BroadcastPro ME – May 2025

ISSUE 174 | MAY 2025

Licensed by Dubai Development Authority

T

Evision bowls MENA over Sunil Joy on how evision is using smart rights, cutting-edge technology and a winning commercial strategy to dominate cricket streaming in MENA

“We’re creating space for meaningful conversations that can shape what’s next in our industry.” Orlando Castro, Chief Technical Officer at FGC

VISIT FGC AT CABSAT S1-J10 First Gulf Company (FGC) is returning to CABSAT 2025 with a bold presence, bringing together technology innovators and decisionmakers for a series of expert-led speaker sessions hosted at Booth S1-J10.

“We see events like CABSAT as a space to move the industry forward. Bringing in people with real insight helps us all raise the bar — and that’s what we’re here to do”, says Orlando Castro, CTO at FGC. These conversations underscore FGC’s role as a driving force behind change — backed by real-world expertise and successful projects in the region.

A prime example of this is FGC’s recent collaboration with the Saudi Broadcasting Authority (SBA) on the IP-2110 Master Control Room (MCR) transformation project. Recognized as one of the most closely watched broadcast upgrades in the region, this initiative is expected to influence future infrastructure standards across the MENA market.

“Delivering SBA’s first ST 2110 IP-based MCR was a defining moment, and we’re proud to have led that transition.

Moving from SDI to ST 2110 wasn’t just a technical shift, it was a strategic one that opens the door to what’s next”, says Ramez Abdulsalam, Project Delivery Officer.

Meet the minds behind our latest work, ask the questions that matter, and be part of the region’s broadcast future. www.fgc.sa

PRO|INTRO

broadcastprome.com

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

WELCOME There’s an unusual energy rippling through the Middle East’s broadcast and streaming landscape – a sense that the game is changing, both literally and figuratively. Sport, in particular, has become a compelling

ADVERTISING

force, not just for audiences but for those bringing it to them. From

Group Sales Director Sandip Virk

international rights deals to hyper-local fan engagement, sport is opening

sandip.virk@cpipromedia.com

commercial doors and reconfiguring the media economy.

+971 (0) 50 929 1845 / +44 (0) 7516 993 862

FINANCE Accountant Yonwin D’souza finance@cpipromedia.com

DESIGN & PRODUCTION Art Director Mechielle Penera

EVENTS

Smashi Sports, for instance, has tapped into grassroots passion, venturing into club-level coverage in the UAE to capture local content. At the other end of the spectrum, we see mega-rights deals being snapped up, aligning the Middle East with global viewership trends and creating both opportunities and challenges around monetisation, localisation and scale. Until recently, that space was largely the domain of beIN Sports.

But as our cover story this month reveals, evision and StarzPlay are making a huge impact, particularly in the world of cricket.

It’s against this backdrop that CABSAT takes place this year. The show

Events Executive Sabahat Khan

has become a convergence point for technology, creativity and strategy,

events@cpipromedia.com

with vendors, broadcasters and content platforms looking to the future together. As content consumption habits evolve and sport continues to

DIGITAL SERVICES

attract new investment, I’m excited to be moderating a panel at CABSAT

Web Developer Hafiz Muhammad Waqas

focused on the role of sport in driving broadcast innovation. It’s a timely

IT@cpipromedia.com

conversation that reflects the pace, complexity and promise of the

FOUNDER Dominic De Sousa (1959-2015)

PARTNER Maria De Sousa

Published by

market we serve. But that’s just one of many conversations shaping the region that will be explored at CABSAT. In the meantime, the third edition of the BroadcastPro Manufacturer Awards returns this year with a brand-new Satellite element. These awards have become an important platform for innovation, visibility and recognition, particularly for those pushing boundaries without the marketing muscle to make themselves heard. I hope you participated in the awards. If not, there’s always next year.

See you at the show.

The publisher of this magazine has made every effort to ensure the content is accurate on the date of publication. The opinions and views expressed in the articles do not necessarily reflect the publisher and editor. The published material, adverts, editorials and all other content are published in good faith. No part of this publication or any part of the contents thereof may be reproduced, stored or transmitted in any form without the permission of the publisher in writing. Publication licensed by Dubai Development Authority to CPI Pro Media FZ LLC. Printed by Al Bony Printing Press LLC. CPI Pro Media. PO Box 13700, Dubai, UAE. DQuarters, Dubai Science Park (TECOM) +971 55 1053787 cpipromedia.com © Copyright 2025. All rights reserved.

VIJAYA CHERIAN, EDITORIAL DIRECTOR 1

www.for-a.com

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PRO|CO NTENTS

broadcastprome.com

5

UPDATE

ANALYSIS

NEWS

WINNING RAMADAN CONTENT STRATEGIES

BeIN launches streaming service with Synamedia; Meet the new CEO of MBC Group; Al Jazeera to modernise news production across global bureaus; Vizrt and Blinx partner for TikTok Live; and more

16 22

Every Ramadan, over 120 satellite channels across the Arab world battle for viewers as musalsalat dominate screens.

Heba Korayem breaks down the key trends for 2025.

12 COVER STORY

EVISION BOWLS MENA OVER Cricket’s rising popularity in the MENA region has helped evision craft a powerful sports offering, driven by smart acquisitions, platform evolution and new revenue models. Evision Head of Content Sunil Joy tells Vijaya Cherian how sport has become a game-changer in the company’s entertainment strategy

INTERVIEW

FIRESIDE CHAT: PLAYING TO WIN

THE NEW FACE OF IABM

MBC and BytePlus discuss gaming and engagement

A new CEO. A fresh vision.

And a long-overdue shakeup at IABM. Saleha Williams tells BroadcastPro she is here to do more than lead – she’s here to disrupt

26 48

TECH STRATEGIES IN MENA MEDIA Tech experts discuss embracing data insights, AI and hybrid tech models to succeed in a streaming-first world.

CABSAT 2025

30

INSIDE MENA’S PODCAST SURGE

THE EXPANDING ROLE OF AI IN BROADCAST

MENA leaders explore the rising influence of podcasts

Senior regional execs unpack AI’s impact on video and broadcast

A SNEAK PEEK AT NEW SHOWCASES SET TO SHINE AT THE MIDDLE EAST SHOW THIS YEAR

52 GUEST COLUMN

36

42

BRIDGING THE LATENCY GAP WITH BROADCAST IN A STREAMING WORLD 3

RETHINK YOUR INFRASTRUCTURE

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05/25 broadcastprome.com

BeIN launches streaming service with Synamedia’s cloud video platform

Synamedia has announced that beIN Media Group is the first broadcaster to go live with its cloud video platform, Senza, using the technology to power the launch of its new subscription streaming service, beIN STREAM, across select countries in the MENA region.

With Senza’s flexible cloud-based architecture, beIN is able to enter new markets and expand its reach with significantly

reduced onboarding costs and the ability to update the platform’s user interface instantly, without needing to push software updates across every device. The platform bypasses typical ecosystem fees and revenue shares, transforming the economics of content delivery while offering advanced features like AI-generated video and dynamic, cloud-rendered graphics for a more immersive viewing experience.

Israel Esteban, CTO at beIN, said: “BeIN is at the forefront of embracing advanced technologies with the power to grow our business by reaching new customer segments across a broader array of devices.

We have adopted several breakthrough technologies from Synamedia over the years, and we look forward to extending our partnership as we explore the opportunities offered by Senza.”

Designed for versatility, Senza also opens up new monetisation avenues for industries beyond traditional media, including hospitality and IoT, by eliminating technological barriers and enabling engaging, customisable video delivery.

PRO|N E WS

Keep up-to-date at broadcastprome.com MIKE SNEESBY TAKES OVER AS CEO OF MBC GROUP

Mike Sneesby.

MBC Group announced major leadership changes at the network last month, with Mike Sneesby succeeding Sam Barnett as Group CEO from May 1.

Barnett will take on a new executive role in Europe.

He had served as CEO since November 2011, succeeding Executive Chairman Waleed AlIbrahim. He’ll continue to support the group as Advisor to the Board.

Mike Sneesby most recently served as CEO of Nine Entertainment

YAMEN BASSILI JOINS VICE MEDIA AS HEAD OF GROWTH FOR MEA REGION

(2021-2024), Australia’s largest media company.

Previously, he was

VICE Media Group has named Yamen

led Growth at VMLY&R, contributing

the CEO and founder

Bassili its new Head of Growth for the

to strategic brand initiatives across

of Stan (2013-2021),

Middle East and Africa (MEA). After

diverse industry sectors. He has

which he built into a

two decades spent in the advertising

also held leadership roles at DDB,

successful streaming

landscape, he’ll be driving Virtue &

Saatchi & Saatchi X, Mirum and

platform. He was also

VICE’s next wave of unconventional

VML, with a strong focus on brand

CEO of the e-commerce

partnerships. Prior to joining VICE, he

development and transformation.

platform Cudo and VP of IPTV at Intigral.

5

PRO|N E WS

MAY 2025

Al Jazeera to modernise news production across global bureaus

At Al Jazeera’s HQ in Qatar.

Al Jazeera Media Network will deploy EVS’ MediaCeption content management solution across five major news hubs: Doha, London, Washington, DC, New York and Sarajevo. The move aims to streamline the network’s news production workflows and enhance collaboration across its

global operations.

The deployment will give Al Jazeera a centralised, integrated system for ingesting, editing, managing and playing out live and near-live news content. With MediaCeption, each bureau will be able to browse and edit incoming feeds in real time, share packages

across locations and deliver content more efficiently.

The solution includes XS-VIA servers, VIA MAP media asset platform and XStore storage, all designed to improve speed, reliability and production flexibility.

Ahmad Al Fahad, Executive Director of Technology & Network Operations at Al Jazeera Media Network, stated: “We are pleased to work with EVS to bring MediaCeption into our news production ecosystem.

EVS’s proven track record of delivering fast and reliable solutions, combined with its global technical support presence, gives us the

confidence to meet the challenges of modern news delivery. The deployment of MediaCeption will not only enhance our operational efficiency but also bolster our ability to deliver high-quality, timely content to our viewers around the world.”

The system integrates with major industry tools such as Avid Media Composer, Avid Media Central and Viz Mosart, ensuring smooth interoperability within Al Jazeera’s existing ecosystem.

It is scheduled for installation in Q2, with Al Jazeera set to go on air with it in Q3 2025.

DEJERO POWERS CONNECTIVITY FOR BLOCKCHAIN INSTITUTION ASSEMBLY

Dejero Smart Blending Technology has played a crucial role in facilitating a three-day virtual blockchain institution assembly, seamlessly connecting 500 delegates in Argentina with 50 in Kenya. The event enabled real-time negotiations and the signing of a new constitution through uninterrupted connectivity.

6

Hybrid event broadcast specialist Stream7 managed live streaming operations for First Event, a corporate events company. To ensure flawless 1080p video quality and seamless two-way communication, Stream7 relied on Dejero’s solutions, which provided a stable connection between both locations via Zoom.

Darren Wain, Stream7 Managing Director, said: “Both locations posed network challenges, including the risk of power outages and unstable network infrastructure.

We relied entirely on the Dejero EnGo 265 with

GateWay Mode for internet connectivity in Kenya, and the GateWay 211 provided crucial internet back-up in Argentina, which is notorious for rolling black-outs.”

Silicon Savvy supplied four international roaming SIMs for a Dejero EnGo 265 mobile video transmitter in Kenya, while Watchapp provided a Dejero GateWay 211 network aggregation device via HiChat in Argentina to ensure a reliable backup connection.

Powered by Dejero Smart Blending Technology, the GateWay and EnGo solutions dynamically combine multiple wired and wireless connections – 3G/4G/5G,

Wi-Fi, satellite (LEO, NEO, GEO), broadband – offering unmatched reliability, wider coverage and increased bandwidth for live streaming.

These plug-and-play devices made for easy remote set-up, and their intuitive interfaces meant that even inexperienced users were confident about operating them: “We had just seven days to organise streaming at the Kenyan location, but with the fantastic support provided by Dejero and their partners, along with the operational simplicity of the solutions, it was a stress-free experience,” added Wain.

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PRO|N E WS

APRIL MAY 2025

Vizrt and Blinx partner on real-time XR integration for TikTok Live

Vizrt has partnered with Dubai-based Blinx Media to introduce an industryfirst TikTok Live livestream featuring advanced extended reality (XR) graphics. This collaboration is reportedly the first time content has been created in a virtual studio where audiences can interact and transform the environment in real time through TikTok’s gifting features.

Hosted by prominent media personalities and regional influencers, the livestream allows users to influence the visual experience dynamically.

For example, when a viewer gifts a virtual galaxy, the studio shifts into a galactic-themed animation with their name prominently displayed in 3D within the scene. This will enhance audience engagement and interactivity, and elevate the live-streaming experience.

The XR experience is powered by Vizrt’s Viz Engine 5, a cutting-edge real-time 3D graphics rendering and compositing engine.

Integrated with Unreal Engine, Viz Engine 5 manages video I/O, camera tracking data and video wall projections, ensuring seamless execution

of the immersive graphics.

Chris Black, Chief Marketing Officer, Vizrt, said: “With TikTok driving $400m in user gifting in the US alone last year, this collaboration with blinx showcases the potential of real-time XR experiences to revolutionise industries like live media production, influencer-led initiatives and branded digital engagement.

More content creators are looking to monetise live streams, and this technology demonstrates how greater levels of monetisation can be achieved without the hard sell, instead driving transactions with deeply immersive entertainment opportunities for audiences.”

This is the first use of TikTok’s Live API with Viz Engine, broadening access to AR-driven content creation on the platform. Vizrt’s XR

solutions are widely adopted by top global broadcasters and entertainment networks for delivering captivating AR storytelling through a streamlined interface.

Fadi Radi, Chief Creative Officer at Blinx, commented: “Blinx is committed to pioneering gamification and fostering one-to-one interactions in live streaming.

With this project, we’ve demonstrated technology that is years ahead of current realtime audience engagement features on platforms like TikTok. By integrating TikTok’s API with Vizrt’s XR capabilities, we’re redefining how people connect with live content. This fusion creates an entirely new experience where gifting players and viewers actively shape immersive, ever-evolving visual narratives within a dynamic virtual environment they control.”

BeIN Media Group extends UEFA club competitions broadcast deal through 2027

8

Champions League, Women’s

maintain exclusive rights to

Champions League, Europa

every match, broadcasting

League and Conference

across its network in

League in 33 markets for

countries including Algeria,

the next three years. The

Egypt, Saudi Arabia, the

BeIN Media Group and

Sports continues to broadcast

Women’s Champions League

UAE, Qatar, Malaysia, Hong

UC3, the joint venture

European football’s premier

will also adopt an expanded

Kong and Thailand.

between UEFA and the

club competitions live and

18-team league format

ECA, have renewed their

exclusive across MENA and

starting in the 2025/26 season.

UEFA club competition

long-standing media rights

Asia until 2027. This means

The renewed agreement

coverage to Indonesia and

agreement, ensuring beIN

beIN will continue to air the

ensures that beIN Sports will

The deal also restores

the Philippines.

Stand

106

PRO|N E WS

MAY 2025

SRMG Academy and Alkhaleej Training partner to launch media training programmes

Senior executives from SRMG Academy and Alkhaleej Training at the signing ceremony.

SRMG Academy has signed a strategic partnership with Alkhaleej Training and Education to deliver cutting-edge training programmes aimed at media and communications professionals, as well as corporate leaders, in Saudi Arabia and beyond. This collaboration will bring together SRMG Academy’s

expertise in media, communications and content creation and Alkhaleej’s experience in professional and leadership training, to meet the increasing demand for high-quality media education in the region.

The courses will cover areas such as digital marketing, public relations, filmmaking, content creation and executive

media training. Topics like public speaking, crisis communication, personal branding for executives and the use of AI in content development will also be part of the curriculum.

With over 400 training labs and 40 centres across KSA, Alkhaleej Training and Education brings a track record of delivering effective training programmes across sectors. Alaa Shahine Salha, MD of SRMG Academy, said: “By combining our strengths, we will provide professionals with the tools and knowledge they need to thrive in an everevolving industry.”

SABCO MEDIA APPOINTS OMAR OTHMAN CEO

Omar Othman.

SABCO Media, a privately-owned media group in the Sultanate of Oman, has named Omar Othman its new CEO. The company operates through three core entities: SABCO Art, SABCO Media and SABCO Press.

Collectively, they span a diverse range of media

Mohamed Ali Hamdan Almirza Alhammadi, CEO of Mada Media.

Mada Media has launched

Mada Media announces online platform to streamline ads in Dubai

services, including

vehicles; private land and

and promote aesthetic and

television production and

buildings. By integrating

safety standards in public

outdoor advertising.

these services into a single

advertising, all within the

Omar Othman joins

digital interface, the new

framework of the Dubai

SABCO Media with more

platform eliminates the need

Investment Fund.

than two decades of

for advertisers to navigate

radio broadcasting, digital platforms,

With immediate effect,

executive experience in

multiple systems and ensures

companies and institutions

media leadership, digital

compliance with Dubai’s

can begin submitting

transformation and

OOH advertising manual.

advertising permit

strategic partnerships.

applications through the

He has held key roles

an online platform to

This initiative aligns with

consolidate the process

Mada Media’s strategic plan

new website. The agreement

in regional media firms

of out-of-home (OOH)

to standardise and simplify

enables Mada Media to

such as Al Aan TV, OSN

advertising applications

advertising permit procedures

regulate and modernise the

and MBC Group, where

across Dubai. It covers a wide

while enhancing the overall

emirate’s OOH advertising

he was instrumental

range of advertising spaces,

customer experience. It also

sector by introducing

in content innovation,

including right-of-way areas;

supports the company’s

a transparent, unified

digital growth and

public transport networks

broader mission to transform

framework that meets

forging high-impact

such as metro, buses, trams

Dubai’s OOH advertising

Dubai’s technical, regulatory

commercial alliances

and taxis; commercial

sector, improve efficiency

and visual guidelines.

across broadcast and streaming sectors.

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PRO|N E WS

broadcastprome.com

StarzPlay reports MENA channels rake in record growth in 2024 the dollars on YouTube StarzPlay has announced record-breaking financial and operational performance for 2024, propelled by its strategic partnership with the Abu Dhabi Investment Office (ADIO). The platform’s revenue has exceeded $100.73m, a more than 2.5-fold increase since the collaboration began in 2022.

The partnership has played a pivotal role in expanding StarzPlay’s regional presence and technological capabilities.

Operating from its HQ at Yas Creative Hub in Abu Dhabi, the company has grown to a team of more than 40 employees, focusing on innovations in AI-powered content curation and user engagement.

HE Badr Al-Olama, Director General of ADIO, said: “By supporting companies like StarzPlay to grow and innovate, we are empowering high-growth companies to create jobs and drive industry transformation.

The results achieved in 2024 are a testament to this successful collaboration and reinforce the emirate’s position as a global hub for media, entertainment and technology.”

Maaz Sheikh, CEO of StarzPlay, commented: “Our partnership with ADIO has played a key role in our journey. ADIO’s support has helped us expand our operations and introduce

many solutions, such as AI-driven content discovery, improving the overall entertainment experience. As we look toward the future, we are committed to reinforcing Abu Dhabi’s leadership in the global media landscape.”

StarzPlay has also made significant strides in live sports streaming, securing exclusive rights to broadcast ICC tournaments, including upcoming cricket world cups, and UFC events. The company has leveraged Abu Dhabi’s robust infrastructure, such as the AWS regional data centre, to ensure high-quality, uninterrupted streaming experiences for its users.

In addition to sports, StarzPlay has expanded its slate of original productions.

Recent titles like Unstoppable: The Italian Dream, produced in partnership with Serie A and ImageNation, were filmed in Abu Dhabi and highlight the emirate’s growing influence in global sports storytelling.

StarzPlay is also capitalising on AI innovation through its new StarzPlay Fantasy Sports platform. Developed in Abu Dhabi with ADIO’s support, it offers real-time engagement with live matches and personalised content recommendations powered by machine learning. Looking ahead, StarzPlay plans to scale its content production, invest in live sports and enhance its digital offerings.

As YouTube celebrates its 20th anniversary, the platform has released new data showing that the number of channels earning more than seven figures in Saudi riyals has grown by 40%, while Egypt has recorded a 60% increase in channels earning millions of Egyptian pounds. In the UAE, the rise is 15% in channels achieving comparable success in Emirati dirhams. The platform’s global influence is evident in the international reach of MENA creators. YouTube revealed that over 95% of watch time for content produced in the UAE comes from viewers outside the country. Similarly, more than 60% of the watch time for Egyptian channels originates from international audiences, highlighting the region’s storytelling appeal on the global stage.

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P R O | R A M A DA N

MAY 2025

YOUTUBE IN RAMADAN: THE SILENT GIANT Every Ramadan, more than 120 satellite TV channels across the Arab world engage in a high-stakes content race. Scripted dramas – aka musalsalat – become cultural currency, and platforms compete fiercely for attention. Heba Korayem takes us through the trends for Ramadan 2025 With an estimated* $300500m in annual production value, the Ramadan TV season is the most important window in the Arab content calendar.

Drama titles released during

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this 30-day period are not only considered the most expensive, but also the most tradeable.

They often serve as proxies for platform strength, market influence and audience loyalty.

Without this concentrated cycle of content production and acquisition, tracking the full scope of market activity, especially beyond the commonly referenced ‘big five’ MENA media entities

P R O | R A M A DA N

broadcastprome.com

(MBC, OSN, BeIN, StarzPlay, YangoPlay), would be nearly impossible. These important trends are rarely reported in Englishlanguage industry analysis, but for those who understand Arabic and follow the region from within, it’s clear that each of the 22 Arabicspeaking countries has its own local ‘top three’. Ramadan brings these players to the forefront, offering one of the clearest indicators of regional opportunity.

In Ramadan 2025, one player stood apart from the traditional broadcast-OTT tug-of-war: YouTube.

Roughly 40% of all tradeable Ramadan scripted series in 2025

were released on YouTube. That’s over 100 high-quality serialised dramas made freely available, not including low-budget content like talk shows or cooking programmes.

If YouTube were to acquire those assets the way a TV channel or AVOD platform would, it would cost it an estimated $80m. This is a conservative figure calculated using the same metrics many producers use in the local market to price their content, based on perceived audience size of the platform, territory rights, exclusivity, perceived buying power of the platform and, well, personal relationships.

YouTube democratises access to content, but if these are considered the Arab world’s most valuable video assets, this raises critical questions: Who is uploading them – and why? Aren’t they concerned that free distribution will reduce licensing potential? With CPM rates in MENA lower than in other regions, is YouTube revenue truly sustainable for first-run scripted content? What about the 60+ OTT platforms operating in MENA? Is YouTube acting as a launchpad, or as a competitor?

YouTube by the numbers

Our analysis points to four

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P R O | R A M A DA N

main YouTube strategies used

by MENA players, helping to provide a clearer vision of who’s monetising what, where and how, as well as the limitations and territorial preferences.

1. Prioritising reach via crossplatform distribution

40% of Ramadan 2025’s tradeable video assets were released on YouTube while also airing on various TV channels and OTT platforms. This means OTTs are sometimes waiving exclusivity and allowing simultaneous or slightly delayed YouTube releases, mainly for marketing value. It’s also a smart, if unconventional, play by some producers and distributors trying to have their cake and eat it too during price negotiations with VOD platforms. Examples include Al Ahd and Layali Roxy, along with several titles from Egypt and Yemen which were partially or fully available on YouTube.

But does wider accessibility guarantee higher viewership? The answer lies in duration. Yes – if a title retains viewers past the first few episodes. No – if a title doesn’t really stick. Parrot Analytics data confirms this. Of the season’s most widely distributed titles, only two ranked among the top 10 most-viewed shows across four key MENA markets, measuring the entirety of the Ramadan season.

Interestingly, those titles weren’t the most distributed ones. While Syrian titles Layali Roxy and Al Ahd were the most widely released, the former available on over 20 MENA platforms and TV channels, it was Hakim Basha and Fahd El Batal – Egyptian titles by Synergy appearing on nearly 15 platforms, including YouTube – that consistently ranked 14

MAY 2025

highest in popularity among viewers.

2. YouTube-first strategy

This one’s interesting – over 3% of Ramadan releases followed a YouTube-first model.

Five in One is a fun experiment targeting Gen Z, youth and basically any adult younger than us. It’s the first truly pan-Arab, multi-dialect short-form drama/suspense series made up of just five episodes and starring only influencers. It’s packed with Gen Z energy. Was it popular?

1.5m views per episode – pretty solid! Is it the future of Ramadan entertainment? Probably not.

Other YouTube-first titles came from independent producers in Tunisia and Sudan, bypassing both networks and platforms, usually supported by sponsorships.

3. Branded content

These are series fully funded by product placement or corporate sponsorship.

Notable examples include Tunisia’s Arriere el Goddem, a 12-episode nostalgic comedy funded by six sponsors including big brands like Peugeot and LG, which reached 1.5m views per episode. It was released only on YouTube after a struggle by the producers to break into the gate-keeping structure of traditional channels. In Bahrain, the state broadcaster’s Ramadan Sherif featured overt product placements and generated around 100k views per episode. In a region lacking unified audience measurement tools, YouTube views are a valuable metric for advertisers on TV networks and a revenue source for producers.

4. Catch-up strategy

For broadcasters lagging in digital transformation, YouTube

serves as a catch-up platform.

54% of YouTube uploads came directly from TV networks, especially in North Africa. Before 2018, this was common practice. But with the rise of digital monetisation and long-term value realisation, many have shifted to launching their own OTT platforms. In 2025 around 20 TV networks have continued this trend, fewer than last year.

Notably, Morocco, Yemen and a private Libyan broadcaster have now invested in their own OTT infrastructure.

Regional distribution patterns by country

A heatmap of YouTube distribution shows clear regional patterns across the MENA region.

- Algeria and Morocco lead in YouTube + TV dual release - Egypt favors TV and OTT, rarely uploading new assets to YouTube - Tunisia embraces YouTube-first models - GCC countries like Kuwait and Saudi Arabia stick to closed ecosystems (TV + OTT) This regional behaviour offers deep insights into platform alliances, monetisation preferences and target audience strategies by country.

YouTube’s flexibility, scalable ad model and viral reach make it especially appealing for youthoriented or dialect-specific content from underserved markets.

Strategic outlook: What’s next?

- More broadcasters, especially GCC state entities and those in the Franco-Arab region, will invest in OTT tech infrastructure while still using YouTube for marketing (not catch-up).

- Private channels may skip OTT development but pursue

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stronger platform partnerships.

- Producers will continue to use YouTube as a testing ground and monetisation tool; more importantly, for ad-funded entertainment programmes; most definitely, for the most anticipated upcoming trend: Arabic micro-drama.

- Platforms will maintain a lovehate dynamic with YouTube, a topic deserving its own analysis.

-Tech service providers: The MENA market right now is like Disneyland for tech vendors and will continue to be, particularly in the AdTech space.

- Investors remain cautious, but rising access to content performance data is building confidence

and attracting international investment in regional content.

To outsiders, MENA’s content market may appear fragmented, even chaotic. But Ramadan exposes its underlying structure. For those familiar with the region’s cultural rhythms, it offers one of the clearest roadmaps to untapped opportunity in a rapidly evolving media economy.

This article only scratches the surface of the region’s dynamic content landscape. A deeper dive into the funding sources behind regional video assets, platform affiliations, shifting global power plays and growing inter-regional competition reveals even more opportunity – and explains how this

market is fuelling both innovation and exponential growth. *Source: HConsult Content Market Tracker Figure estimated based on: 1. Data from production sources across key markets 2. Content market activity and trading prices

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EVISION BOWLS MENA OVER Tapping into the MENA region’s growing passion for cricket, evision has built a dominant sports portfolio through smart rights deals, platform innovation and unique monetisation strategies. In an exclusive conversation with BroadcastPro ME, evision’s Head of Content Sunil Joy shares how the company has used sport to reshape the region’s entertainment landscape

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In an era defined by mobile-first audiences, on-demand content and real-time social media interaction, sport remains one of the most powerful engines of engagement. Its unpredictability captures the imagination of a global audience, while technology continues to transform how fans experience the action, no matter how far they are from the field.

And as personalisation becomes central to sports consumption, streaming platforms feed this transformation with anytime, anywhere viewing. This expands reach and offers flexibility that caters to the diverse demands of sports enthusiasts, in return driving smart monetisation models that support and benefit a growing segment. From pay-per-view to ondemand shows, sports broadcasting has undergone a sea change.

The MENA region, with its historic love for football, has witnessed growing loyalty towards cricket, driven largely by the South Asian diaspora and the recent trend of hosting international cricketing events in the region. The sport has established a stable following in markets such as the UAE, Saudi Arabia and Qatar, attracting significant viewership and offering brands a valuable opportunity to connect with a niche audience.

Identifying the substantial cricket fanbase in the region, evision seized the opportunity to establish itself as the MENA home of cricket. The media and entertainment arm of the region’s biggest tech company, e&, has seen the region’s demand for premium cricket and has strategically acquired broadcasting rights to some premium games, including exclusive ICC rights.

Recognising the growing demand

for cricket, evision launched CricLife in 2019 alongside the 12th ICC Cricket World Cup, and the channel quickly evolved into a dedicated platform for showcasing international cricket. Rising interest in the sport soon led to the launch of CricLife2 and CricLife3, along with their availability on the streaming platform StarzPlay.

This was the first local streamer to recognise the value of sports content and begin investing in niche sports rights, challenging the near-monopoly of regional heavyweight beIN. The subsequent acquisition by evision of a majority stake in StarzPlay strengthened both companies’ positions in the competitive sports rights arena, establishing them together as a formidable force in the region.

After securing key tournament exclusive rights from the ICC, the BCCI and the Pakistan Cricket Board, evision expanded the lineup in 2023 to include the Indian Premier League (IPL), the most popular cricket league in the world.

“Since then we’ve strategically built one of the most comprehensive cricket portfolios in the region, now holding the rights to all ICC tournaments, the Asia Cup, the IPL and more,” says Sunil Joy, Head of Content at evision.

While evision has made a special investment in cricket, it has also broadly invested in sports rights that serve a wide range of interests and preferences. “Sport has helped us create appointment viewing again. We’ve seen significant spikes in user acquisition, time spent and retention, particularly among younger audiences. More importantly, it has strengthened our platform’s brand equity,” says Joy. 17

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Cricket rights are no doubt expensive, but evision has always made it publicly clear that it only goes after rights that are commercially viable. To make that possible, it has developed a multifaceted monetisation strategy that combines strategic partnerships, subscription models, advertising revenues and content bundling.

Specifically with the IPL, where evision has exclusive MENA linear broadcasting rights and non-exclusive MENA digital rights, leveraging both depends on how smartly it can activate and scale. For the latter, evision platforms offer superior quality of service through ultra-low latency, regional customisation and smart bundling options, making it the preferred streaming destination for IPL in the region.

“Our approach ensures we cater to the monetisation potential of exclusivity and the fan-first promise of accessibility. It boosts our advertising inventory and revenue potential, as more brands can enter the IPL ecosystem through targeted, scalable campaigns,” says Joy. With media rights valued at a staggering $6.2bn for the 20232027 cycle and per-match value of $15.1m, the IPL is a global sport and entertainment phenomenon.

It has consistently ranked among the top five sports leagues worldwide, standing with the NFL (US), Premier League (UK), NBA (US) and MLB (US) in terms of media rights valuation, fan engagement and franchise worth.

With a diverse, top-tier player base from the great cricketing nations of the world, its global footprint continues to expand.

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Broadcast in over 190 countries, it is one of the most-watched sporting events in the world, with the Middle East emerging as its largest international market.

Securing rights to a premium sports property like the IPL was the result of a clear, forwardlooking strategy centred on market insight, regional commitment and platform capability. It is a more controllable, scalable asset with long-tail value, explains Joy. “IPL is a commercially sustainable asset. It’s repeatable, localisable and monetisable each year. And when it comes to securing such a powerful property, exclusivity is everything.

We understand that streaming success hinges on strategic rights management. While licensing remains key, the true value lies in how those rights are activated in a region witnessing exponential digital growth.”

Recognising the region’s growing passion for cricket, and understanding the craving for accessibility and engagement, allowed the company to move swiftly and decisively when the rights became available.

Aligned with that came its core commitment to building long-term value in sport.

“We weren’t just bidding for content; we were investing in a multi-year vision that supports the growth of cricket and other premium sports in the region.

Our track record with exclusive properties like UFC, Serie A, PGA and the ICC portfolio strengthened our position for evision and Starzplay as a credible, capable partner,” adds Joy. Marking a bold step forward this year, with the aim of significantly

expanding reach across segments, some IPL matches have been made free to watch via evision’s AVOD (advertising-based video on demand) platform Starz On. In today’s competitive rights environment, exclusivity is merely a part of the ecosystem. It is primarily about the end-to-end experience – activating, packaging and retaining value – rather than just about streaming the game.

Being a premium appointmentviewing model backed by highvalue sponsorships, expert coverage and curated programming has reinforced evision’s prospects.

Low latency, regional language options and smart bundling make the platform an important choice for cricket fans in the MENA. “What sets us apart is the broader network that has been built to retain sports audiences beyond the tournament. We’re not just a cricket destination, we’re an

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entertainment hub – viewers are left with fewer reasons to leave and more reasons to stay,” says Joy. Owing to the nature of its fan following, serving a vast viewing field was an important element of the IPL content acquisition strategy. Cricket audiences in India have deep-rooted state and city allegiances, which the IPL thrives on. The MENA viewer, on the other hand, is cosmopolitan and player-driven, with a higher ARPU (average revenue per user).

The IPL balances both worlds – in India it builds on loyalties, while in the MENA it amplifies crossborder narratives that resonate with a multicultural audience.

“This duality is what makes the IPL such a powerful property,” says Joy. “It is deeply local at its core, yet truly global in its appeal. And we tailor our strategy to suit that. Our storytelling, promotions and platform

Our approach ensures we cater to the monetisation potential of exclusivity and the fan-first promise of accessibility. It boosts our advertising inventory and revenue potential, as more brands can enter the IPL ecosystem through targeted, scalable campaigns SUNIL JOY, HEAD OF CONTENT, EVISION

experience differ by market, making the experience inclusive, aspirational and globally tuned.”

India is undoubtedly the IPL’s core market, accounting for over 80% of viewership. Ad models reflect broad targeting, high frequency and multi-platform amplification. In contrast, the MENA is a premium, precisiondriven market. Brands think of regional relevance, audience affinity and cultural alignment.

Optimising a premium product such as the IPL requires a model that can adapt to changing viewing patterns as well as diverse market conditions. Evision depends on a blend of multiple streams that include subscription, ad-supported models and sponsorships tailored to different content types and viewing experiences.

For the current IPL season, it has introduced an ad-supported model that allows it to leverage 19

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programmatic ads as well as partner with brands to tap into a larger audience base, and simultaneously increase revenue through targeted, scalable ad opportunities.

Given the popularity of the IPL in the GCC, customisation efforts are geared towards enhancing the experience with curated match highlights, smarter ad targeting based on user behaviour and low-latency streaming.

“On our platforms, latency has been brought down to 8-12 seconds and the aim is to adopt the ultralow-latency tech (1-3 seconds) soon. We are using adaptive cloud-based delivery infrastructure, [and have] built responsive UIs and synchronised data layers that ensure users get the same experience on a mobile app, web browser or connected TV,” says Joy. Piracy poses a significant challenge to rights exclusivity.

Illegal streaming during high-profile tournaments, facilitated by social media and unauthorised IPTV apps, is prevalent. It threatens overall revenue and undermines sponsor confidence, says Joy. “By investing in advanced security measures, enhancing legal streaming services and collaborating with regulatory bodies, the industry can combat piracy effectively and safeguard investments in sports media.”

Sports consumption is undergoing a significant transformation in the MENA, with exciting possibilities for the future of sports media in the region. From a passive consumer base, it has evolved into an active sports engagement hub and curator of premium sporting content, strengthening the link between audiences and sport.

And as AI leans into all of 20

MAY 2025

At the evision office in Dubai.

this, interactive viewing will be the standard. Broadcasters are integrating real-time stats, interactive features and social media-style edits to optimise vertical viewing. As technology brings about this flexibility, power has shifted to viewers.

Fans enjoy deeper engagement than ever before by way of AR, VR and 360-degree broadcasts.

AI powers dynamic graphics and visuals during live sport, and offers in-game enhancements like player tracking, augmented reality overlays or even virtual commentators.

“Traditional gave a fixed angle, and digital is changing all of that,” says Joy. “On-demand controls allow viewers to pause, rewind or watch key moments in slow motion or at their own pace.”

Growth in MENA digital sports consumption is largely driven

by Gen Z and millennials, whose engagement and viewership surpasses their counterparts in Europe and the US. Interest in sport has climbed from 27% in 2021 to 36% in 2024 among 16-24-yearolds, a 33% increase over three years. This is linked to strategic regional investment in local and international sports leagues, clubs

and events that are increasingly accessible via digital platforms.

Football remains the dominant sport in terms of content acquisition, viewership numbers and commercial viability. During the 2022 World Cup in Qatar, nearly 93% of the adult population in the country tuned in for key matches. However, cricket is becoming increasingly significant. Data from the 2023 IPL shows strong viewership growth in the GCC, with the UAE leading in engagement. This growth is expected to continue with the rising popularity of the IPL and as more international cricket tournaments are hosted in the region.

The future of MENA sports streaming, and specifically in the GCC, will be about delivering a personalised, accessible sporting experience for the viewer while unravelling new revenue streams that guarantee long-term digital growth and sustainability for the broadcaster.

“Evision’s objective is to invest responsibly, scale strategically and become the trusted digital sports destination in the region, and in so doing deepen our impact on the sporting landscape,” concludes Joy.

P R O | I N T E RV I E W

BREAKING BARRIERS, BUILDING FUTURES: THE NEW FACE OF IABM A new CEO. A fresh vision.

And a long-overdue shakeup at IABM. Saleha Williams tells Vijaya Cherian she is here to do more than lead – she’s here to disrupt

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When Saleha Williams stepped into the role of CEO at IABM – the International Association for Broadcast and Media technology suppliers – she wasn’t just filling a vacancy. She was stepping into history.

As the first woman to lead the organisation in its decades-long existence, Williams brings more than just industry experience to the table. She brings vision, courage and a refusal to maintain the status quo.

“I was brought in with a clear mandate to revitalise IABM,” she says. “The industry has gone through a turbulent few years, and so has IABM. It was time for change.”

Williams’ appointment reflects a marked shift in the broadcast technology sector. With more than 35 years in the industry, spanning roles across technology, media, consultancy, marketing and commercial strategy, her deep understanding of the ecosystem is matched only by her passion to future-proof it.

“I’ve grown up with IABM,” she says. “I’ve been a

member, a presenter, an interviewee.

I’ve helped with conferences. I know what it’s been and what it can be.”

Williams is generally perceived as a transformation agent, driven by innovation and bold thinking.

“If you want someone to just keep things going the way they’ve been, I’m not that person. IABM has often been perceived as very British, malebased, older, even focused on legacy broadcast hardware – not global, not diverse, not innovative. Some have even questioned its relevance. That’s the perception I’m here to change.”

That honesty has been a breath of fresh air to many members, but she acknowledges that transformation comes with friction.

“Change is hard. And it’s not just about new leadership – it’s about an industry at an inflection point.

Some have built amazing careers in this space, but the world is shifting.

Technology, AI, convergence, geopolitics – it’s all coming to a head.”

There’s also no ignoring the fact that some pushback has had a different undertone.

“There are people who don’t think a woman should be running IABM. That’s a very small group, but it exists. My answer is simple: I’m not here because I’m a woman. I’m here because I’m the best person for the job.”

One of Williams’ priorities has been reimagining how IABM delivers value, not just at trade shows but year-round.

“There’s a perception that IABM is where you go to get trade show discounts. And yes, you’d be mad not to take advantage of that.

But there’s so much more we offer, and it’s often buried.”

From free AI courses and professional training to market insights and strategic support,

Change is hard. And it’s not just about new leadership – it’s about an industry at an inflection point.

Some have built amazing careers in this space, but the world is shifting.

Technology, AI, convergence, geopolitics – it’s all coming to a head SALEHA WILLIAMS, CEO, IABM

Williams wants members to tap into what she calls “buried treasure”.

“We’ve launched new training programmes, expanded our Vantage analytics platform, and we’re offering tailored regional insights. Most of it is included in the membership, and members are genuinely surprised when they discover what’s already available to them.”

She also speaks candidly about internal challenges.

“Without a CEO for nearly two years post-Covid, we had to reset our internal systems – CRM, data platforms and onboarding tools. We’re not just rebuilding the website, we’re rebuilding the machine behind it.”

Her strategy has also placed a strong emphasis on international engagement, particularly in the Middle East. At 23

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CABSAT 2024, IABM isn’t just attending – it’s curating, convening and creating a destination.

“We’re reimagining the lounge experience. It’s not just coffee and chats anymore, it’s a hub for deals, real conversations and collaboration.

We’re also programming conference sessions, returning with the UpStream event and working closely with AV groups like AVIXA as the industry continues to converge.”

Williams is acutely aware of the need for neutrality and independence.

“We are not-for-profit, genuinely independent, and every penny we make goes back into member benefits. That’s important in an industry that’s questioning who’s really working for them.”

At NAB this year, Williams and her team piloted a new model of member engagement that included strategic visibility, curated interviews, speaker placements and active storytelling.

“In just 100 days, we were 24

MAY 2025

I want to leave something behind that the next generation can build on. Something that genuinely moved the dial SALEHA WILLIAMS, CEO, IABM

overwhelmed with requests. Now the question is, how do we scale that in a way that works for all our members, not just the ones with the biggest stands?”

Her answer? Keep listening.

Keep innovating. Keep moving.

“We’re offering a 360-degree member experience now. It’s not just trade shows, it’s about how we engage with you throughout the year, around your announcements, your goals and your growth.”

For Williams, this role is “about helping the industry flourish in a time of massive change”.

“I want to leave something behind that the next generation can build on. Something that genuinely moved the dial.”

With bold plans, a membercentric strategy and a fearless approach to transformation, Seleha Williams is not just leading IABM into the future – she’s helping shape what that future looks like.

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MAY 2025

PLAYING TO WIN At the BroadcastPro Summit KSA, Dr Mohammed Alshahrani, Country Manager KSA at BytePlus, and Arif Aabed, Senior Manager of Technology Partnerships at MBC Group, explored what’s powering the region’s gaming boom and how MBC’s Wizzo app is shaping the scene

The Middle East is witnessing an unprecedented boom in gaming and esports, with multiple reports confirming its rapid growth.

According to the MENA Gaming & eSports Summit 2023, there are more than 377m gamers across the Middle East. Statista says Egypt has the region’s largest gaming population, Saudi Arabia the most gaming revenue and the UAE the highest revenue per user.

An AnalysysMason report names Saudi Arabia as the Middle East leader, accounting for over 40% of MENA’s overall market share, 26

followed by the UAE. It’s clear that gaming is thriving in the region.

Amid this explosive growth, Dr Mohammed Alshahrani, Country Manager KSA at BytePlus, sat down for a fireside chat with Arif Aabed, Senior Manager of Technology Partnerships at MBC Group, at the BroadcastPro Summit KSA. The duo discussed the factors driving gaming in the region, and the evolving role and impact of MBC’s Wizzo app.

Opening the ‘Playing to Win: How MBC Wizzo is engaging the swipe generation’ session, Dr Alshahrani noted how MBC had been an

early mover in gaming, launching the Wizzo app in 2015 before the industry had gathered momentum.

Shedding light on the insights that shaped MBC’s foray into gaming, Aabed said: “We changed how we looked at Gen Z and the Alpha generation. They don’t have shorter attention spans, they simply make quicker decisions about the type of content they want to consume.

They also multi-screen and can consume content from up to five screens simultaneously. And finally, they prefer content they can relate to. Videos filmed on an iPhone

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From left: Dr. Mohammed Alshahrani, Country Manager KSA with Long Li, GM of BytePlus MEA.

are more appealing to them than high-quality content produced with cutting-edge technology.”

“They also want content that is interactive, relevant and can help them build a community.

This is where gaming comes in.

With gaming, they are no longer passive consumers. They become actively involved in its progress and direction. They must put effort into the game, which earns them bragging rights and allows them to build a community. We were able to give them all of this through Wizzo.”

With the gaming industry experiencing a dramatic spike in metaverse integrations and cross-platform play that allows seamless experiences across multiple devices, Dr Alshahrani asked how MBC keeps pace with these ever-changing trends.

“The Arab world spans a huge geography, from the Middle East to North Africa. Each country has its own cultural nuances, which we incorporated into our games. We didn’t just build games, we created experiences that were tailored to every individual region. For instance, Egypt is driven by humourbased content, while games for Saudi Arabia focus on the traditions

The BytePlus team.

Arif Aabed, MBC Group.

of Arab warriors and the stories around them,” Aabed explained.

This deep cultural integration is reflected in Wizzo’s inclusion in the region’s pop culture. Aabed recalled a recent viral moment: “When Egypt’s airport systems went down and the authorities started stamping travel documents manually, people started referencing our Madame Afaf game, which has a similar concept.”

Another feature that makes Wizzo immensely popular with gamers is its live streaming and video uploading capability.

For this, Wizzo partners with BytePlus to offer a seamless and enhanced in-app experience.

“Live streaming has become an important pillar of Wizzo’s

We changed how we looked at Gen Z and the Alpha generation. They don’t have shorter attention spans, they simply make quicker decisions about the type of content they want to consume ARIF AABED, SENIOR MANAGER OF TECHNOLOGY PARTNERSHIPS, MBC GROUP 27

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community-building offering. It’s helped us capitalise on gamers who are not just bounty hunters but covet bragging rights. These people are the most invested in the game in terms of time and effort; they play with a certain showmanship and are invested in the game itself rather than just the monetary rewards it brings,” said Aabed.

The popularity of video hosting and distribution was reconfirmed

by Dr Alshahrani, who highlighted how Capcut, a ByteDance video editing app, is currently number three in Saudi Arabia. “We leverage AI-driven solutions to continuously enhance product experience for our users and enterprise customers. In fact, we have a new AI-enhanced video editing tool that can transform archived videos to HD at very pocket-friendly prices.”

Here, Wizzo’s live chat option plays an important role too. “There are different ways, especially in open-world games, of completing missions,” explained Aabed.

“Multiplayer games boast artistic 28

MAY 2025

ways of scoring points or getting the kill. All these elements serve as the starting point of many conversations, and to be able to live chat with other players or audiences at these moments makes the game even more rewarding.”

Another critical factor driving Wizzo’s popularity is user security.

“With a significant number of users being children or young adults, Wizzo’s security measures, such as the ability to delete user data, has succeeded in earning the confidence of families,” commented Dr Alshahrani.

Beyond gaming enthusiasts, Wizzo has been attracting passionate and talented stakeholders including game designers, publishers and distributors. Dr Alshahrani highlighted MBC’s initiatives to support SMEs and startups in the gaming sector. By collaborating with local and regional game developers, the group creates opportunities for them to showcase their work in Saudi Arabia.

Elaborating on the process, Aabed

said, “We’re always working at finding the right talent to bring into Saudi Arabia, or connecting them with established companies to make relocating to Saudi Arabia lucrative.

We can do this on a global scale thanks to our leading position in the media industry. As the biggest media group in the region, we give them a taste of what it’s like to launch in this part of the world. We are also training people at the grassroots level. We are reaching out to the Kingdom’s graduates and are trying to convince them to adopt gaming as an actual business.”

Such efforts have not been without challenges. “There are a lot of cultural issues with parents resisting their children from working in gaming, so we conduct many awareness and educational campaigns, regionally and globally.”

Looking ahead, Wizzo is gearing up to launch an updated version soon. While the release date hasn’t been confirmed, gamers can look forward to several new features and an enhanced immersive experience.

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MAY 2025

TECH STRATEGIES FOR AN EVOLVING MODERN MENA MEDIA ECOSYSTEM In a streaming-first era, relevance and adaptability are vital. As viewing shifts across devices and platforms, businesses tap into real-time audience behaviour to shape agile content strategies. We summarise a discussion during which GCC tech leaders explored hybrid monetisation, AI-driven content creation, recommendation engines, metadata tagging and crossplatform personalisation, all key to engaging diverse audiences At the BroadcastPro Summit KSA in February, Athanas Jamo, Chief Client Director, Ipsos, moderated an intriguing session on media technology strategies with a panel of industry leaders: Dominic Farrell, Group CTO, MBC Group; Dom Wedgwood, CTO, Arqiva; Nisrine Ghazal, VP Digital, Rotana Media Services; and Peter Van Dam, Chief Broadcasting Officer, Saudi Pro League.

With consumption across 80-85% of the GCC, penetration remains high. As streaming shakes this media ecosystem, Jamo queried how broadcasters balance the linear to ondemand shift, and their monetisation, personalisation and AI techniques.

From an engagement point of view, it presents challenges, remarked Dominic Farrell, Group CTO of MBC Group.

“The proliferation of smart devices 30

continues to grow with the influx of cheaper, smart enabled devices. We relaunched Shahid in 2019 to transform it from what was traditionally a catchup TV service, because we knew the streaming trend was coming and wanted to be assured of a presence there.”

Using exclusive content, windowing, putting newest content onto linear first and then moving it onto the OTT platform are the obvious ways to engage.

“We also look at companion devices. So you could be taking part in a poll or a quiz using your device, while watching a news show or live sport on the main TV. Or you could engage with statistics and replays and the like on a companion device.”

The newly released MBC Now box is the broadcaster’s first ever pure streaming device. Later this year, it will launch a hybrid satellite box that will allow

customers to plug a box into their existing satellite capabilities to connect to the internet, Farrell confided. Combining the best of free linear and pay TV in a unified user experience, it will allow customers to browse free content along with other content in a single user interface.

“We believe satellite distribution will remain dominant for entertainment across the MENA for at least the next five to 10 years, and this application will appeal to a majority of customers across the Middle East,” he said.

While the streaming legacy continues, media companies reinvent approaches to stay relevant. Instead of having another streaming app in a cluttered market, Rotana looked at digitally transforming its existing channels for monetisation, said Nisrine Ghazal, VP Digital, Rotana Media Services. With 16 channels, 10

PRO|TECH

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Athanas Jamo, Chief Client Director at Ipsos moderated the panel.

of which are free-to-air, Rotana has embedded HBBTV protocols and “transformed those from analogue to hybrid channels that connect to an ad server we can serve digital advertising on”.

Noticing that advertisers require inventory at scale, Rotana created a marketplace wherein other video publishers and broadcasters in the region may also expose their advertising inventory without having to invest in resources. Because digital transformation is a massive investment that several publishers and broadcasters are struggling with, “we do a revenue share model so you’re not really

investing in anything at the start”.

“We provide a comprehensive endto-end advertising solution powered by cutting-edge ad technology. Our investment in the most advanced video ad server ensures optimal performance, while our direct integrations with leading SSPs and DSPs streamline the entire ecosystem. We also offer a dedicated sales force to maximise monetisation opportunities. Understanding that publishers and broadcasters are cautious about sharing data, the Rotana solution analyses audience behaviour and key parameters to build insightful audience profiles, enhancing targeting while maintaining data privacy.”

In this distinctly hybrid landscape, leveraging the best know-how becomes crucial for broadcasters of sport when it comes to fan engagement. “As a league, we have an obligation towards our broadcasters and rights holders to ensure they get the right content and good content,” emphasised Peter Van Dam, Chief Broadcasting Officer, Saudi Pro League (SPL). “Our focus is fan engagement and making sure we bring the excitement and atmosphere

in the stadium to the viewer at home.”

Football being top entertainment on its own, the SPL is viewed in 49 countries, but getting the bigger audiences to stay means adding value to content.

“We do that with short forms and by distributing additional footage that’s not seen in the world feed itself. Each region is different – Brazil, China, [nonNordic] Europe, the Nordic countries – all of them come with their unique tastes. So technology becomes very

AI is perfect at driving incremental efficiencies. We are using it to create fiveor 10-minute sports clips ... and then targeting customers based on their viewing durations DOMINIC FARRELL, GROUP CTO, MBC GROUP 31

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MAY 2025

Our responsibility as a trusted managedservice provider is to make sure we help broadcasters and rights holders make the right choices in a hybrid world DOM WEDGWOOD, CTO, ARQIVA important in the personalisation of feeds and products that we deliver.”

Good streaming performance requires state-of-the-art infrastructure and technology that can take on the challenge, commented Dom Wedgwood, CTO, Arqiva. “Our responsibility as a trusted managed-service provider is to make sure we help broadcasters and rights holders make the right choices in a hybrid world.

With different distribution models, we look at products and services that can operate in today’s complex landscape.

“It means using the best technologies, whether that be IP and software, deployed either in the cloud or on-premise. This is especially important to get right when there is need for heightened awareness around cyber security, or quality and latency requirements specific to sport.

We are thinking about products and services that allow one operation that can satisfy streaming and broadcast capabilities in a unified way.”

Infrastructure when streaming live events is about understanding the whole flow of where the content has come from, whether a live studio or football stadium. “What you have at the last 32

Dominic Farrell, Group CTO, MBC Group.

point, how you encode that and post on the internet, determines how well it is accepted by all the devices, from the ones that don’t cope so well to the most modern connected TVs,” he added.

A lot of publishers look at the content side of the business without paying much heed to monetisation, Ghazal pointed out. “They build their platforms on products that don’t necessarily connect with the right ad servers or play out proper ads and video content in the way they’re supposed to. Platforms need to pay attention to ad solutions because that is a sustainable model.

They cannot rely on just subscription.”

With AI fundamentally changing the way the media industry operates, balancing innovation with cost-effective and reliable tech solutions is necessary.

“AI is perfect at driving incremental efficiencies,” stated Farrell. “We are using it to create five-minute or 10-minute sports clips or for highlights, and then targeting customers based on their viewing durations. Having AI automatically format and reformat content is extremely useful.

“We are using it to do first-run passes

Dom Wedgwood, CTO, Arqiva.

on all content, to check for nudity or profanity. Additionally, we are also looking into how we can use AI to breathe new life into old content. We are delving into our deep archive of ‘40s and ‘50s content which was originally shot in low-quality black-and-white, and using AI we can convert them into both HD and colour. Essentially this would allow us to re-monetise content that had previously lost its appeal.”

Partnering with technology solutions providers who have AI within their systems helps optimise monetisation strategies. “From a data standpoint, we’ve partnered with Nucleus.ai,” said Ghazal. “They look at various parameters for audience behaviour across platforms, which are then brought into our DMP and build audience profiles. A lot of publishers are hesitant in providing those data parameters, so we are using AI to build profiles.”

For ad-serving solutions, Rotana has partnered with SpringServe to enhance campaign efficiency and brand safety.

Its AI-powered programmatic solution automatically scans advertiser creatives to detect any content that may conflict

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Even though we’re broadcasting live games, we maintain a rigorous internal quality control process and uphold a clear ethical code throughout Nisrine Ghazal, VP Digital, Rotana Media Services.

with or compete against the broadcaster airing it. This automated screening serves as the first layer of review.

“If any content is flagged as questionable, it is then escalated for human verification, ensuring that AI enhances the process without replacing the critical oversight of manual review,” said Ghazal. “It’s an efficiency standpoint; we don’t disrupt the audience behaviour.”

Rotana is also working with brands to use AI for seamless integration of ads, such as dynamically inserting a soda can in a lunch scene or a cream in a bedroom.

While AI is being administered, ethical outcomes must be considered.

“Even though we’re broadcasting live games, we maintain a rigorous internal quality control process and uphold a clear ethical code throughout,” said Van Dam. “We monitor it at all times, making sure whatever goes on air is top quality.

It’s not just about censorship; a lot of times on TikTok or other verticals we don’t see the goal or the player, just a green field. This was probably AI-created and nobody looked at it before it was published, adding no value whatsoever.

When we publish our highlights, it is

Peter Van Dam, Chief Broadcasting Officer, SPL.

still manually adjusted or extended or shortened to ensure that it is visually and factually appealing and right.”

Businesses can be classified as AI-ready or accelerated. While there are use cases that companies take on as innovation opportunities, “the overarching message is that it’s okay to only be getting ready, because most companies have to first make sure their data is organised appropriately”, said Wedgwood. “At the core of Arqiva is a security and data business managing critical national infrastructure in the UK for broadcast. Knowing the security of the data, of where it is and what we’re doing with it, is paramount.”

The new Arqiva is leaning into the OTT ecosystem with dynamic ad insertion and personalisation, with a mission to help get content to every single end device. “Our brand-new cloud playout platform, which can be on-prem as well, works around the different methods that we serve content for traditional broadcast, OTT and content creators. That ecosystem is huge. For example, one Manchester United creator has nearly four million subscribers. They require lightweight

PETER VAN DAM, CBO, SAUDI PRO LEAGUE tools, and when we build things we want to give them infrastructure that can help with personalisation and monetisation.”

Within this streaming ecosystem, there is huge potential for innovation – there’s absolute control and capability between the encoder, origin, playout and player. “All of those are different opportunities for the content to be adapted, from HTML graphics, promotional content, monetisation or otherwise – that’s a huge and exciting space we are in,” commented Wedgwood.

Beyond the infrastructure and emerging technologies is data sharing that is crucial for all monetisation strategies, reiterated Ghazal. “Whether it’s a behavioural target, contextual, whether it’s lookalikes, cross-device platforms or something else, we need that information to be able to generate money for broadcasters. Secondly, all channels must have proper manifests and SCTE markers that make the experience seamless for the viewer and broadcaster.

“Thirdly, programmatic advertising – it is not only open auction, but there are also models today that don’t involve open auction, whether they are PG deals or 33

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PMP deals. We as ad resellers or sellers negotiate with specific clients and create deals within those closed parameters.”

Everything starts with data, particularly with personalisation, agreed Farrell.

“Customer data platforms aggregate data, and hyper-personalisation is about combining data sources to give the most accurate representation

The biggest challenge is that if broadcasters attempt to sell digital advertising on their video platforms independently, they lack the scale and volume needed to attract advertisers NISRINE GHAZAL, VP DIGITAL, ROTANA MEDIA SERVICES 34

MAY 2025

of viewers, which fundamentally impacts recommendations.”

Eventually, it is about listening to viewers and fans, said Van Dam. “To make sure we can provide content specifically tailored for regions, and more importantly to everybody. Sometimes we hear the younger generation doesn’t want to see a full game anymore, only a recap in 15 minutes, that’s the way they consume. We must adapt constantly and stay dynamic.”

It is also about not “ruining the experience, because your viewers will churn if every time there’s an ad, there is a flash frame of something else”, said Wedgwood. “If that SCTE marker and the timing hasn’t been thought about, if it’s not the right quality and not a TV-like experience, people will leave.

As much as we’re changing to watch it on other devices, we still want it to be like TV – seamless. And the key to that is real-time data and focused analytics about the quality of experience.”

Zenith Media forecasts that by 2026, CTV advertising spend in MENA will reach half a billion dollars. “The biggest

challenge is that if broadcasters attempt to sell digital advertising on their video platforms independently, they lack the scale and volume needed to attract advertisers,” said Ghazal. “That’s why the aggregated marketplace we’ve built is so crucial, and especially for smaller players.

It allows them to be part of a consolidated opportunity that advertisers can easily access. Without this, advertisers will continue to allocate their budgets to platforms like YouTube for scale, which currently we believe captures about 80% of that half-billion-dollar spend.

Unfortunately, that valuable ad revenue won’t be redistributed or reinvested within the region, ultimately limiting industry growth and sustainability.”

As new devices keep coming, creating a consistent consumer proposition across all device types can pull businesses back to the lowest common denominator. It can hinder innovation. Understanding that complexity, and choosing the right partners and suppliers, will help move the system forward and at the same time create a seamless user experience across all devices and platforms.

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MAY 2025

THE POWER OF PODCASTS AND AUDIO STREAMING IN MENA The Arab podcast industry is advancing rapidly, driven by growth in the region’s digital culture and a heightened desire for learning. Community-like discussions, conversational content and a sense of reliability have increased podcast popularity

Amidst this interest and enthusiasm, media houses and streaming platforms have an important role in shaping Saudi Arabia’s audio landscape and accommodating new technologies that help the segment.

At the BroadcastPro Summit KSA in February 2025, the rise and impact of podcasts was discussed by an eminent panel moderated

by Joe Morrison, Live Television Anchor and Commentator, Saudi Pro League. The rest of the panel consisted of Alexander Agishev, Head of MBC Loud FM Station; Ahmed Raafat, GM and co-founder, Takwene; and Zeina Tabbara, Multimedia Producer and Content Strategist at Asharq Podcasts.

Typically an audio medium, podcasts have ventured from audio 36

to video in recent times and their prominence, whether scripted or unprepared, has tripled in the region and especially in Saudi Arabia.

Setting the tone for the discussion, Morrison aimed to determine what exactly a podcast is – whether audio, audio-video or video only.

Essentially an opportunity to tell a story, podcasts are longform content that sit on multiple platforms, and podcasters must be good storytellers.

They must also be informative, explained Alexander Agishev.

“These days, podcasts have moved more into video podcasts or vodcasts, and it is important to make sure you’re maximising your content across multiple platforms and not just the audio space. For

us at MBC Loud FM, which is the first English commercial station in Saudi Arabia, it opens the prospect of translating it to a radio show.”

Video has become a very important component. “TikTok has become a major discovery platform – it’s now the key tool for discovering podcasts and driving their distribution.

In Saudi Arabia specifically, I refer to this as the first wave of podcasters,” said Zeina Tabbara.

She added that while benefits include lower cost of production and distribution and the accompanying freedom to experiment, what’s exciting about the Arabic podcast landscape, especially Saudi Arabia, is that it is a creator-led landscape with independent creators. “You don’t see a lot of the big behemoth media or

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legacy brands, as you see in the UK or in the US, where there is a mix of established brands as well as new podcasters holding the top spots.

That makes Saudi very exciting.”

A lot of the top podcasts in Saudi Arabia are audio only, where the listener doesn’t really know who the hosts are, and they do very well. While video is an important aspect, content remains the predominant feature, said Tabbara.

Based on audience behaviour and requirements, specifically with the new and younger generation, podcasts are both audio- and video-led, noted Ahmed Raafat.

“Even as podcasts were originally audio only, the younger segment of viewers seek visual content.

The primary goal is to create

content for them and get their

I advise a lot of attention – that new-generational cannot be ignored. And legacy journalists and behaviour the reason for their demand is TV presenters here because content can be consumed needed, whether driving, in the Middle East to whenever while working out or travelling. try to make that shift With podcasts, it feels like they are interacting with whoever [to podcasts]. People is delivering content to them. don’t want manicured discussions, they want more easy-going, honest ones ZEINA TABBARA, MULTIMEDIA PRODUCER AND CONTENT STRATEGIST, ASHARQ PODCASTS

And this is a key differentiating factor between content created by humans and one by AI.” In this respect, the bigger brands must adopt a sea change in strategy as individual creators rule the region, added Morrison.

Saudi Arabia is one of the biggest countries in the GCC, with 36m people, and a bigger population naturally converts to more 37

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opportunity for scale. Companies must think about creating podcasts that can translate to audio, video and social media. If they are not focusing on multi-platform content and scale, they are going to be left behind, the panellists noted.

“With a big media company like MBC, we have multiple platforms, audio platforms in the MBC podcast and MBC Mood and Shahid, which is the biggest streaming platform in the MENA region. We think about all those outlets when creating podcast content; there’s opportunity across a wide range and we try to simplify that process. The same content needs to be able to sit everywhere, and if we’re not doing that, we will not get the numbers.

That is one of the biggest challenges in the region,” said Agishev.

This rethink in strategy also extends to journalists and media personalities or celebrities. Whether print or TV, there’s huge potential and now is the time to pivot and build one’s own personal brand through podcasts. In the region and in Saudi Arabia specifically, those who have mastered that are the independent creators.

“Journalists should have their own podcasts,” said Tabbara. “Without referencing a lot of the Western brands, a great case study is the New York Times. They’re a legacy brand that made a switch to digital. Besides the subscription model, their print journalists began moving towards podcasts and going behind the mic.

“Some of the top podcasters in the West were able to pivot and do their own standalone content. I advise a lot of legacy journalists and TV presenters here in the Middle East to try to make that shift. People don’t want manicured discussions, they want more easy-going, honest ones.”

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Joe Morrison, Live Television Anchor and Commentator, Saudi Pro League.

At MBC, we have multiple TV channels and partnerships, and we are constantly surveying the landscape for opportunities to collaborate, to continue to grow our offerings in English and Arabic ALEXANDER AGISHEV, HEAD OF MBC LOUD FM STATION

Zeina Tabbara, Multimedia Producer and Content Strategist, Asharq Podcasts.

Convincing journalists to move is a struggle, however, because people want full control of how they look and what they say.

“A lot of the journalists or media people here see the Tik-Tokers, and they want to keep it conversational,” continued Tabbara. “They have solo podcasts, and it doesn’t have to be that each time there is a guest.

I tell first-time movers that it is a big space, that there are so many categories which haven’t been touched or filled. For instance, there’s a dearth of female podcasters or a need for financial literacy. And podcasts are a great way to educate, so we need content around that.”

When it comes to monetisation, podcasts have more challenges than trying to convince musical cohorts, for example, to get on board. Artists distribute and publish content in different ways which transform easily to digital media.

“The new concepts and technologies particularly are demanding with podcasts, since it

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Ahmed Raafat, GM and co-founder, Takwene.

comes from someone with a certain level of expertise about something that he or she wishes to share with an audience,” said Raafat. “There is that gap in culture between those imparting knowledge and the ones receiving it. In the current scenario, a major challenge is to get the attention of the new generation of listeners or viewers to a particular form of content. We are always trying to help podcasters apply a kind of audience development, such as making hooks about the content or having multi-formats so that their podcasts reach out to as many sections of the audience and gains more visibility.”

A big part of talk shows and podcasts is on-air chemistry, but not everyone understands how to format shows or strategically leverage algorithms to achieve an anticipated outcome. “We don’t outsmart the algorithm; we don’t juice it. For instance, we produce one on books and the presenter summarises the best business books into Arabic – the

Alexander Agishev, Head of MBC Loud FM Station.

good to great ones. With podcasts it is about 50% content and 50% distribution,” said Tabbara.

Each platform has its own algorithm that gets its content to the top, such as creating playlists for music. Content development, pitching and scripting content are significantly more important in increasing listenership than all the technicalities involved, said Raafat.

A major difficulty with podcasts, however, is discoverability; it is hard to curate content using AI. In this regard, building a relationship with companies such as Apple, Spotify or Anghami is important. “Apple curates their homepage per country; they try to discover what’s new and that helps a lot,” Tabbara said.

Building audience and improving engagement are the main monetising strategies in a relatively new and fragmented landscape. Like any other product, it is about content and great storytelling. Whether it’s media networks, radio stations or audio platforms, you must be a

great content creator, said Agishev.

“All the things we learned when we were starting in radio years ago are still relevant. To engage with the audience one-on-one and have that connection with the listener is critical. If you can successfully create an emotional perspective, then that content will eventually lead you to monetise, whether radio or audio.”

As several podcast specialty media houses spring up around the world with an entire suite of podcasts under their wings, such as former footballer Gary Lineker’s Goalhanger, the region is witnessing a ‘podcast network 2.0’.

“The first round of podcast networks in the region were trying too hard to be too polished, they took time to produce shows. We are now seeing the next batch of networks, and it’s moving fast,” said Tabbara. “More and more people want to produce and create, and there aren’t enough podcast studios to rent out. A lot of the studios are still traditional 39

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video content studios and people are looking for a one-stop shop.

So there’s growing opportunity in Saudi Arabia right now.”

With any new idea that’s sustainable or viable, innovation is key to creating valuable opportunities. There are multiple ways to monetise, and a subscription model is a major part of this process. The same thing works for podcasts because users are willing to pay for storytelling or any sort of information or knowledge that they are keen to learn.

“It is unlike musical content or entertainment or something comical, where people are willing to listen but don’t intend paying.

There’s useful, constructive information on a podcast and so huge opportunity for podcasters to make money,” said Raafat.

Media houses, as dependable sources, have an advantage in that people trust the brand. Legacy brands will therefore play an important role in the future, and just as important will be collaborations in this part of the world, said Agishev. “At MBC we have multiple TV channels and partnerships, and we are constantly surveying the landscape for opportunities to collaborate, to continue to grow our offerings in English and Arabic.”

Marking a decisive shift forward from a video podcast perspective, MBC will be launching a new podcast studio shortly. “We are looking to deliver exceptional content in a variety of topics that are both creative and interesting.”

While content creators a decade ago could get a good foothold by starting a YouTube channel, it is today an industry and a “juggernaut”, observed Morrison.

The challenges and opportunities 40

MAY 2025

There’s useful, constructive information on a podcast and so huge opportunity for podcasters to make money AHMED RAAFAT, GM AND CO-FOUNDER, TAKWENE

for the debutant creator are still dynamic and flourishing, and demand will remain as long as people welcome fresh new talent and yearn for new topics.

People want new voices, said Tabbara. “Those big brands who want to work with the top influencers need to reach out to the micro influencers instead, and work on podcasts with them. Start small so they can grow with you.”

And with everything that is related to content, staying true and authentic is the key – sticking to what one believes in and is passionate about, said Raafat.

The possibilities are limitless for those wishing to start their own podcast and make a mark. To get their voices heard and reach out.

To appeal to an audience and have that connection, and talk about life stories, practices and experiences. It is an interesting space and an exciting time to step in and create, while podcast culture thrills and engages the listener. And yes, the viewer.

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THE EXPANDING ROLE OF AI IN BROADCAST An AI discussion at the BroadcastPro Summit KSA looked at AI-driven video production automation, virtual production, piracy protection, metadata tagging, watermarking and real-time content takedown solutions. We bring you a summary of what some of the experts had to say A 2025 report by Canadian video streaming tech company Haivision identifies AI and machine learning as the top emerging trends in the broadcast industry, with 64% of respondents naming them as the most transformative technologies for broadcast production. The report also notes a sharp rise in the adoption of AI in broadcast workflows, with 25% of participants using it, up from last year’s 9%. Further, 41% of respondents anticipate using AI within the next two years.

This growing reliance on AI was the focal point of a panel discussion at the BroadcastPro Summit in Saudi Arabia, moderated by Jody Neckles, Principal Solutions Architect at Backlight and founder of Technative. Titled ‘Unlocking AI in Broadcast and Streaming: Innovations and Challenges’, the session featured Eyad Al Dwaik, Director of Engineering at stc/ Intigral; Kathey Battrick, Head of Media Management & AI Taskforce Leader at Asharq Network; and Alaa Ali, Director of Anti-Piracy and Technology at RightsHero.

42

Jody Neckles, founder of Technative.

Jody Neckles opened the discussion by emphasising how AI is transforming broadcast operations from content production to distribution, driving innovation and efficiency while raising important questions about fair use and ethics.

Kathey Battrick shared how Asharq uses AI to manage its vast and ever-growing content libraries: “Our main challenge is to ensure that the content is easily and quickly discoverable by all the production

teams, regardless of the platform they use to produce it. Along with this, we must also quicken the process of understanding content received in foreign languages. The transcription and translation must be done very quickly. Currently we are using AI to create metadata for nearly 1,600 hours of incoming content each month. This includes mostly raw video content, along with the live channel output that is recorded for Asharq News.”

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“Initially we used AI for more traditional functions such as face detection, object recognition, transcription and translation,” she continued. “Recently we’ve added a generative multimodal AI solution to create human-like scene descriptions, making it easier to highlight key moments in content.

Since we have both Arabic and English content, we are also creating multilingual metadata to meet the search preferences of our users.”

For Asharq, AI’s facial recognition capabilities have been particularly valuable. “When we launched, there were no existing models capable of identifying Arab business leaders and public figures, which are essential for our content.

Over the years we have built our

Recently we’ve added a generative multimodal AI solution to create human-like scene descriptions, making it easier to highlight key moments in content KATHEY BATTRICK, HEAD OF MEDIA MANAGEMENT & AI TASKFORCE LEADER, ASHARQ NETWORK

own dataset to address this gap.

Every individual we interview is documented with their name, job title and aliases in both English and Arabic. This has been particularly useful for standardising name spellings across platforms, as Arabic names often have multiple English transliterations,” explained Battrick.

Elaborating on the workflow, she noted: “Once the content arrives, it’s sent for AI-powered metadata processing. The processed metadata is then distributed across all our production and asset management platforms. Our archivists review and refine the data before it is reintegrated, improving accuracy and boosting user confidence in AI-generated metadata.”

This content indexing process is 43

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applied to both raw footage and live video streams relayed to Asharq, in addition to the 1,600 hours of incoming content mentioned earlier.

Developments such as these are useful for producers across both broadcast and digital media.

The processed data also has the potential to filter through to owned and operated platforms, making content more discoverable on them, noted Neckles.

Intigral, a part of Saudi Telecom Group (stc), uses AI for content analysis and delivery. “We are working on a project using AI to analyse our word library to create metadata around the genres, mood and settings. This data will feed into our recommendation system, providing viewers with more 44

MAY 2025

relevant content suggestions,” remarked Eyad Al Dwaik.

Over the past couple of years, Intigral has also been working with one of its partners on an AI model to enhance its encoding.

“After deploying the new model, we saw a 67% reduction in our video encoding bitrates. It significantly improved efficiency while maintaining quality. With regards to ultra-HD, achieving high-quality video at around 3-5MB per second is remarkable. Our customer satisfaction went up, as did the KPIs for the engineering department. It was a win-win situation,” he added.

AI also serves as an assistant to Intigral’s engineering team, enabling it to code faster and more accurately. “Some scripts and code

We are ... using AI to analyse our word library to create metadata around the genres, mood and settings. This data will feed into our recommendation system, providing viewers with more relevant content suggestions EYAD AL DWAIK, DIRECTOR OF ENGINEERING, INTIGRAL

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used to take me a day to write.

With AI, I can do it in less than an hour. If I’m using a new language and I don’t know the syntax, I just have to input what I want and AI generates the code for me. If there are errors, I provide feedback and the AI corrects itself,” he said.

At RightsHero, AI is being injected into crawling mechanisms to enhance pirated content detection and monitoring on various platforms, including social media, search engines and website aggregators. “We’ve integrated AI into the enforcement process to detect and remove content more accurately. Our goal is to implement AI across the entire workflow, from searching and detecting to taking down content, ensuring a more efficient and streamlined process,” said Alaa Ali. Additionally, RightsHero leverages metadata gathered from aggregator sites for faster pirate content identification, he explained.

“We’ve also trained the AI to decide the best takedown path – whether to contact the platform or alert the hosting provider. So depending upon the data available, the AI chooses the fastest route to disable that content.”

Social media platforms such as YouTube and Facebook have their own anti-piracy measures. “Most social media platforms have their own content ID systems which automatically scan uploaded videos against a database of copyrighted material. However, content pirates are now armed with tactics that allow them to evade detection. To counter this, we use automated software that can identify content that the content ID system may have missed. This software detects unauthorised content,

Alaa Ali, Director of Anti-Piracy and Technology at RightsHero.

Eyad Al Dwaik, Director of Engineering at stc/Intigral.

Kathey Battrick, Head of Media Management & AI Taskforce Leader at Asharq Network.

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reports it to the social media platform and ensures it is taken down immediately. Third-party companies such as RightsHero are not involved in this process.

The platforms develop their own tools and use AI and machine learning to improve the process.”

Social media platforms have also enhanced their detection process with the use of AI. “Five years ago, the detection was much slower than it is now. Now, once the reference file is uploaded, the detection and takedown is immediate,” added Ali. Elaborating on content protection and fighting piracy, Al Dwaik said: “Piracy is becoming easier by the day. Earlier, it was harder to get pirated content. Now, for as little as $50 viewers can stream premium content platforms like NBC, Shahid and stc. Fighting piracy is a never-ending battle. Here, AI can help with anomaly detection.

For instance, pirates’ behaviour is different from normal users when it comes to content consumption.

If a user consumes a week’s worth of content in 24 hours, that signals suspicious activity. AI can find such anomalies with the right training.

Without AI, identifying piracy sources takes a couple of days; with AI, it just takes a few minutes.”

Intigral still currently relies on a manual watermarking process, but AI could streamline this process in the future.

Interestingly, pirates are also leveraging technology to infringe copyrighted content. While AI has not yet permeated piracy rings, automation is widely used.

“Previously, piracy involved manually capturing and uploading content. In case of a takedown, they would have to start from scratch again. Now, automation allows them 46

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Most social media platforms have their own content ID systems which automatically scan uploaded videos against a database of copyrighted material ALAA ALI, DIRECTOR OF ANTI-PIRACY AND TECHNOLOGY, RIGHTSHERO to re-upload the content within seconds. This makes automation and AI doubly important – we now have to adapt and match the pirates’ sophisticated set-up, else we lose the piracy battle,” said Ali candidly.

Ali suggested integrating AI with blockchain technology for better piracy control: “Blockchain can serve as a decentralised identifier for copyright holders, preventing content duplication and ensuring uniqueness.”

Despite the rapid advances in AI, all the panellists agreed that human oversight remains essential. “The human factor can never be eliminated. Its role, however, has changed. AI will never be 100% accurate and human intervention will always be needed to train, supervise and correct AI. For example, sometimes AI is unable to identify copyright infringement, so human intervention is needed,” said Ali. Battrick echoed this sentiment, highlighting that Asharq still employs archivists despite AI

integration: “We don’t feel that AI will ever replace our archivists.

In fact, they have become more important than before. Their role has shifted from metadata creation to supervising AI-generated metadata. AI, especially in facial recognition, is not 100% accurate.

When a face is detected and indexed by the system, a human reviewer is still needed to verify and correct any errors or biases.

For instance, Boris Johnson and his brother look quite similar, and the AI repeatedly misidentified the brother as Boris. So we need to remain vigilant in such cases.”

Al Dwaik revealed how Intigral’s attempt to use AI for censorship was unsuccessful: “Our goal was to develop a system where AI could handle censorship by learning from past catalogues and censorship decisions. However, it didn’t work as expected – we realised that AI cannot take responsibility. If AI makes an error and inappropriate content is aired, we can’t simply blame the technology. A human reviewer is essential to ensure accuracy. Since we couldn’t fully trust AI for this task, we decided not to deploy the system.”

Al Dwaik shared his vision for the future of AI in data centres: “The future of AI is to have an AI assistant available to engineers, where the engineer will ask the AI assistant to test some changes on the staging environment, run tests and provide the results, and assist with deploying these changes to the production environment.”

As the discussion concluded, the panellists agreed that while AI is revolutionising broadcast workflows, it cannot function independently of human expertise.

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MAY 2025

CABSAT 2025 RETURNS WITH INTEGRATE MIDDLE EAST

CABSAT and Integrate Middle East (Integrate ME) will return in 2025, taking place from May 13 to 15 at the Dubai World Trade Centre. Celebrating its 31st edition, CABSAT will bring together 450 exhibitors and an expected 18,000 attendees.

Notable exhibitors at CABSAT 2025 include first-time participants Nordlys and Stype, alongside returning industry leaders such as First Gulf Company, Akratek and Advanced Media Trading.

A highlight of the event will be the Content Congress, featuring over 150

global speakers discussing topics like AI in the Middle East media industry, esports broadcasting and the rising prominence of the Arab box office.

CABSAT will also provide handson experiences through workshops, product demonstrations and technology masterclasses, offering attendees opportunities to engage with buyers, showcase their innovations and lead industry advancements. The event will continue to focus on Creativity, Connectivity and Consciousness to foster

a collaborative and forward-thinking media and entertainment community.

Co-located with CABSAT, Integrate Middle East will return for its third edition, highlighting the rapidly evolving Pro AV and media technology industries. As the only regional event dedicated to Pro AV, it will showcase the latest advancements in IoT, AIdriven technologies, digital signage and immersive audiovisual solutions.

The event will demonstrate how these innovations enhance communication across sectors such as education, entertainment, hospitality and retail.

New exhibitors, including IPS Mena and Hohem Tech, will make their debut at Integrate ME 2025, while leading brands like Unilumin, Godox, Neewer and Leyard will return to showcase their latest products. The event will also feature specialised workshops, seminars and product launches, providing industry professionals with insights into the latest market trends and best practices.

MULTIDYNE TO DEMO VF-9000 FIBRE OPTIC TRANSPORT SYSTEM

The MultiDyne VF-9000 Series is built for high-pressure sports, news and live event production scenarios, and high-capacity transport requirements between studios and across campuses.

Available in 18- and 36-channel versions, the VF-9000 addresses the growing need for higher signal density, format flexibility and operational versatility in a fibre transport frame. A forthcoming update will include a new frame controller and a restful API to enhance 48

integration, monitoring and control.

The VF-9000 Series provides automatic configuration of video inputs and outputs based upon recognising which VF-9000 SFP pluggable optical transceivers are added to the modular frame. Hotswappable modules establish redundancy to ensure live mission-critical operations are never disrupted, while data transport, video signal regeneration and wavelength shifting add value for users seeking a brute-force, rock-solid signal trunking

and fibre transmission solution. The update will include new cards to support audio, serial data and timecode sync.

The unit’s higher signal density is useful for customers working in ENG, sports production and applications with high channel counts. Users can support up to 36 video signal conversions across HD, 3Gb/s and 12G from one unit. In dual-transmit mode, each front-panel optical module (SFP) converts the two corresponding BNC copper connections on the back panel to video inputs. In dualreceiver mode, the corresponding BNCs automatically convert to video outputs.

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broadcastprome.com

MODERNTV BRINGS THE FUTURE OF TV TO CABSAT

ModernTV, a European IPTV/OTT technology leader based in the Czech Republic, will demonstrate its end-to-end OTT platform at CABSAT this year. Known for its flexibility, speed of deployment and rich user experience, it offers a comprehensive solution for ISPs

and TV operators seeking to launch or enhance their streaming services.

Designed with versatility in mind, the platform supports a wide variety of devices and operating systems including iOS, Android and major smart TV ecosystems like Samsung, LG, FireTV and RokuTV. Whether

on mobile, set-top boxes or smart TVs, ModernTV ensures seamless and consistent content delivery.

Visitors can explore the platform’s newest features – push notifications to drive viewer engagement, a fully customisable multi-format homescreen that adapts across platforms, and streamlined middleware designed to reduce complexity while offering full control. These enhancements make it even easier for operators to manage content, engage users and scale their services.

Following successful deployments in Europe, Latin America and Africa, ModernTV sees CABSAT as a gateway to new collaborations in the Middle East. The company aims to connect with operators looking for a reliable and scalable platform that can quickly adapt to their market needs and user preferences.

Stand PD-15

FOR-A TO SHOWCASE FOUR KEY TECHNOLOGIES AT CABSAT 2025 Four key technologies will make their CABSAT debut including FOR-A IMPULSE (Integrated Media Platform with UnLimited StructurE), FOR-A’s flagship HANABI HVS-Q12, its award winning MixBoard, powered by ClassX, and AiDi, its AI-powered production assistant.

The HANABI HVS-Q12 is a power switcher design that delivers broadcast-grade reliability in a space-efficient 4RU package. It is licence-upgradable from 3G to 12G,

providing a seamless migration path to 4K/UHD workflows.

The HVS-Q12 offers remarkable versatility with up to 60 inputs and 32 outputs in 3G mode and up to 42 inputs and 23 outputs in 12G mode, both of which include 2 HDMI outputs, with IP interfaces for both Dante and NDI support.

“The broadcast landscape in the Middle East and Africa continues to evolve rapidly with major sporting events, cultural celebrations and

government initiatives driving demand for higher quality content and more flexible delivery options,” said Mohammed Abu Ziyadeh, FOR-A Regional Manager for MEA. “Our solutions bridge traditional workflows with next-generation technologies, allowing broadcasters to evolve at their own pace, whether maintaining SDI infrastructures, exploring hybrid workflows or fully embracing IP and software-defined production.”

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MAY 2025

STYPE NORWAY KEEPS A GOOD TRACK RECORD Central to the Stype Norway AS stand will be three standout products: RedSpy, Follower and StypeLand XR/VR solutions. Renowned globally as the premier camera tracking system, RedSpy demonstrates its unparalleled precision on both tripod setups and HumanCrane configurations by Stype. This versatility ensures seamless tracking across live environments and XR stages, catering to diverse production needs.

Follower, Stype’s advanced motion capture system, delivers accuracy essential for dynamic setups in virtual

production. Compatible with real-time engines, it enables flawless synchronisation between physical and virtual realms, significantly enhancing the production workflow.

StypeLand showcases a comprehensive XR/ VR rendering solution, incorporating features like GreenKiller for real-time keying in green screen productions and the StypeLand XR workflow, optimised for LED volumes. These innovations ensure precise seam removal and automatic colour calibration, facilitating seamless integration between physical sets and virtual backgrounds.

Marin Buljan, Sales Representative at Stype, said: “CABSAT is the perfect stage to connect with the vibrant MENA production community. We’re excited to showcase how Stype’s technology makes virtual production and XR more accessible, more reliable and more powerful than ever. The MENA region is evolving rapidly in the broadcast and virtual production space, and CABSAT offers a direct channel to some of the most forward-thinking professionals in the industry. Stype is here to support that growth with tools that have already proven themselves in global productions. When it comes to partnerships in the region, we’re proud to work with leading broadcasters such as Al Jazeera, beIN and Al Arabiya, among others.”

Hall AR – Stand B10

ROSS VIDEO TO SHOWCASE HYPERCONVERGED LIVE PRODUCTION SOLUTIONS AT CABSAT

Ross Video will showcase a number of solutions that highlight the efficiency, utilisation and flexibility of its live production solutions, including the Carbonite HyperMax, which supercharges its most popular midsized switcher with big-mix powers.

It gives massive I/O optionality – over 200 I/Os with 4 MEs, or 8 MEs with 144 x 144 I/Os – all in a 50

compact, software-defined frame. The system is designed so one can easily customise it for each production workflow, whether SDI, 2110, NDI, DP or fibre, making it ideal for hybrid and IP environments of all sizes.

Ross will also showcase the Furiom, a floor-mounted camera system that creates precise and repeatable silky smooth, sweeping on-air dolly shots at

the push of a button. Other highlights include the XPression Tessera and the Ross Platform Manager.

“This region leads with vision, and we’re proud to stand alongside our customers as a trusted partner in that journey,” said Mark Cooke, Vice-President of Sales – EMEA at Ross Video. “Our presence at CABSAT is about more than showcasing products – it’s about enabling the kind of bold, world-class content creation the Middle East is known for.”

Reinforcing this commitment, Ross Video CEO David Ross will attend CABSAT 2025, highlighting the company’s dedication to the region and its growing role as a key player in advancing broadcast and live production workflows across the Middle East.

Stand S1-G10

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LIVEU BRINGS MISSION-CRITICAL IP-VIDEO SOLUTIONS TO CABSAT LiveU will showcase its expanded IP-video EcoSystem for creating more value from video at CABSAT 2025, underpinned by the company’s resilient, low-latency LRT (LiveU Reliable Transport) protocol. The LiveU EcoSystem provides high-quality live video contribution, production and distribution solutions to enable broadcasters, sports organisations, production companies and other video producers to share stories globally in dynamic and engaging ways, shortening production workflows and reducing costs.

Consisting of a set of modular components, the LiveU EcoSystem can be configured and reconfigured across various workflows to address different live production challenges. Taking centre stage will be LiveU’s flagship portable and rackmount contribution encoders, including the multi-cam portable LU800, fixed LU810 and compact LU300S. Throughout the show, LiveU will demonstrate how remote production (REMI) workflows are made more efficient using its remote live production tools, seamlessly integrated with LiveU field units. These include IP Pipe, Video

INTERRA SYSTEMS CARRIES THE BATON TO CABSAT

At CABSAT 2025, Interra Systems will highlight BATON 9.2, the latest version of its automated QC solution. Key updates include enhanced autoscaling, improved 4K video quality checks and new validations such as blank bar detection and CIE colour gamut checks.

It also aligns with ITU-R BT.1702-2023 PSE flash guidelines and introduces algorithm enhancements across QR code detection, freeze/duplicate frames, media offline, blockiness, defective pixels, video dropouts, burnt-in text and shot transitions.

The solution’s expanded format and feature support includes Sony 360 Reality Audio, LZW-compressed TIFFs,

Return, Tally Light and Audio Connect.

The company will also highlight its On-Site Production solution, allowing broadcasters to deliver high-quality live feeds from the field directly to production trucks. This cost-effective live video solution enables wireless transmission from a LiveU field unit to a LiveU Mobile Receiver delivering highquality video to OB trucks over bonded cellular. It unlocks new sports production opportunities, such as golf tournaments and rallies, with dynamic multi-angle coverage. LiveU’s LU-Link Cloud Service means users can connect to a wireless network in the field in just one click.

S1-G22 (UK Pavilion)

BEAMCAST TO SHOWCASE HIGHEND BROADCAST TECHNOLOGY

AV1 video, BW64 audio, 24-bit LPCM in MP4 and sidecar Dolby Vision metadata.

It also integrates the Whisper model for audio language identification.

Interra Systems has also made usability improvements to offer a streamlined installation process, new UI options with dark/light themes, a database manager tool and more robust diagnostics and alerts. With its advanced AI and machine learning capabilities, BATON 9.2 sets a new benchmark for automated QC, delivering unmatched quality and compliance at scale.

Beamcast will showcase a lineup of high-end broadcast and video audio brands including Solid State Logic, DHD Audio, DirectOut, Arkona, Lectrosonics, Barnfind, TV Logic and Schoeps. It also recently partnered with Arkona Technologies and will be introducing the brand to the region at CABSAT. Arkona provides advanced IP core infrastructure solutions for high-end live broadcast production, fully supporting SMPTE 2110 standards.

Beamcast will also present Solid State Logic’s System T S400 console, an IP-based solution for modern broadcast production. Lectrosonics will debut its new DSSM, the smallest water-resistant digital bodypack transmitter, along with the latest Wireless Designer software.

DHD Audio’s RX2 modular mixing console will also be on display, offering flexible, intuitive control tailored for radio and production studios. Stan

S1-PD25

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PRO|GU E S T

MAY 2025

JOHN MAILHOT Even with advancements in delivery platforms, it’s not uncommon for digital audiences to experience delays of tens of seconds or more compared to traditional broadcast of the same content

Bridging the Latency Gap with Broadcast in a Streaming World As media companies in the Middle East and beyond navigate the transition from traditional broadcast to IP- and cloud-based operations, one challenge continues to stand out: latency. In the world of live production and streaming, timing is everything. Delay can create a disconnect between the content and the audience, affecting engagement, brand trust and ultimately monetisation. So whether it’s sports, news or interactive programming, latency now plays a central role in determining the quality of experience for streaming viewers and the value of the content they’re consuming.

Traditional television broadcast has long been the benchmark for low-latency performance. Overthe-air signals historically were near-instant, synchronised and predictable. Streaming delivery, on the other hand, is still catching up.

Even with advancements in delivery platforms, it’s not uncommon for digital audiences to experience delays of tens of seconds or more compared to traditional broadcast of the same content. These highly engaged audiences – who are increasingly viewing sports and other live content on mobile devices – expect real-time delivery, and significant delay is considered unacceptable.

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So what’s the hold-up in content delivery with streaming? Well, there isn’t a single culprit – latency is a cumulative result of multiple workflow steps, including cloudbased operations. Transmitting content over long-distance networks introduces latency, as does processing at remote cloud servers, encoding and decoding processing, and the monitoring and feedback loop. All of these delays add up fast.

For media companies, the challenge is to address these issues without sacrificing quality.

Fortunately, the media industry around the globe is making progress on multiple fronts when it comes to bridging the latency gap with traditional broadcast. Low-latency protocols like LL-HLS and CMAF are moving from theory to development, reducing sources of delay in the delivery systems. Meanwhile, JPEG XS is being integrated into live production environments to reduce latency in the contribution and production networks while maintaining origination quality.

JPEG XS stands apart from other codecs because it wasn’t designed with the goal of maximising compression efficiency. Instead, its main objective is to retain the benefits associated with an uncompressed stream –

visually lossless quality, super-low latency and low complexity. JPEG XS achieves visually lossless quality through modern intraframe encoding.

In addition, it supports a constant bitrate and high dynamic range (HDR), and aligns well with SMPTE ST 2110 for IP network transmission.

And while other codecs used in live production workflows can accumulate significant latency in the encoding and decoding stages, JPEG XS delivers extremely low latency – a handful of milliseconds for combined encoding and decoding.

Furthermore, despite the acceleration of cloud-based playout, media companies are realising that not all workloads belong in the cloud and not all latency is created equal.

As a result, hybrid ‘ground and cloud’ architectures are gaining traction as a way to optimise performance. By running latency-sensitive processes at the edge or on-prem while leveraging the cloud for scale and elasticity, media companies can better balance speed and flexibility. This balance is essential in live environments where the ability to deliver real-time content is now a baseline expectation.

JOHN MAILHOT IS SVP OF PRODUCT MANAGEMENT AT IMAGINE COMMUNICATIONS