resolve, with early work focused on comparing takes to align movements across shots captured on sliders, motion control or gimbals. “Using trimming and direct clip comparison, we ironed out small mismatches in those movements so transitions between shots felt natural before grading started.”
Any differences between shooting setups were addressed at clip level to establish a solid foundation. The grade then focused on targeted adjustments to highlights and reflections on the bodywork. “Blackmagic RAW allowed me to recover details in the shadows while maintaining a controlled transition in the highlights and avoiding harsh clipping.”
Grading focused on targeted adjustments. “I relied on HDR wheels, Custom Curves and Power Windows to apply fine targeted edits to the
We relied heavily on diffusion to soften the contrast between light sources and achieve a more uniform blend
SHADI ABUSHARAR, DIRECTOR OF PHOTOGRAPHY
highlights and reflections on the car body, ensuring the campaign’s polished cinematic look.”
Some sequences were shot in Open Gate mode, allowing the team to reframe for multiple delivery formats. Final delivery included Apple ProRes 4444 XQ masters, alongside social-optimised versions in 9:16, 1:1 and 16:9 aspect ratios.
For a campaign built around speed of engagement to capture the attention of modern consumers, the production created dynamic, stimulating content via dynamic, innovative production methods.
COBALT
LAUNCHES
The Cobalt blueCORE family of stand-alone processors has been developed to help broadcasters and production companies transition from traditional SDI infrastructure to ST 2110 and IPMX workflows. A compact and selfcontained processing solution, it combines multiple audio and video processing capabilities into a single 1RU device aimed at live production environments.
The blueCORE family has been engineered for use in space-constrained
BLUECORE STAND-ALONE PROCESSORS
operations such as OB vans, production trucks and fly packs, offering low power consumption of less than 80 watts for the ST 2110 version while maintaining a broad set of processing features.
The processor supports both SDI and ST 2110/ IPMX inputs and outputs, including copper and fibre connectivity. It can manage four channels of 3G processing or a single channel up to 12G, giving
operators flexibility as they migrate toward IP-based infrastructures. The system deploys quickly without a computer, enabling immediate operation once signals are connected. In fixed installations, the processor can be managed remotely through a web-based graphical user interface. BlueCORE integrates several capabilities such as up-, down- and crossconversion, HDR processing, audio routing and mixing, etc, consolidating multiple production tools into a single unit.
PRO SOUND EFFECTS ADDS AVID MEDIA COMPOSER SUPPORT
Pro Sound Effects has unveiled a new native panel integration for Avid Media Composer, reportedly becoming the first sound effects platform to offer direct in-software access within the widely used editing system. The development enables editors and production teams to tap into Pro Sound Effects’ extensive catalogue of more than 1.2m professionally recorded sounds without leaving the Media Composer interface.
Built using Avid’s Media Composer panel
SDK, the integration is designed to streamline workflows from early editing stages through to final picture lock, an advantage for productions operating under tight schedules across film, television and streaming.
The new panel also links with PSE’s SoundQ application, a free cross-platform desktop tool that allows users to browse, search and manage both the company’s library and their own internal sound effects collections. These assets, whether stored locally, on networks or in cloud systems such as Avid Nexis, can be imported directly into Media Composer with metadata preserved. The Pro Sound Effects panel is now available at no additional cost to existing customers.
DIELECTRIC INTRODUCES RINGMASTER FM ANTENNA SERIES
Dielectric has launched its next-gen RingMaster series of high-efficiency FM antenna systems. The new range builds on the established performance of Dielectric’s DCR Series, incorporating a redesigned architecture
aimed at delivering greater efficiency, flexibility and cost-effectiveness for sidemounted FM broadcasting systems. The RingMaster lineup comprises five models, each engineered with a simplified design that reduces component
SYNAMEDIA LAUNCHES GO SHORTS
Video software provider Synamedia has launched GO Shorts as part of its expanded Synamedia Go OTT platform, as an alternative approach to engage mobile-first, Gen Z audiences.
GO Shorts uses AI to transform an operator’s existing content library into a personalised, mobile-first, short-form experience, without requiring new production workflows and without replacing any existing infrastructure. AI identifies and surfaces clips tailored to each user’s viewing behaviour, integrates third-party content and enables
fluid movement from short to long form. With just a single swipe, mobile users can move seamlessly from shortform to long-form content on a larger screen by using their phone app as a remote. A proof of concept can be live in just days.
count by up to 33% compared to conventional systems, thanks to fewer radiating elements.
A key innovation lies in the integration of both full- and half-wavelength spaced arrays, enabling broadcasters to achieve
full FM bandwidth performance, traditionally associated only with halfwave spacing. This approach enhances spectral efficiency while reducing overall antenna weight, addressing challenges such as tower load, structural constraints and installation complexity.
The system also introduces controlled elevation pattern shaping, allowing improved signal consistency across coverage areas. Its flexible design helps optimise performance while lowering operational costs.
For operators pursuing a challenger brand strategy, for example launching a separate Gen Z-focused app alongside their flagship service, GO Shorts provides both the content engine and the audience engagement layer on a shared infrastructure. Using
a single platform for different services allows operators to reduce complexity and costs.
Dr Tzvi Gerstl, EVP Media Technology at Synamedia, said: “The streamers who win with Gen Z won’t be the ones who simply mimic the existing and tired lean-back experience or the ones who build something new from scratch. They’ll be the ones who figure out how to make what they already have feel native to these audiences. GO Shorts does that and it does it in a timeframe that makes experimentation easy, not just theoretical.”
BROADCAST ELECTRONICS RELEASES AMX AM TRANSMITTER
Broadcast Electronics has launched AMX, a next-generation AM transmitter platform based around ultra-high efficiency, scalability, modularity, simplified maintenance and a significantly reduced footprint, at last month’s NAB Show. AMX delivers a remarkable 5kW in a single 5 RU chassis for analogue, HD radio or DRM broadcasts. It is compact, lightweight and
easily shippable via UPS or FedEx – an industry-first, drastically reducing shipping and logistics costs as well as simplifying installation and shrinking transmitter site space and costs.
AMX is first-to-market with its silicon carbide MOSFET RF amplifier and modulator modules. Silicon carbide has numerous advantages over conventional MOSFETs used in all prior AM transmitter designs: increased voltage and current capability, reduced capacitance, increased robustness. This enables AMX to
offer higher performance and more reliability than other technologies. Redundant auto ranging power supplies allow simple single- or threephase power configuration at the transmitter. A wide voltage adjustment range ensures ultra-high quality and reliable operation even at very low power levels, eliminating the need for single-point-offailure transformers.
DECODING WITH MAGEWELL AMAGI UPGRADES CLOUDPORT WITH PLATFORM EXPANSION
Magewell recently launched the Pro Convert IP to AIO 4K decoder, the second model in its latest line of multi-format IP decoding devices. The new system builds on the capabilities of the previously introduced Pro Convert IP to HDMI, adding support for 4K decoding at 60 frames per second. It delivers output through both HDMI 2.0 and 12G-SDI interfaces and supports HDR10 and Hybrid LogGamma formats for enhanced visual quality.
The decoder is compatible with a wide spectrum of IP and streaming protocols, including NDI High Bandwidth, NDI HX2 and HX3, as well as H.264 and H.265 streams delivered via SRT, RTMP, RTSP, HLS, MPEG-TS, Zixi and RIST. An integrated multi-viewer enables monitoring of up to four HD IP input streams simultaneously, offering preset dual and quad display layouts for flexible oversight.
Amagi has unveiled its largest upgrade yet for Amagi CLOUDPORT, introducing more than 250 new features. The platform now supports over 100 concurrent feeds with multi-AZ redundancy, enabling large-scale deployments with enhanced resilience and performance. New additions include Amagi Monitoring, a proactive tool designed to detect issues before they affect on-air operations.
CLOUDPORT also strengthens its reliability and security credentials with SOC 2 Type II certification, 99.999% availability, activeactive multi-region redundancy and SMPTE ST 2022-7 support for uninterrupted playout. On the user experience side, the platform introduces faster playlist publishing, unified multi-channel operations and a redesigned interface aimed at reducing operator workload.
WITBE UNVEILS AI-POWERED INFRASTRUCTURE FOR STREAMING
Witbe’s new AI-powered infrastructure is designed to transform how streaming services are tested, monitored and operated at scale. The platform embeds AI across every layer of streaming video operations, combining real device execution, automation, operational control and observability into a unified system. Its infrastructure integrates four core components: Witbox for real device execution, the Agentic SDK for AI-driven automation, REC for operational control and Smartgate for intelligent analysis.
At the core of the deployment is a global network of thousands of
Witbox robots operating across ISPs, telcos and streaming platforms.
Complementing this is the Agentic SDK, part of Witbe Suite 41, which lets teams generate and run tests using natural language, prebuilt workflows or custom code. The infrastructure automatically adapts to application changes, scales across environments and reduces script maintenance. Users can trigger tests on real devices, launch ad-hoc validations, organise devices dynamically and monitor execution in real time globally. Meanwhile, Smartgate, Witbe’s observability platform, continuously analyses test results to proactively identify and prioritise issues.
LAWO INTRODUCES CONVERGED VIDEO AND AUDIO STAGEBOX
Lawo has launched Edge One, a compact solution for flexible audio and video connectivity in broadcast and pro-AV workflows, combining expandable I/O and functionality in a smaller footprint. One side of the device features eight bi-directional HD-BNC connectors for SDI signals and four HDMI outputs, two of which can alternatively be used as inputs. SFP ports for MADI I/O,
GPI I/Os, an audio interface via USB-C and Sync, Reference and Wordclock connectors are also available.
The other side features three audio interface modules for a variety of I/O applications: Mic/ Line inputs only; Mic/Line inputs and Line outputs; and commentary applications. The audio interface modules are easily
swappable for agile utilisation scenarios.
Edge One supports Lawo FLEX, allowing users to activate only the connector and software functions
native solution supports bandwidths up to 25Gbps and includes RJ45, PoE++ and SFP ports. It also supports stand-alone audio de-embedding
