Issuu

ISSUE 190 | NOVEMBER 2026

Licensed by Dubai Development Authority

STAYING AHEAD OF THE GAME

StarzPlay chiefs reveal exclusive growth figures post-JioHotstar launch, plot strategies for market dominance

Beyond Installation: Making Broadcast Facilities Ready on Day One For a broadcaster, the true measure of a new facility comes when teams take control and daily operations begin. Equipment must perform reliably, workflows must support production, and operators must feel confident using the systems around them. Getting there is decided long before go-live. Testing and commissioning connect design intent with operational performance. Verification goes beyond individual components to the complete workflow: how signals move, how systems interact, and how the facility responds when something goes wrong. Failover and fault scenarios are tested before air, not discovered on it. Equally important are the people who will run the facility. Practical training, clear documentation,

and a structured handover help teams build familiarity and take ownership. Planning for these needs from day one makes operational readiness part of the project, not an afterthought. At First Gulf Company (FGC), we approach broadcast integration with this responsibility in mind. Working closely with clients and technology partners, we align technical delivery with operational requirements, from coordinating complex systems to supporting the transition into everyday use. We measure a project by what happens after handover: whether teams operate the facility with confidence every day, whether workflows hold up under live pressure, and whether support is in place when it is needed.

This is the commitment behind Trusted to do: bringing technology, people, and processes together to create broadcast environments ready to perform from day one and supported for the years ahead.

Explore our latest projects, solutions, and industry insights at fgc.me

Inquiries: info@fgc.me

PRO|INTRO

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EDITORIAL MD & Publishing Director Vijaya Cherian vijaya.cherian@cpipromedia.com +971 (0) 55 105 3787 Editorial Contributors Kalyani Gopinath Nusrat Ali Urooj Fatima Sub Editor Aelred Doyle

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WELCOME

Key Accounts Vijaya Cherian

We continue to work against a backdrop of geopolitical tensions.

vijaya.cherian@cpipromedia.com

Before, it was news; now it is the new normal. And the broadcast

+971 (0) 55 105 3787

industry continues to fulfil its mandate of bringing news and

Sales Director Sandip Virk

entertainment to our screens. Our mission at BroadcastPro ME is

sandip.virk@cpipromedia.com

to give this industry the space to exchange ideas, visibility for its

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

FINANCE Finance Executive Yonwin D’souza finance@cpipromedia.com

achievements and opportunities to build the relationships that turn conversations into business, and we take that role seriously. That commitment was reflected in our Manufacturer Awards, which went ahead despite the uncertainty and proved a resounding success. The response was a huge testament to the resilience of our industry.

DESIGN & PRODUCTION

Then came JioHotstar’s arrival on StarzPlay, splashed across the

Art Director David Fraser

Burj Khalifa on October 7. What bolder statement of confidence

design@cpipromedia.com

could there be at a time like this? The industry clearly has no

EVENTS & MARKETING Events Executive Sarah Nathan marketing@cpipromedia.com

DIGITAL SERVICES Web Developer Hafiz Muhammad Waqas IT@cpipromedia.com

intention of standing still, and neither do we. We are now gearing up for our annual flagship event – the ASBU BroadcastPro Summit and Awards on November 5 in Dubai. We have a strong line-up of speakers joining us to discuss some critical questions. How do OTT platforms keep audiences coming back and turn that interest into revenue? What will it take for original Arabic content to reach wider audiences? Where is AI proving useful, and what does it mean for the people creating our

FOUNDER

content? How do broadcasters decide which technology investments

Dominic De Sousa (1959-2015)

are worth making now? Our popular CEO panel returns to discuss how leaders see the market and where they plan to put their money

PARTNER Maria De Sousa

in the year ahead. The evening’s awards gala will also celebrate the industry’s achievements, with several new entrants adding to the competition

Published by

this year. Expect lively discussions that continue well beyond the stage, with plenty of opportunities to catch up with colleagues. You may also meet someone you end up doing business with. Online

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

registration is mandatory. We look forward to seeing you at The Westin Dubai Mina Seyahi Beach Resort & Marina on November 5.

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 Media City (TECOM) +971 55 1053787 cpipromedia.com

VIJAYA CHERIAN,

EDITORIAL DIRECTOR 1

PRO|CO NTENTS

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COVER STORY STAYING AHEAD OF THE GAME Following its alliance with JioHotstar, StarzPlay leadership banks on an aggressive multi-partner strategy to scale its audience and secure dominance in MENA’s crowded streaming landscape

5 UPDATE NEWS Image Nation, Longevity Pictures and Spooky Pictures sign multi-film deal; 1 Billion Followers Summit and NMA launch $1m creator fund; Creators HQ teams up with Amazon Ads; Disney+ launches redesigned app; and more

AI COLUMN

CASESTUDY – IRAQ

CTRL+ALT+RETHINK Rather than fitting AI into existing systems, broadcasters should reconsider what’s possible, says Dominic Baillie

CASESTUDY – UAE

How Wave Media transformed Dijlah TV’s operations with a new fully integrated digital production facility

FROM PITCH TO PIXELS

Backed by Prolane Media, the UAE Pro League is transforming its historical footage into a digital archive

DIJLAH’S NEW WAVE

CASESTUDY – KSA RACE TO RIYADH With Qvest at the helm, Asharq successfully relocates to its new headquarters in Riyadh, without any disruptions

22 48

AUDIENCE MEASUREMENT THE RAMADAN VIEWING DIVIDE AUDIMATIC reveals contrasting viewing shifts across KSA, Egypt, Iraq and the UAE during Ramadan

EVENT CABSAT ROUNDUP

From streaming profitability to AI-assisted production, CABSAT 2026 explored the priorities shaping the media industry

BROADCASTPRO MANUFACTURER AWARDS 2026

GUEST COLUMN

AND THE WINNERS ARE...

MAKING VIDEO PAY

The fourth BroadcastPro Manufacturer Awards recognised excellence across 20 broadcast and four satellite categories. We bring you the winners and highlights from the evening

Amid rising costs and changing viewer expectations, Dr Tzvi Gerstl calls for solutions that deliver real value to the video industry

PRO|N E WS

11/26

NOVEMBER 2026

Keep up-to-date at broadcastprome.com

Image Nation, Longevity Pictures and Spooky Pictures sign multi-film deal Los Angeles- and UAEbased Longevity Pictures, genre production label Spooky Pictures and global studio Image Nation Studios have signed a multi-picture partnership to develop original horror films for international audiences. The deal builds on the companies’ initial collaboration on Home Safety Hotline, an upcoming horror thriller directed by Michael Matthews, based on Night Signal Entertainment’s popular puzzle video game of the same name. Psychological horror-

Husband-and-wife filmmaking duo Joseph and Vanessa Winter.

thriller Future Me has been announced as the next project under the expanded collaboration. Filmmaking duo Joseph and Vanessa Winter will write and direct

the film. The husband-andwife team earned critical recognition with their debut feature Deadstream. Speaking about the collaboration, Majd Nassif,

President of Longevity Pictures, said: “Spooky Pictures and Image Nation Studios have built an incredible track record ... so expanding our partnership felt like a natural next step, particularly at a time when there is a proven market appetite and openness for fresh concepts and emerging creative voices ... The potential of internet lore as fertile ground for adaptation has become undeniable – so we’re excited to be bringing Future Me to life with a team which shares our passion for original and punchy genre projects.”

ORANGE AND REELSHORT TO EXPAND MICRODRAMAS ACROSS MENA Vertical micro-drama platform ReelShort, operated by Crazy Maple Studio, has signed a multi-year partnership with Orange Middle East and Africa (OMEA) to distribute its short-form series through Max it TV, the entertainment section of Orange’s Max it super app. The agreement will bring ReelShort’s

catalogue of episodic dramas to audiences across MENA, marking the platform’s first major telecom distribution deal. The initial rollout will begin by the end of 2026. Orange customers will be able to access ReelShort’s series through dedicated mobile data bundles. Joey Jia, founder and CEO of

Crazy Maple Studio, owner of ReelShort, said: “Partnering with Orange is a pivotal step in ReelShort’s global telco strategy. Distribution through Max it TV connects us directly with one of the largest and youngest mobile audiences in the world. In under a year, our operator footprint has expanded to

reach nearly 450m mobile subscribers, including Orange’s customers. The rollout across 17 MENA markets is a significant milestone in our international growth and establishes our first meaningful entry into the MENA region, where operator demand for mobile-first entertainment is rapidly increasing.”

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Dubai International Content Market to connect buyers from 50+ countries The Dubai International Content Market (DICM) 2026 will bring together entertainment industry professionals from more than 50 countries, with over 150 buyers already registered for the event at Madinat Jumeirah, Dubai, on November 10-11. It will showcase a broad range of programming spanning premium drama, Arabic productions, Turkish and Korean series, animation, children’s entertainment, documentaries, films, formats and short-form content, and bring together broadcasters, distributors, producers, streaming platforms and content

companies from MENA, Europe, Asia, Africa and Latin America. Türkiye, South Korea and Russia will have dedicated pavilions. Confirmed participants include international companies such as TRT, Kanal D International, Calinos Entertainment,

OGM Universe, Inter Medya, ATV, Moskino, Roskino, KBS Media, Korea Creative Content Agency, CJ ENM, MBC Korea, SBS, Studio Gale, SMF Animation, Art Pictures Distribution and GPM Entertainment Television, alongside regional broadcasters,

distributors, platforms and production houses. At DICM’s Content Business Hub, registered participants will gain early access to company profiles, catalogues and available titles. Other highlights include the Producers Connect initiative focusing on coproduction opportunities; Spotlight Stories, a pitching initiative for original scripted projects from MENA; and DICM Talks which will explore key issues facing the entertainment industry. The exhibition and business programme will be complemented by screenings and showcases.

1 BILLION FOLLOWERS SUMMIT AND NMA LAUNCH $1M CREATOR FUND into viable businesses.

Summit, scheduled for

The 1 Billion Followers

while reinforcing the

Summit and the UAE’s

UAE’s ambitions to

Applications are

January 8-10, 2027.

National Media Authority

become a global hub for

scheduled to open on

Funding distribution

(NMA) have partnered

content creation and

November 20 through

for the chosen

with content creator

the creator economy.

the initiative’s online

projects will also begin

The initiative will

platform. A specialised

during this phase.

founder Simon Squibb to

provide 100 selected

committee will assess

Following the summit,

launch the 100 Dreams

content creators with

the applications, and

selected creators

initiative, which aims to

$10,000 each, creating

shortlisted participants

will enter a six-week

establish 100 businesses

a total funding pool

will then take part

business accelerator

in the content and digital

of $1m. Additionally,

in meetings to help

programme which

media industry through

participants will receive

organisers understand

will cover training on

funding, mentorship and

guidance, mentorship

their proposals.

business development,

business development

and support with

support. It seeks to

company formation and

be showcased during

media and other areas

expand opportunities for

trade licensing to help

the fifth edition of

essential to building

aspiring entrepreneurs

them turn their ideas

the 1 Billion Followers

sustainable companies.

and Dream Group

The initiative will

marketing, digital

PRO|N E WS

NOVEMBER 2026

Creators HQ and Amazon partner to help UAE influencers expand globally

Rayan Karaky, Managing Director, EMEA & South East Asia, Amazon Ads.

Creators HQ, the UAE and Middle East’s first dedicated creators’ hub and part of Visioneers, has partnered with Amazon Ads to announce the first cohort of its Amazon Creators Foundry programme. First announced at the fourth 1 Billion Followers Summit in January 2026, the programme evaluates hundreds of applications

submitted between August 26 and September 9, 2026. Selected creators will receive support to launch their products on Amazon.ae and develop their businesses for potential global expansion. The inaugural cohort includes Kris Fade, Noor Stars and Anas Bukhash, alongside other creators building businesses in sectors ranging from food

and beverages to beauty. Her Excellency Alia Al Hammadi, Vice Chairperson of the UAE Government Media Office and CEO of the 1 Billion Followers Summit, commented: “The Amazon Creators Foundry, launched by Creators HQ in strategic partnership with Amazon, reflects the UAE’s strategic transformation in the content creator economy

and e-commerce sectors.” Under the initiative, Amazon will provide a sixmonth guided programme covering business setup, brand development and product launches. This includes licensing assistance in coordination with Dubai’s Department of Economy and Tourism, verified Amazon.ae seller account creation and brand registration through Amazon’s IP Accelerator programme. Advertising benefits include up to $10,000 in Sponsored Ads cashback and access to up to $100,000 in Amazon DSP incentives per creator. Creators HQ will nominate each creator for the UAE Golden Visa and provide a complimentary one-year membership.

CREATORS HQ AND TIKTOK LIVE HOST LIVESTREAMING BOOTCAMP

Creators HQ partnered

their content, engage

learned how to plan and

storytelling, audience

with TikTok LIVE to

audiences and explore

structure live sessions,

interaction and

organise the region’s first

growth opportunities.

improve mobile video

production techniques,

TikTok LIVE Bootcamp.

The bootcamp

quality, understand

covering camera

Held from September

covered four key

TikTok’s Community

positioning, lighting,

28 to October 1, the

areas: livestreaming

Guidelines and policies,

audio, body language

event was attended by

fundamentals,

and use short-form

and the use of TikTok

37 content creators. It

content quality and

videos to support

LIVE Studio. Participants

catered to creators at all

audience engagement,

livestream growth.

also explored brand

career stages, from first-

professional streaming

Led by industry

collaborations, content

time livestreamers to

tools and equipment, and

experts, the sessions

monetisation and ways

experienced participants

business opportunities

included practical

to build sustainable

looking to refine

for creators. Participants

exercises in visual

digital communities.

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PRO|N E WS

NOVEMBER 2026

Saudi Arabia’s CDF backs Rotana Media productions Saudi Arabia’s Cultural Development Fund (CDF) has signed an agreement with Rotana Media Group worth more than $10.38m to support the production of films and television series. The projects are expected to contribute more than $19.17m to the Kingdom’s GDP, create 68 job opportunities for national talent and attract private-sector contributions

exceeding $3.19m, according to the Saudi Press Agency. The agreement reflects the fund’s role in providing financial support and enabling solutions for the cultural sector as Saudi Arabia’s film industry continues to expand. According to the Saudi Film Commission, box-office revenues in the Kingdom exceeded $244.89m in 2025, an increase of nearly

9% compared with 2024. Saudi films generated more than $32.47m, accounting for approximately 13% of total box-office revenues. A total of 538 films were released during the year, including 11 Saudi productions. The figures highlight the growing presence of locally produced films and the opportunities emerging across the Kingdom’s screen industries.

DISNEY+ LAUNCHES REDESIGNED APP IN UAE The new Disney+

The updated platform

launched its new app

experience includes a

also allows customers

experience in the UAE,

dynamic homepage and

to continue accessing

introducing enhanced

simplified navigation,

Disney+ while travelling

personalisation and

with recommendations

across supported

improved navigation.

tailored to viewers’

international markets.

The updated platform

preferences and

brings together

popular content. The

the new UAE app

content from Disney,

platform now supports

introduces Junior Mode,

Pixar, Marvel, Star

up to 25 audio and

providing children

Wars, National

subtitle languages,

with a dedicated

Geographic, Hulu and

along with high-quality

interface featuring age-

FX, offering viewers

video and audio on

appropriate content and

a broader selection.

supported devices.

simplified navigation.

Disney+ has

Above: The Disney+ UAE team. Right: Tamim Fares, Head of Disney+, MENA.

For younger viewers,

FREEWHEEL APPOINTS HAMID DAVARI AS COMMERCIAL DIRECTOR FOR MENA Hamid Davari will lead the MENA commercial growth strategy for FreeWheel, Comcast’s technology company. He will work with broadcasters and streaming platforms to maximise their technology investments while helping agencies access data, planning tools and local marketplace solutions. Davari brings more than two decades of experience across TV and streaming, with expertise spanning advertising, partnerships and business development. He will work with regional media companies to address technology challenges across both the buy and sell sides of premium video advertising.

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TOD by beIN and GHMZA Group to produce new psychological thriller TOD by beIN has partnered with GHMZA Group to develop and produce a new psychological and social thriller set in the Gulf, adding to its TOD Studios Originals slate. The series will be filmed and produced entirely in Kuwait, with

both companies working together on its creative development, from the initial concept and dramatic treatment to the screenplay. Targeting younger audiences, it will explore changing relationships between individuals, their

families and society, as well as the growing influence of the digital world. The series aims to reflect contemporary Gulf experiences through modern storytelling and a distinctive visual approach. It will involve writers and

specialists from different creative and cultural backgrounds to create a narrative grounded in Gulf culture and identity. Details of the cast, creative team, production timeline and release date will be announced at a later stage.

ARQIVA EXPANDS MIDDLE EAST FOOTPRINT WITH GULFSAT DEAL Arqiva has signed a

delivery network

three-year agreement

(CDN) solutions. Gaurav Jandwani,

with Kuwait-based satellite operator Gulfsat

Executive Director,

to provide managed

Media & Broadcast at

satellite uplink and fibre

Arqiva, commented:

connectivity services,

“This partnership with

expanding its presence

Gulfsat is a testament

in the Middle East. Under

to Arqiva’s commitment

the agreement, Arqiva

to delivering innovative,

will deliver a managed

reliable solutions for customers across the

service combining fibre connectivity with the

geographical diversity,

(WTA). Arqiva’s

globe. By combining

uplink of four Ku-band

strengthen business

operational track

Arqiva’s world-class

transponders from its

continuity and improve

record was also a key

infrastructure with

teleports in Chalfont

operational resilience

factor in the decision.

Gulfsat’s regional

and Crawley in the UK

for broadcasters

According to Arqiva,

expertise, we are

to Eutelsat 8WB.

and operators

the partnership

uplinking Gulfsat’s

across the region.

addresses Gulfsat’s

services from the

provide Gulfsat with

Gulfsat selected

immediate service

UK, giving them a

an end-to-end uplink

Arqiva based on its

requirements while

resilient, geographically

solution supported by

global connectivity

creating opportunities

independent platform

global fibre connectivity,

capabilities,

for further collaboration

backed by the

integrated infrastructure

geographically diverse

across its expanding

redundancy built

and round-the-clock

European uplink

Media Services portfolio.

into our teleport and

operations. By delivering

infrastructure serving

Potential areas of

network operations. It’s

secure uplink services

MENA satellite beams,

cooperation include

a model we’re ready to

from outside the Middle

and UK facilities graded

cloud playout, headend

extend to operators and

East, the solution is

Tier 4 by the World

services, monetisation,

broadcasters across the

designed to provide

Teleport Association

streaming and content

Middle East and Africa.”

The arrangement will

On-Prem, Cloud, Hybrid, And AI-Powered — With You Today, Building For Tomorrow.

rcsworks.com

PRO|AI CO LU M N

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DOMINIC BAILLIE

The constraint that shaped every broadcaster, the limits of the technology and the cost of human attention per hour of content, has just fallen through the floor

Start in the hardest place Take a blank sheet of paper. Or a whiteboard and a room full of peers. Or a napkin from the local shisha café, if that’s where honest conversations happen. Write these three things on it, in order, and don’t skip ahead. The first is why you exist. The second is what you want to be. Call them vision and mission, purpose and ambition, or whatever this year’s business book has renamed them; the labels change, the questions don’t. The third is the big one: everything you could do to get from the first to the second if nothing were impossible. Most AI conversations start somewhere else entirely. They start with the workflow. Someone opens the diagram of how content moves through the building today, finds each step where a person does something, and asks whether AI fits. Transcription here, research there, a chatbot for the scripts. It works, a bit. Every step gets faster. The workflow stays rigid and complex. The better version asks, “How would we do this if we started today?” That’s progress, but it still assumes “this” is the right thing to be doing. It leaves out everything you never did because you couldn’t. And that is where the opportunity is, because the constraint that shaped

every broadcaster, the limits of the technology and the cost of human attention per hour of content, has just fallen through the floor. So write the third list without the engineers in the room, or with them under orders to stay quiet. A sports feed that follows one player, one team or one storyline for one fan, cut and biased to them while the match is still on. A news service that answers the question a viewer actually has, in their words, rather than reading everyone the same bulletin. A channel for a town of five thousand people, with its own news, its own weather and its own sport, that costs about what a podcast does to run. Children’s programming made for the child

watching it: their age, their dialect, the things they were obsessed with this week. All of this was impossible three years ago, and none of it appears on a workflow diagram, because workflows describe what you already do. Only now does the fourth line go on the napkin: how. Take the ideas that survived the argument and ask what has to be true to deliver them. What content has to be findable, by a machine, in what form. What has to move between systems that currently can’t talk. Where a human must check the output before it goes anywhere near a viewer, and where they don’t need to. Which rules govern all of it. This is the engineering, and it is real work, but notice what it looks like: a set of flows and systems built around what you want to be, not around what you happened to buy in 2015. That’s the test. If the ‘how’ looks like your current architecture with ‘AI’ written next to it, start again. If it describes something you can’t yet build with what you have, and it points straight at the second line, you’ve found the real project. A blank sheet costs nothing. It’s just the hardest place to start. DOMINIC BAILLIE IS FOUNDER AND CHIEF AI OFFICER AT BAILLIE.AI

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NOVEMBER 2026

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STARZPLAY’S NEXT BIG PICTURE The blockbuster arrival of JioHotstar on StarzPlay was announced by illuminating the iconic Burj Khalifa, marking a landmark partnership in the MENA streaming landscape. In an exclusive interview with Vijaya Cherian, StarzPlay CEO Maaz Sheikh and COO Danny Bates break down the launch’s early numbers and reveal how strategic alliances are driving the platform’s next phase of growth On October 7, the world’s tallest building became the launchpad for JioHotstar’s arrival in MENA. Its official rollout on StarzPlay brought the scale of an Indian entertainment powerhouse straight to audiences across the region. The sheer ambition of the spectacle matched the business strategy beneath it: a home-grown platform leveraging high-stakes partnerships and live sports to solidify its position in a highly competitive market. JioHotstar on StarzPlay has added more films, originals, daily serials, reality formats and live channels to a service already spanning Hollywood, Arabic programming and Turkish drama. “The next phase of streaming growth in MENA will be shaped by platforms that bring the right brands together and make the viewing experience more valuable,” Maaz Sheikh, CEO of StarzPlay, remarked at the launch. “Audiences should not have to navigate an increasingly fragmented market to find the entertainment that matters to them. Bringing JioHotstar to

StarzPlay is a strategic investment in that future, combining the strength of India’s storytelling with our understanding of this region and the audiences we serve.” Early figures shared exclusively with BroadcastPro ME reflect a strong start. New paying subscriptions surged 75% during the launch window compared to the preceding weeks, a 5.6-fold increase over the same period last year. Within the first two weeks, 61% of all new direct subscribers tuned into JioHotstar content. Furthermore, 89% of subscribers who joined through JioHotstar chose StarzPlay’s PLUS entertainment plan – an interesting preference for a partnership whose origins lie partly in the platform’s relationship with cricket fans. Beyond the final over

Major cricket tournaments brought South Asian customers to StarzPlay, but their conclusion exposed a familiar challenge in sports streaming: subscriber churn when the tournament was over. “We knew we needed an entertainment service to keep

customers engaged,” Sheikh explains. Prior to the launch, 60% of StarzPlay’s cricket subscribers were already watching South Asian entertainment. However, early viewing patterns suggest the partnership is reaching beyond that existing base. Only 9% of newly acquired JioHotstar subscribers watched cricket, compared to 27% of existing subscribers. This shifting subscriber profile is reflected in the tier selections. During the launch window, 77% of all new subscribers opted for the PLUS entertainment tier, while 22% chose the sports-inclusive MAX package. PLUS sign-ups grew 96%, while MAX sign-ups increased 27%. The entertainment-focused PLUS tier is priced at $9.53 (AED 34.99) a month, while MAX, which includes the live sports portfolio, retails at $13.61 (AED 49.99). For Sheikh, this market gap has deep roots in the region’s legacy payTV landscape. South Asian households in the Gulf were historically served by Pehla’s pay-TV packages, which OSN acquired in 2013 and subsequently 13

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NOVEMBER 2026

discontinued in July 2019, citing the commercial impact of piracy. Their withdrawal left a gap that Sheikh believes remained unfilled. “That entire audience was left unaddressed and underserved. People assume they could just go online, but they couldn’t, because JioHotstar was geo-blocked in the MENA region.” The integrated hub offers programming in languages including Hindi, Malayalam, Tamil, Telugu and Bangla. New JioHotstar Originals arrive alongside their Indian release, while television audiences can follow programmes at the same time as their broadcast in India. According to Sheikh, Malayalam and Tamil content are attracting particularly strong viewing. StarzPlay has built on that appetite by integrating another platform, Simply South, further expanding its South Indian film offering. A regional route to market

For JioStar, MENA joins an international expansion plan that has already taken JioHotstar into the UK, Canada and Singapore.

Audiences should not have to navigate an increasingly fragmented market to find the entertainment that matters to them MAAZ SHEIKH, CEO, STARZPLAY

Maaz Sheikh (l), CEO, StarzPlay, with Amit Malhotra, Head of International Business, JioStar.

Its choice of a regional partner was informed by an audience StarzPlay was already serving. “As we build JioHotstar into a truly global streaming platform, MENA is a crucial next market, with one of the world’s largest South Asian diaspora communities and a deep appetite for entertainment across languages. Our partnership with StarzPlay allows us to enter the region with scale and bring audiences the breadth of JioHotstar, from new originals and daily television to blockbuster films and iconic reality franchises,” Amit Malhotra, Head of International Business at JioStar, stated at the launch. The initial subscription figures show the Gulf’s importance to the launch. The UAE accounted for 54% of new subscribers and 68% of the total uplift in new subscriptions, with new subscriber acquisitions in the country rising to 2.2 times their pre-launch level. Saudi Arabia represented 20% of new subscribers and recorded a 32% increase in acquisitions. Kuwait, Qatar, Oman and Bahrain together accounted for 11% of new subscribers, with new subscriber acquisitions in Bahrain reaching 3.8 times their pre-launch level, compared with 3.4

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times in Qatar and 2.9 times in Oman. Beyond the initial uptake, StarzPlay is focused on meeting partner expectations and developing the Saudi market, Sheikh says. “We have set high expectations for this partnership, both internally at StarzPlay and jointly with JioStar. Our biggest challenge is to deliver on those shared growth ambitions, working together as one team. Another key priority is to tap into the South Asian segment in Saudi Arabia, where we see a massive opportunity for JioHotstar on StarzPlay.” Cross-viewing and distribution

Nearly two-thirds of JioHotstar viewers also watched other StarzPlay content during launch week. Among new users, 32% engaged with other South Asian programming, while 24% watched Western content. Of other StarzPlay content watched by JioHotstar viewers, cricket attracted

the most viewing hours, although its lower uptake among new subscribers highlights the different habits of incoming and established audiences. Whether this cross-viewing pattern translates into higher long-term renewal rates remains to be seen. The agreement reaches beyond subscription streaming. “We have SVOD, AVOD and linear rights, so we carry JioHotstar content on IPTV as well,” Sheikh explains. “That’s the power we bring to the brands. It’s not just SVOD, we cover the whole range. Shows like Bigg Boss first appear on SVOD, with each episode moving to AVOD 24 hours later.” A further extension is planned for November, when StarzPlay plans to debut a collection of JioHotstar programming dubbed into Arabic. It is a calculated move designed to break the content out of its historical diaspora core and test its crossover appeal with the broader Arab audience.

Partnerships with a purpose

“Partnership has always sat at the core of StarzPlay’s approach,” says Chief Operating Officer Danny Bates. “Whether it be with telecom operators for distribution or building a consortium to effectively monetise sports rights, we have always believed that working with others in such a capital-intensive and competitive industry makes commercial sense for all. That means reducing costs, speeding up time to market and, most importantly, combining strengths to create a stronger consumer offering.” The partnership strategy entered a new phase in November 2025 when Abu Dhabi Media Network integrated its ADMN digital offering into the StarzPlay platform. Rotana subsequently expanded the platform’s Arabic proposition, onboarding popular channels including Rotana Drama and Rotana Khalejia alongside on-demand catch-up options.

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MTV Roadies’ Rannvijay Singha (c) in conversation with the audience at the launch of JioHotstar on StarzPlay MENA.

We have set high expectations for this partnership, both internally at StarzPlay and jointly with JioStar. Our biggest challenge is to deliver on those shared growth ambitions, working together as one team MAAZ SHEIKH, CEO, STARZPLAY Together, ADMN and Rotana accounted for 74% of Arabic viewing hours on the platform from November 2025 to the reporting point supplied for this feature. While ADMN has primarily driven advertising-supported consumption and audience growth, 16

its premium UAE production Kaainaat became StarzPlay’s topperforming programme of the year across genres, claims Sheikh. The platform has replicated this partnership framework internationally by tapping into the region’s insatiable appetite for Turkish content. Over the past year, StarzPlay’s Turkish partners Kanal D and HilalPlay have expanded the platform’s portfolio, introducing linear channels and a branded HilalPlay on-demand service that have collectively brought more than 5,000 hours of programming. Turkish drama viewing hours rose by 211% year-on-year in Q3 2026, while HilalPlay and Kanal D contributed 52% of the category’s viewinghour growth during the quarter and 51% on a year-to-date basis. “Dubbed Turkish drama has performed exceptionally well for us over the years,” Bates notes. “We have seen great success with shows like Kurulus Osman, and to be able to greatly enhance this offering and at the same time enable partners like Kanal D and HilalPlay to scale their regional

reach has worked well for all involved.” StarzPlay’s ambitious expansion looks set to continue as the platform moves to defend its turf against global competitors. “We are not finished yet and continue discussions to enhance the offering further. We are committed to giving regional content a stronger presence within our offering, and customers should expect further announcements soon,” Bates says. Integrating those brands requires a platform able to accommodate different partners, rights and distribution relationships. Sheikh credits StarzPlay’s technical agility to its early telecom integrations. “When we first got started, we integrated with all the telcos. We were the first OTT platform to integrate with over 17 different telcos for direct carrier billing. Working with other partners is in our DNA. I think this is something that will never change about us, because we build strong, long-term relationships – not just because that’s our ethos, but also because the market demands it.”

MTV Roadies’ host Rannvijay Singha.

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I think we can never stand still. It’s a constant process of optimisation and adjustment, and we are always finding ways to grow and move the business forward DANNY BATES, CHIEF OPERATING OFFICER, STARZPLAY A growing organisation

StarzPlay’s corporate evolution has mirrored its aggressive platform strategy since its inception in 2014. A major turning point arrived in 2022 when evision, the entertainment arm of etisalat, and ADQ acquired a majority stake in the company. Sheikh says the subsequent merger with evision was completed in October 2025, bringing teams together across Dubai and Abu Dhabi. Today the combined entity operates under the StarzPlay brand and employs nearly 400 people between its Dubai and Abu Dhabi offices, with approximately 150 in Dubai. To accommodate this workforce, StarzPlay has expanded from a modest operation in Dubai Studio City to occupy three floors. The integration has also changed how the company buys content. Where the two organisations once negotiated separately with the same studios, they now negotiate as one business across multiple rights categories, giving them immense purchasing leverage. Alongside those operational changes, average monthly active users increased 45% in January-September 2026 compared to the same period in 2025.

The paying subscriber base grew 32% year-on-year as of September 30, 2026, with annual growth reaching 36% by October 20, according to the company. A vision that keeps moving

Reflecting on this corporate journey, Bates admits the business now looks vastly different to the entity originally envisioned back in 2014. “What we had in mind then and how we have eventually evolved are completely different. The market is so competitive, dynamic and fast-changing that I think you constantly need to be adjusting, adapting and testing that vision. There are things that worked and things that didn’t; there are things you need to adjust and optimise to get them to perform in the way that you would want them to. So I think we can

never stand still. It’s a constant process of optimisation and adjustment, and we are always finding ways to grow and move the business forward.” Based on the current run rate, StarzPlay forecasts that its South Asian subscriber base could potentially grow to 1.8 times its current size over the next three months. Sustaining this rapid acquisition momentum and converting early launch-window viewing into repeat subscriptions will ultimately determine how far that ambition translates into lasting commercial growth. The Burj Khalifa announced JioHotstar’s arrival in spectacular fashion. What follows will be measured on smaller screens, as StarzPlay works to turn a high-profile launch into an everyday viewing habit. 17

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NOVEMBER 2026

UAE PRO LEAGUE’S AI GAME PLAN The UAE Pro League has established a centralised digital archive for its football collection. Integrated by Prolane Media, the system combines AI-assisted discovery, automated workflows and tiered storage to preserve historical footage and make it easier to reuse. Vijaya Cherian brings you the details With football footage dating back to 2008 spread across tapes and separate hard drives, the UAE Pro League faced a substantial content management challenge. Years of material needed to be brought into a consistent structure, while projected archive growth of approximately 480TB a year called for a system that could accommodate future seasons. 18

The league set out to address both requirements through a centralised archive that would make its collection easier to search, preview and retrieve. Appointed to design and deliver the system, systems integrator Prolane Media took responsibility for the initial assessment, architecture, technology selection, integration and implementation. The brief

extended beyond supplying storage to establishing the workflows that would connect incoming content, historical migration, media discovery and long-term preservation. The initial implementation took approximately six months. With the core infrastructure in place, migration of the historical collection is continuing in phases.

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The total number of footage hours is being established as the material is processed. “From the outset, our vision at Prolane Media was to go beyond delivering technology and build a long-term digital asset management strategy for UAE Pro League,” says Maroon Khalil, Chief Business Officer at Prolane. “We took the lead in understanding the league’s challenges, defining the technical architecture, selecting the right technologies, building the puzzle and bringing multiple systems together into one intelligent, scalable solution.” The architecture brought together GB Labs ECHO shared storage, axle.ai media asset management, Archiware P5 archive automation and a Symply LTO-10 tape library over a 10Gb network infrastructure. Each component was selected to address a different part of the archive operation, with the integration connecting content processing, everyday access and preservation. At the online level, GB Labs ECHO provides 380TB of usable capacity for active media and processing, while the Symply library, equipped with two drives and 80 slots, supplies the long-term tape tier. Archiware P5 manages archive policies and the movement of assets to tape, and axle. ai provides the environment through which users browse, search and preview the collection. This division was designed to allow the league to retain frequently accessed material online while moving older content into long-term storage. It also provides a way to accommodate growth without requiring the entire collection to remain on the same storage tier. The projected annual addition of approximately 480TB made that balance a significant consideration during the design. The online

For the league, this creates a route from discovering historical material to putting it back into production JAMAL ABDULNASER, BROADCAST & TELEVISION PRODUCTION DIRECTOR, UAE PRO LEAGUE system supports current operational requirements, while the tape tier accommodates the accumulating historical collection. Both can be expanded as requirements increase. Prolane claims the system currently has approximately

2.4PB of tape capacity. Alongside the storage deployment, a substantial part of the project involved preparing existing material for the new environment. Prolane configured automated workflows for indexing, metadata generation and proxy creation to establish a more consistent structure across assets previously held on separate media. The integrator is also managing the continuing bulk migration of historical content. Within the new workflow, content ingest triggers automated rules that initiate the relevant processing stages, including AI analysis and the creation of viewing proxies. Users can then review material through axle.ai, identify the assets they need and request restoration where the originals reside on tape. The proxies

Prolane Media integrated GB Labs ECHO shared storage, axle.ai media asset management, Archiware P5 archive automation and a Symply LTO10 tape library to build a scalable digital asset management solution.

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connect the search experience with the underlying storage architecture and allow users to inspect footage without first bringing every fullresolution file back from the preservation tier. When an original is required, retrieval is managed through the integrated archive workflow, with restoration times depending on the asset’s size and location. “For the league, this creates a route from discovering historical material to putting it back into production. Footage held for preservation can remain visible within the catalogue, giving teams a way to explore the collection even when the original files are offline,” explains Jamal AbdulNaser, Broadcast & Television Production Director, UAE Pro League. The discovery layer incorporates voice recognition, speech-to-text, logo recognition and object detection. These capabilities were integrated to enrich assets with searchable information and reduce the amount of manual processing required to describe a large collection. Within a football archive, that additional metadata can help users locate relevant material across interviews, match footage and other recorded content, as well as provide further ways to explore assets whose original descriptions offer limited detail. However, the workflow retains human validation, particularly for player identities, specific matches and important sporting moments. Automated analysis can generate information about the content, but the sporting context still requires careful checking. The league’s Arabic and English content requirements also informed the design. AI-assisted transcription and metadata processing can support multilingual material, depending on the models configured. Football 20

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Our vision at Prolane Media was to go beyond delivering technology and build a long-term digital asset management strategy MAROON KHALIL, CHIEF BUSINESS OFFICER, PROLANE terminology, club names and player identities remain areas where human verification is needed to maintain consistency. For a collection spanning multiple seasons, that consistency is important to the usefulness of the archive. The ability to generate metadata at scale must be accompanied by a reliable way to check names and descriptions, so that relevant footage can be found across the wider collection. According to Khalil, bringing the historical assets and the specialist

technologies into one working environment was the project’s principal integration challenge. The work involved configuring the automation rules between systems as well as establishing the storage and media management infrastructure. The phased approach allowed migration and workflow development to continue beyond the initial installation. As more historical content enters the platform, the UAE Pro League and Prolane will assess the operational improvements and identify where further adjustments are required. Automated indexing, proxy generation and search are intended to reduce manual effort, although measurable gains have yet to be established. The preservation strategy is also being further developed. A workflow to generate an additional backup copy for off-site storage is in development, while a broader disaster recovery strategy is under discussion as a future phase and cloud storage integration remains part of the longer-term plan. The current deployment centres on online shared storage and LTO preservation, with provision to expand those resources as the league’s collection grows. “This project has given UAE Pro League a common framework for managing footage that had accumulated across years of competition and separate storage media,” says AbdulNaser. “Continuing migration will bring more of that history into the searchable environment, while the same infrastructure provides a path for incoming seasons. The archive is now being developed around the full life of the content – how it enters the system, how it is described, where it is preserved and how it becomes available again when needed.”

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DIJLAH TV BUILDS A NEW BROADCASTING FUTURE Dijlah TV’s new headquarters gives the Iraqi broadcaster an integrated base for television, digital publishing and radio. In an exclusive interview with Vijaya Cherian, Dijlah TV and systems integrator Wave Media discuss the vision behind the facility, its technical infrastructure and the journey to launch

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For Dijlah TV, a new headquarters represented an opportunity to rethink its entire operation. With new private investors involved, the Baghdadheadquartered Iraqi network, which also has an office and studio in Erbil, commissioned a facility encompassing new studios, workflows, technical infrastructure and channel identity. Nabil Jasim, General Manager of Dijlah TV, places the investment within the broadcaster’s wider development plans: “Dijlah TV’s move to its new headquarters marks an important milestone in the organisation’s development and reflects our vision of building an integrated media environment that keeps pace with technological advances and meets the demands of modern television production. “This achievement was made possible through the efforts of the Dijlah team and a productive collaboration with Wave Media, whose expertise and resources helped deliver the project to the required technical and engineering standards. “We believe this step is more than a move to a new building; it marks the beginning of a more advanced phase in media content production, strengthening Dijlah’s presence and standing in the Iraqi and Arab media landscape.” The network operates two television services: its main Dijlah channel and Dijlah Zaman, which carries classic series, documentaries and other archive programming. Both needed a reliable, centralised production and transmission environment, with shared access to content and room for expansion. The resulting project was built from the ground up. No equipment from the previous operation was retained, and every broadcast, newsroom, production, graphics, storage, playout, audio, lighting, transmission and IT system was newly supplied. Both channels went on air from the new facility on 1 May,

2026, following a month of testing and rehearsals supported by Wave Media. For the Iraqi integrator, the assignment extended across the physical, visual and operational foundations of the broadcaster. Wave Media designed the building layout, including studios, newsrooms, control rooms, technical areas, meeting rooms and management and administrative spaces. Its responsibilities also included engineering, procurement, logistics, installation, integration, commissioning, training and post-launch support. Zaid Wattar, CEO of Wave Media, describes the scale of that responsibility: “Dijlah TV represents one of Wave Media’s most comprehensive projects, bringing together building and workflow design, studio sets, on-air graphics and advanced broadcast technology within one integrated vision. Delivering this facility during a period of major regional and logistical disruption tested every aspect of our capabilities. Its successful launch reflects the commitment of our team, our technology partners and Dijlah TV’s confidence in Wave Media.” Designing around the programmes

The facility had to accommodate a broad output, from news and political discussion to sports analysis, weather, business, morning shows, documentaries and social, youth and women-focused programming. Its design therefore needed to support different production formats without creating separate technical environments for each. Two large physical studios cover approximately 1,200sqm. These comprise a main news studio and a programmes studio containing eight separate sets, giving the broadcaster nine principal sets in total. Two smaller down-the-line studios provide additional production spaces, while two production control rooms allow two in-house productions to run

We believe this step is more than a move to a new building; it marks the beginning of a more advanced phase in media content production NABIL JASIM, GM, DIJLAH TV simultaneously. A single master control room manages both television channels. The headquarters also incorporates a dedicated Radio Dijlah FM facility, eight craft-editing suites and separate television and digital-media newsrooms. Although the television and digital teams retain their own editorial operations, they share a central Avid environment for newsroom production, asset management, publishing, storage and archive access. Content needed to move easily between journalists, editors, graphics operators, archives and transmission, 23

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From left, Wave Media CEO Zaid Wattar; CTO Omar Hussein; and Project Manager Ali Wattar.

while the architecture had to remain straightforward to operate and ready for a future transition to UHD. Omar Hussein, CTO of Wave Media, explains the thinking behind this approach: “As CTO, I believe the real success of the Dijlah TV project lies in bringing technology, people and workflow designs together to create a truly integrated broadcast environment. From the initial concept to the on-air launch, our team worked closely with Dijlah TV to deliver a reliable and flexible facility that meets their

needs today while providing a solid foundation for future growth and the evolution of broadcasting in Iraq.” Bringing the infrastructure together

The facility currently operates in HD, with its main production, routing, camera, display and signal infrastructure designed to support UHD. Ross Carbonite and Carbonite Ultra 60 production switchers form part of the production environment, alongside Sony UHD studio cameras with Canon UHD lenses.

The PCR at Dijlah TV, where Allen & Heath Avantis consoles connect directly to Ultrix through redundant MADI paths.

At the centre of the signal infrastructure is Ross Ultrix, which combines routing with several functions that would otherwise require separate equipment. These include multiviewing, frame synchronisation, MADI and Dante audio embedding and distribution, NDI connectivity and master-control switching. Consolidating these functions reduces the number of standalone devices and conversion stages, while giving engineers a common platform for routing, monitoring and troubleshooting. It also reduces cabling and rack-space requirements and makes future expansion easier to manage. Audio integration follows the same approach. Allen & Heath Avantis consoles in the production control rooms connect directly to Ultrix through redundant MADI paths. Audio embedded in SDI signals can be extracted, routed to the consoles, mixed and returned to the video infrastructure without passing through multiple external conversion stages. This simplifies the signal path and helps maintain audio and video synchronisation. The wider production installation includes RTS digital IP intercom, Sennheiser Dante microphones and

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Ahmed Laith, Baghdad Office Manager, Wave Media.

in-ear monitoring, and ARRI studio lighting. Transmission systems draw on MediaKind encoding, multiplexing, modulation and decoding, ETL Systems satellite-uplink equipment, and DEV Systemtechnik RF matrix and distribution technology.

LTO-9 tape libraries, allowing content to be archived and retrieved as part of the wider workflow. Pebble provides video servers and automated multichannel playout. It exchanges content with Avid and DIVA while also supporting its own SDI ingest and transmission workflows. Both television services consequently draw on the same central content environment while maintaining individual schedules and automated playout. The Avid databases and applications run on a virtual-machine cluster, reducing reliance on multiple isolated physical servers. Alongside the consolidated signal infrastructure, this approach reduces equipment, cabling, power and cooling requirements. No formal before-and-after energy study was conducted, so the project’s efficiency benefits have not been expressed as a percentage saving.

Connecting the studio identity and controls

The studio designs are supported by more than 10 INFiLED LED video walls, comprising over 200sqm of WP-MKII fine-pixel-pitch displays. Ross XPression Studio supplies on-air graphics, while XPression Tessera drives the video-wall graphics. These systems give the broadcaster flexibility to adapt its production spaces to different programmes. Their integration with newsroom rundowns also connects the studio presentation to the editorial workflow. Wave Media developed customised controls to simplify day-to-day operation. Ross DashBoard and RossTalk coordinate multiple systems, allowing production switchers to trigger graphics and other functions directly. Pebble operational panels, Avid newsroom templates, predefined routing, production presets and

A common content environment

Avid MediaCentral provides the collaborative core of the news and production workflows, supporting story creation, rundowns, ingest, livefeed recording, editing, production asset management, archive access, and digital and social publishing. Avid NEXIS supplies shared storage, with Media Composer supporting editing. Stream IO servers handle videofeed ingest and production playback, while Avid Command controls rundown-based playback from MediaCentral News Management/ iNEWS. The newsroom connects to Ross XPression through MOS for on-air and video-wall graphics, with Avid Command also controlling XPression rundown automation. Telestream Vantage handles file ingest and transcoding within the Avid environment. Telestream DIVA manages deep archiving through

The studio designs are supported by more than 10 INFiLED LED video walls, comprising over 200sqm of WP-MKII fine-pixel-pitch displays.

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NOVEMBER 2026

The MCR at Dijlah TV.

automated rundown workflows reduce repetitive manual tasks. Reliability was another design priority. Almost all critical systems incorporate redundancy, including the Avid and Pebble platforms and associated servers. Transmission and satellite-uplink systems use 1+1 redundancy, with backup arrangements across critical signal, control, network, server and power paths. Centralised monitoring helps engineers identify faults and respond before they affect on-air services. Delivering through disruption

The project’s broad scope was accompanied by a difficult delivery environment. According to Wave Media, intense regional conflict affected both Iraq and the UAE, where the company operates its logistics hub. Temporary shipping suspensions, higher freight and insurance costs, longer lead times and enhanced security measures complicated equipment delivery. Ali Wattar, Project Manager at Wave Media, recalls the adjustments required to maintain progress: “Managing this project during the war was a real challenge. With flights and equipment deliveries disrupted, we had to keep adjusting our plans and work closely with our team, suppliers and Dijlah. My 26

focus was to keep the project moving and make sure Dijlah’s team was ready to go live. Seeing both channels on air was a proud moment for me, and a credit to everyone involved.” The logistics operation involved coordinating supplies from dozens of manufacturers worldwide through Dubai. On the ground in Iraq, the Baghdad office helped align delivery and installation activities with the project schedule. Ahmed Laith, Baghdad Office Manager at Wave Media, says: “Wave Media played a key role in delivering the Dijlah Channel project within a tight timeline, despite the challenging regional circumstances and ongoing instability in the region. Through effective coordination and prioritisation, we successfully delivered the project on schedule, contributing to the continued development of Iraq’s media and technology sector.” Integrating products from multiple manufacturers also required detailed engineering and testing. Wave Media reports that there were no fundamental incompatibilities, though configuration and workflow issues arose during factory preparation, installation and commissioning. Its engineers addressed these through testing, workflow refinement and cooperation with

manufacturers’ technical teams. Preparing staff was part of the delivery programme. More than 120 Dijlah TV employees received training across newsroom production, operations, editing, graphics, engineering, playout and other departments. Local teams participated in workflow reviews, commissioning, testing and rehearsals, with a month of on-site support before launch. This involvement gave staff time to become familiar with the systems and workflows before taking the channels to air. A platform for the next stage

Since launch, Wave Media reports improvements in production flexibility, content sharing, reliability, news turnaround and resource utilisation. Television and digital teams can access common content and archives while maintaining their editorial responsibilities, and automated graphics, rundowns, archiving and playout reduce manual intervention. The project sits alongside other recent Wave Media assignments, including the migration and technology upgrade of Alrabiaa TV’s new Baghdad headquarters, Al Sharqiya TV’s London news studio and connected multilocation newsroom operation, and Iraqi Media Network’s redundant 10-channel UHD satellite teleport, uplink and streaming facility. At Dijlah TV, the next planned step is a transition to UHD without a fundamental system redesign. The central architecture also allows storage, editing capacity, channels, devices and workflows to expand, while its NDI and IP capabilities provide a foundation for greater use of IP-based and remote production. With both television channels now on air, the broadcaster has an operational base designed to accommodate that growth.

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ASHARQ’S NEXT CHAPTER GOES LIVE IN RIYADH Asharq’s new headquarters in Riyadh brings four studios, two newsrooms and a shared production environment together on an IP infrastructure. Delivered by Qvest, the facility builds on the broadcaster’s experience in Dubai while enabling its live news operation to move to Saudi Arabia without interrupting broadcasting 30

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For a 24/7 news broadcaster, relocating an operation involves more than commissioning studios and installing equipment. Editorial teams need access to their content, production workflows must remain dependable, and transmission has to continue throughout the transition. For Asharq, the move from Dubai International Financial Centre (DIFC) to King Abdullah Financial District (KAFD) in Riyadh brought all three requirements into focus. Asharq News Services Ltd, part of Saudi Research and Media Group (SRMG), commissioned a new broadcast headquarters within SRMG’s KAFD headquarters. More than twice the size of its DIFC facility, the new operation spans four floors and a rooftop satellite farm. It brings together four studios, two newsrooms accommodating up to 160 journalists, post-production, graphics, media management, archiving, master control, playout, transmission, satellite connectivity, and broadcast and corporate IT. At the operational heart of the facility are the newsrooms, connecting editorial teams with the wider production, content and distribution environment. The facility went live on June 28 this year. Qvest, the sole master systems integrator, delivered the new environment and supported the migration of the live operation and its content from Dubai. No equipment was carried over: Riyadh was a greenfield installation, with operational assets and data transferred into the commissioned infrastructure. “Our objective was to create a broadcast environment that could support the demands of continuous live news while giving our teams greater flexibility across production,” says Omran Abdallah, VP Engineering IT & Technology, SRMG NEWS & Asharq Bloomberg. “Bringing studios, postproduction, playout, transmission, satellite connectivity and IT together

within one connected environment requires a high level of technical integration and coordination. The project, therefore, focused on reliable day-to-day operations while giving our teams the flexibility to adjust workflows as our needs change. At the same time, the new facility supports our broader ambition to strengthen our operation from Riyadh and extend our reach across the region and beyond.” Building on the Dubai experience

Qvest had already delivered Asharq’s full-IP facility in Dubai, giving it an established understanding of the broadcaster’s workflows and operational priorities. Riyadh retained that proven SMPTE ST 2110 foundation but developed the production model around a larger operation, more specialised studios and a stronger emphasis on robotics, virtual production, wireless workflows and resilience. Qvest’s scope covered project management, engineering, procurement, logistics, delivery, transformation, training, vendor coordination and commercial management. Suppliers and subcontractors were engaged and

coordinated through the integrator. “For a project of this scale and complexity, we needed a partner with strong systems integration capabilities, deep broadcast engineering and SMPTE ST 2110 expertise, and the ability to bring a large multi-vendor environment together,” Abdallah explains. “Qvest also combines international project experience with a strong local presence in the MENA region and could support us throughout the full project lifecycle. Our established relationship from the Dubai project was an additional advantage.” The project forms part of a larger phased programme. Two production control rooms and two audio control rooms serve the four studios, with infrastructure for a third of each already incorporated. A master control room, transmission facilities, a central apparatus room and ten intermediate distribution frames support operations across the building. Craft and finishing edit suites, audio post-production, voice-over and interview rooms, and graphics stations surround the newsrooms. One IP environment, shared resources

An Evertz EXE 3.0 routing core underpins

Asharq’s new headquarters within SRMG’s KAFD headquarters spans four floors and is more than twice the size of its erstwhile DIFC facility.

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the ST 2110 infrastructure. Video, audio and ancillary data travel as separate streams, synchronised through facilitywide Precision Time Protocol (PTP). ST 2022-7 protection carries streams across two independent network paths, allowing the receiving system to maintain continuity if a protected path fails. Evertz Magnum provides softwarebased routing orchestration, while EVS Cerebrum combines routing, KVM, multiviewers, tally and intercom within a common operational control layer. This gives operators coordinated access to systems that would otherwise require separate interfaces and allows production resources to be assigned across studios and control rooms. The camera installation illustrates how far the native-IP approach extends. Eighteen Grass Valley LDX-150 cameras connect through ST 2110 directly from the camera heads, removing the traditional camera control unit and base-station hardware layer. Shading and control are handled through

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Two production control rooms and two audio control rooms serve the facility’s four studios, with infrastructure already in place for an additional PCR and audio control room.

centralised software over IP, with UHDready, HDR-capable camera chains. “The defining aspect of this project is the depth of the IP-native approach,” says Philipp Glänzel, Managing Director MENA, Qvest. “We brought routing, cameras, newsroom systems, graphics, audio, archive, playout and IT together within one operational environment, while building resilience into the architecture throughout. The result is a setup that gives Asharq greater flexibility in how production resources are used across the facility.” This shared-resource model also informs expansion. Additional endpoints can be connected to the network and incorporated into the routing and control environment, reducing dependence on fixed point-to-point wiring. UHD/HDR capacity is built into the design, alongside provision for distributed, remote and hybrid production.

Four studios, four production roles

The studios were designed around different editorial and production requirements. Together they provide 1,100sqm of studio space, combining conventional presentation, automated bulletins, tracked camera movements and virtual production. Studio 1 is the flexible flagship. Its 350sqm space incorporates six video walls, three fully robotic camera chains, two manual pedestals, a Stype HumanCrane with RedSpy tracking and a ceiling track. The configuration accommodates straightforward anchorled programming as well as tracked crane moves and AR/VR production. Studio 2, also 350sqm, places greater emphasis on automation. Four fully robotic camera chains and a tracked crane support high-volume bulletin production and extensive virtualproduction workflows, with seven video walls providing the visual backdrop.

The new facility supports our broader ambition to strengthen our operation from Riyadh and extend our reach OMRAN ABDALLAH, VP ENGINEERING IT & TECHNOLOGY, SRMG NEWS & ASHARQ BLOOMBERG 32

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Studio 3 occupies 250sqm and uses three semi-robotic cameras for regular bulletins and interviews. Six video walls provide presentation flexibility, while the camera configuration balances the benefits of robotics with everyday operating requirements. The 150sqm Studio 4 is dedicated to green-screen production within the Vizrt ecosystem and also includes an XR video-wall solution. Virtual sets allow its presentation to change without a physical rebuild, supporting financial explainers, data-led storytelling, elections and breaking-news coverage. Vizrt supplies the wider graphics and virtual-production environment, connecting on-air graphics, video walls and AR/VR to newsroom rundowns. Vinten robotics and Stype tracking support the camera and virtualproduction strategy, while Grass Valley technology handles native-IP acquisition and production mixing. Connecting the newsroom

the Avid environment. Vizrt adds graphics and virtual-production elements, SSL System-T handles production audio and Riedel supplies intercom. Interra Baton provides quality control, with Telestream DIVArchive supporting archiving and Pebble handling playout. Master control and transmission support up to four playout channels. Transmission is organised across three fully redundant chains, with Pebble Beach Stingray reserved for emergency playout. The SSL System-T audio core uses redundant engines across a facilitywide Dante network. A hybrid satellite/ IP teleport supports contribution and distribution, extending the connected production environment through to external feeds and programme delivery. The architecture combines broadcast systems with storage, networking and virtualisation technologies from suppliers including Dell EMC, Cisco and VMware. Interoperability between the specialist platforms was a central selection criterion, allowing

content and operational control to move through the production chain. Making the archive part of production

Archive integration was designed to keep stored material available to editorial teams. DIVArchive connects to the newsroom and media asset management environment, making archived content searchable and available for restoration into production. Metadata follows assets from ingest and editing through newsroom production, archiving, playout and publishing. It remains synchronised across Avid PAM and MAM, iNEWS, BTS Traffic, Vizrt and DIVArchive. XML metadata is mapped automatically at ingest, rights information stays with the content and genealogy tracking preserves source relationships within edited sequences. Phonetic search indexes transcripts in Arabic and English. The migration included content and associated data from the Avid PAM and MAM, Telestream and

to transmission

The two newsrooms operate within the Avid MediaCentral ecosystem, bringing iNEWS, production and media asset management, editing and archive access into a shared content environment. Journalists, producers and editors can work with common material throughout the production process. Four live positions are integrated directly into the newsrooms, allowing breaking stories to reach air from the editorial environment. Avid Media Composer supports craft editing, while Pro Tools forms part of the audio post-production environment. Avid NEXIS storage in the approximately 2.5PB class sits alongside Dell EMC PowerScale, providing a substantial storage foundation for the production and media-management workflows. Incoming material is handled through technologies including Ateme, Woody, SRT/Zixi and NDI ingest before entering

At the operational heart of the facility are the newsrooms, connecting editorial teams with the wider production, content and distribution environment.

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The defining aspect of this project is the depth of the IPnative approach PHILIPP GLÄNZEL, MANAGING DIRECTOR MENA, QVEST

Vizrt environments. Moving these operational assets and metadata gave the Riyadh teams access to the material required to work from the new headquarters at launch. Asharq also uses AI services within its content workflows, though these tools sit outside Qvest’s delivery scope. Content sent to Moments Lab returns with AI-generated metadata, including transcripts, labels and identified people, which is imported into the assets. Trint is used in a workflow integrated with qibb and Mimir, as well as through its standalone platform for transcription and translation. Qvest’s contribution was the metadata foundation, designed to accommodate further indexing, search and enrichment without re-engineering the platform.

the move, Asharq maintained broadcasting while its operation and content transitioned to Riyadh. Training and knowledge transfer formed part of commissioning and handover. Qvest coordinated practical operator and workflow sessions alongside more detailed engineering and administration training, working with Asharq and the technology vendors. The programme covered the newsroom and editing environment, graphics, audio, intercom, routing and production infrastructure, playout, ingest and quality control. “What made this project particularly significant was not only the technology, but also the continuity in our collaboration with Asharq,” Glänzel says. “Building on the experience from Dubai, we were able to bring that knowledge into Riyadh and support the transition of a live

Moving a live operation

The final migration and cutover were completed within an approximately two-month period leading up to the June launch. Throughout 34

Asharq’s rooftop satellite farm.

news operation without interruption. It shows what is possible when technology, workflows and project delivery are approached as one transformation.” A headquarters with a wider reach

KAFD also serves Asharq’s wider production network. The broadcaster’s Cairo facility and its Diplomatic Quarter facilities in Riyadh connect to the headquarters through fibre, enabling audio, video, data and production resources to be operated centrally. This shared model supports remote locations working with minimal crews. Beyond linear television, the design accommodates social-first production, Viz Story, Avid Publisher, OTT and live-streaming delivery. Content can be prepared for use across broadcast, web and social platforms, with further digital, sports and social initiatives planned for KAFD. For Asharq, the headquarters provides a larger operational base in Riyadh and a platform connecting its editorial teams, production spaces and remote locations. Its immediate achievement was to bring that environment into service while sustaining live news coverage. Its longerterm value lies in the ability to expand production and adapt workflows within the infrastructure already in place.

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Connecting the present, Building the future

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FA-1616 FOR-A – More than 55 years of innovative broadcast technology solutions FOR-A Middle East & Africa Oﬃce | UAE, Dubai, Dubai Studio City, DSC Tower, Oﬃce207 | Tel : +971 4 551 5830

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INDUSTRY WINNERS SHINE AT BROADCASTPRO MANUFACTURER AWARDS The fourth edition united the industry to celebrate the standout innovators and cutting-edge advancements that are driving the broadcast and satellite markets forward More than 150 industry professionals gathered for the fourth annual BroadcastPro Manufacturer Awards, celebrating the technology driving the region’s media ambitions. Against a challenging backdrop, the turnout demonstrated the community’s determination to recognise excellence. Despite travel restrictions altering CABSAT this year, the awards enjoyed a highly successful edition. The programme celebrated breakthrough advances across 20 broadcast categories, alongside four satellite winners recognised for their contributions to space and connectivity. The competition drew around 250 global nominations, with over 8,500 votes from the regional community

underlining the industry’s deep engagement. The awards focused on solutions that optimise workflows, address operational demands, and elevate content creation and delivery. AI solutions, sports technology and cloud-native infrastructure dominated the winners’ circle. These categories directly reflect broadcasters’ current investment priorities. Now in its fourth year, the BroadcastPro ME and CABSAT partnership continues to champion the tech community across the Middle East and Arab Africa, giving global manufacturers a direct platform to meet the region’s evolving needs. “The strength of this evening was in the people who showed up and the

work we celebrated together,” said Vijaya Cherian, Editorial Director, CPI Pro Media. “Behind every winning solution are teams solving real challenges for media businesses. Bringing these achievements into the spotlight helps our industry sustain connections and move forward.” CPI Pro Media, publisher of BroadcastPro ME and SatellitePro ME, thanks CABSAT and the sponsors, entrants, voters and guests who helped make the evening a resounding success. Their participation ensured this edition recognised its winners while giving colleagues and partners an opportunity to reconnect, exchange ideas and celebrate shared achievements.

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BEST IN AI

ALIBABA Alibaba Cloud Wan 2.7 We had two winners this year. Alibaba Cloud’s Wan 2.7 won because it opens new possibilities for AI-powered creativity, making tools such as text-to-image and image-to-video generation more accessible. Used by creatives worldwide, the platform lowers barriers to content creation and helps turn ideas into compelling visual experiences. Pictured with the award is the Alibaba team.

BEST IN AI

WHITE PEAKS SOLUTIONS SAS KWIKmotion Live Studio Bringing AI-powered efficiency to live streaming and transforming broadcasts into ready-to-publish editorial content in real time, winning entry KWIKmotion Live Studio helps media teams work faster, engage audiences and achieve more from their live output. The White Peaks team is pictured with the award.

BEST IN AUDIO PRODUCTION

SHURE DCA 901 This winning entry, Shure’s DCA 901, delivers precise, flexible audio capture for sports, studio and live event production. Its 78 microphones and up to eight steerable pickup lobes isolate sound while reducing unwanted noise. Integrated processing, automixing and networked audio simplify deployment, while audience capture brings congregation and room sound to livestreamed worship services. The Shure team is pictured with the award. 38

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BEST IN BROADCAST PLAYOUT

IMAGINE COMMUNICATIONS Imagine XVR Playout Engines Imagine Communications’ XVR Playout Engines won for bringing flexibility and scalability to broadcast operations. They support ingest and playout across on-premises and cloud workflows, with flexible pricing and Intel integration for ST 2110 performance. The Imagine team is pictured with the award.

BEST IN CLOUD COMPUTING

NEP GROUP NEP Platform NEP Platform impressed with its flexible, on-demand approach to media infrastructure. It enables users to select tools from multiple vendors, launch validated workflows in minutes and scale resources for each production. Its shared commercial offthe-shelf capacity gives teams flexibility across facilities, hubs, trucks and the cloud. Pictured with the award is Waleed Isaac, President of NEP Middle East & Asia.

BEST IN CONNECTIVITY SOLUTIONS

LAWO HOME Intelligent Multiviewer Lawo’s HOME Intelligent Multiviewer earned recognition for its flexible approach to broadcast monitoring. Its server-based architecture supports UHD, HD and SD video, audio and formats including ST 2110, SRT, NDI and JPEG XS. Scalable layouts and configuration through theWALL app make it well suited to agile broadcast environments. The Lawo team, pictured with the award, celebrates its win. 39

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BEST IN CONTENT MANAGEMENT

VIANEOS Mediaplace Vianeos’ MediaPlace impressed with its streamlined approach to content sales and distribution. The B2B platform connects content owners, distributors and buyers, combining a public showcase for discovery with a secure portal to manage, negotiate and acquire media assets. By simplifying uploads, pricing and sales, it opens new commercial opportunities. Pictured with the award is the Vianeos team.

BEST IN CONTENT SCHEDULING & MONETISATION

RCS WORKS MENA DMCC SelectorCloud RCS MENA’s SelectorCloud took the prize for bringing intelligent radio programming to the cloud. AI helps identify patterns and improve rotations, while integration with ZettaCloud connects scheduling to transmission, giving teams the flexibility to work from anywhere. Baher Al Zaher, MD of RCS MENA, is pictured with the award.

BEST IN CONTENT SCHEDULING & MONETISATION

FONN GROUP Saga Fonn Group’s Saga was also recognised in this category, with the voting results ending in a tie. The cloud-native platform brings content planning and scheduling across linear, digital and social channels into one workflow, helping teams collaborate and maintain editorial. Daniel Url, CEO of Fonn Group MENA, is pictured with the award. 40

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BEST IN DIGITAL DISTRIBUTION

HIBRID Hibrid Streaming Platform Hibrid’s Streaming Platform took the award for helping broadcasters and creators bring their stories to audiences across the region. Drawing on more than 20 years of experience, the platform simplifies content management and delivery from ingestion to streaming. Victor Sawma, founder and CTO/CIO of Hibrid, celebrates the win with Mark Sawma, CEO of Intouch.

BEST IN DISPLAY SYSTEMS

LAWO HOME Intelligent Multiviewer Lawo’s HOME Intelligent Multiviewer secured a second award on the night, this time in the display category. The solution delivers clear, low-latency monitoring while reducing bandwidth and processing demands., with scalable layouts and intuitive control. Pictured with the award is Klaus-Joerg Jasper, Senior Sales Director Middle East & CIS, Lawo.

BEST IN FACILITY INFRASTRUCTURE

ARTEC TECHNOLOGIES AG XENTAURIX XENTAURIX won for its powerful approach to media monitoring. The platform analyses broadcast, streaming and social content, using AI-powered transcription, translation and sentiment analysis to deliver actionable insights. Mark Barkey (l) and Marco Müller, Product Manager at Artec Technologies AG, are pictured with the award. 41

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BEST IN IMMERSIVE MEDIA

WTVISION HoloGfx Taking augmented reality beyond the screen, wTVision’s HoloGfx earned its place among the night’s winners. The platform brings realtime 3D graphics into viewers’ surroundings through a QR code or link, without an app. Integration with StudioCG enables live synchronisation and editorial control, while opening opportunities for interactive content and branded experiences. The wTVision team is pictured with their award.

BEST IN LIGHTING TECHNOLOGY

GODOX Godox KNOWLED P1200R Hard P8 RGB LED Light Panel GODOX’s KNOWLED P1200R Hard P8 took the prize for its powerful, flexible lighting performance. Delivering up to 141,000 lux, it combines an eight-pixel panel with full RGB control and high colour fidelity. GODOX distributor Advanced Media accepted the award on its behalf. BEST IN LINEAR DISTRIBUTION

ATEME Titan Live & Titan Edge Ateme’s Titan Live and Titan Edge secured a resounding win, attracting a staggering number of votes. The platforms combine advanced compression and low-latency streaming to efficiently deliver high-quality live and on-demand content. Successful regional deployments include Vodafone Qatar and OSN+ set-top-box services. Pictured with the award is Rajesh Jagadish, Director – Sales & Business Development MEA, ATEME. 42

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BEST IN SPORTS

TATA ELXSI beIN SPORTS Tata Elxsi’s collaboration with beIN SPORTS scored a unanimous win for its mobile-first approach to sports coverage. The always-on platform keeps fans connected throughout every match with live scores, short-form video and instant updates, while quizzes, fun facts and match predictors encourage participation and give fans more reasons to return. Pictured with the award are the teams from beIN SPORTS and Tata Elxsi.

BEST IN VIDEO CONTENT ACQUISITION

VITEC VITEC Diamond-IP OG VITEC’s Diamond-IP OG earned its place among the winners for making the move to IP more efficient. The compact encoder carries multiple HD signals or a single 4K feed, while advanced HEVC compression reduces bandwidth requirements by up to 50%. Its flexible design supports live broadcast, production and enterprise video applications. The VITEC team is pictured with the award.

BEST IN VIDEO PRODUCTION

FOR-A COMPANY LIMITED MixBoard FOR-A’s MixBoard, powered by ClassX, won for bringing creative flexibility to live production. The software-based switcher combines multiple sources across unlimited layers, with 2D and 3D transitions, PTZ camera control and multiview monitoring. Pictured with the award is Mohammed Abu Ziyadeh, MEA Regional Manager, FOR-A Company Limited. 43

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BEST IN CONTENT STORAGE

Dynamic Drive Pool High Availability Dynamic Drive Pool’s High Availability solution earned recognition for its role in a major film archiving and digitisation project for Saudi Aramco. Delivered with Prasad Corp, the 2.9PB system combines resilient storage with read speeds of up to 25GB/s, supporting the demands of missioncritical media workflows. Pictured with the award is Elvin Jasarevic, Distributor at DDP Dynamic Drive Pool by Ardis Technologies.

DISTRIBUTOR OF THE YEAR

ADVANCED MEDIA GROUP Advanced Media Group received the Editor’s Choice Award for its outstanding contribution to the region’s broadcast and production industry. Representing more than 100 brands, the distributor has become a vital link between the world’s leading technology makers and the professionals bringing creative projects to life across the region. Pictured here with the award is the Advanced Media team.

BEST MISSION-CRITICAL SATELLITE SOLUTION

SPACE42 Thuraya-4 Satellite & Thuraya-4 Terminals Space42’s Thuraya-4 satellite and terminals won for keeping people connected in remote and demanding environments. Thuraya’s wider network helped save more than 660 lives across more than 25 distress events worldwide in 2025. Pictured with the award is Oussama Barkia, Director of Marketingat Space42. 44

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BEST NEXT-GEN SATELLITE APPLICATION

ORBITWORKS Altair Orbitworks’ Altair constellation earned its place among the winners, a proud achievement for the UAE’s space industry. Its first satellite, Altair-1, launched on October 1. Designed and assembled in Abu Dhabi, it uses onboard AI to detect and classify events, delivering alerts to the ground for faster access to actionable intelligence. Pictured with the award is the Orbitworks team.

BEST SATELLITE ANTENNA TECHNOLOGY

MDA SPACE MDA AURORA broadband MDA Space’s AURORA broadband technology won for making satellite connectivity more flexible and efficient. Its software-defined array reduces power and hardware requirements while directing capacity where needed. Giovanni D’Aliesio, Senior Director of Business Development, is pictured with the award.

BEST SATELLITE SERVICE PROVIDER

INTEGRASYS MISSION TRACK Integrasys’ MISSION TRACK earned recognition for bringing complex spacecraft movements into sharper focus. The web-based platform combines real-time trajectory visualisation and simulation with ground visibility analysis and antenna tracking, giving mission teams valuable operational insight from Earth orbit to lunar and deep space. Pictured with the award is the Integrasys team. 45

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BEST SATELLITE SOLUTION FOR BROADCAST & MEDIA

IKO MEDIA GROUP SATELLITE COMPANY FASTonSAT Media Service FASTonSAT won for bringing FAST television to satellite audiences. Developed with Eutelsat, it combines satellite reach with OTT capabilities, opening new revenue opportunities. Rashmin Abhani, SVP Pre-sales and Satellite Resource Management, is pictured with the award.

HONORARY RECOGNITION

MAJED AL SUWAIDI Senior VP, Dubai Media City, Dubai Studio City and Dubai Production City Majed Al Suwaidi, Senior Vice President of Dubai Media City, Dubai Production City, Dubai Studio City and in5, was honoured at the awards for his Outstanding Contribution to the UAE Media and Creative Industries. Al Suwaidi provides strategic direction for an ecosystem that brings together global media companies, entrepreneurs and emerging talent. TECOM Group’s Media Cluster is home to more than 40,000 creative professionals. He also oversees in5, which has nurtured more than 1,100 startups since 2013. The honour celebrated his contribution to strengthening Dubai’s position as a global media hub and supporting its creative community.

NOVEMBER 2026

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reson8media info@reson8media.com

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RAMADAN RESHAPES CATEGORY VIEWING ACROSS KEY MENA TV MARKETS Ramadan brought significant shifts in television viewing across MENA. AUDIMATIC data reveals how audiences in Saudi Arabia, Egypt, Iraq and the UAE followed distinctly different patterns Ramadan is one of the periods when television viewing patterns can change significantly. In 2026, the month began in mid-February and continued through March, with the exact starting date differing by country. Saudi Arabia, the UAE and Iraq began Ramadan on 18 February, while Egypt began on 19 February. Across the four markets, AUDIMATIC’s February and March data shows that the change was not uniform: some markets saw a strong increase in the share of watched time going to Information & News, while others retained a much stronger position for Movies & Series, Entertainment or Generalist channels.

News 19.2%, Religion 17.5%, Sports 16.6% and Movies & Series 13.2%. Egypt showed a different balance, led by Movies & Series at 27.3%, followed by Entertainment at 16.3%, Generalist at 15.0%, Sports at 14.5% and Kids & Family at 10.0%. In the UAE, Information & News led with 32.9%, followed by Generalist at 26.4% and Sports at 13.9%. Movies & Series accounted for 8.3% and Religion for 6.6%. These differences matter because the same category does not occupy the same position in every market. A broadcaster, operator, advertiser

or content investor looking at the region as a single television market could therefore miss important local differences in audience structure. Saudi Arabia: A strong shift towards Information & News

Saudi Arabia recorded one of the clearest changes between February and March. Information & News increased from 19.2% to 32.6% of watched time, an increase of 13.4 percentage points. Generalist viewing also increased, from 21.0% to 23.2%, while Religion remained significant at 14.7%.

Saudi Arabia – % of watched time (February vs March 2026) February

March

Four markets, four different television structures

The February data shows substantial differences between the four markets. Iraq had the strongest concentration around Generalist television, which accounted for 40.8% of watched time, followed by Religion at 14.7% and Information & News at 14.6%. Saudi Arabia presented a more distributed structure: Generalist 21.0%, Information & 48

News Generalist Religion Sports Entertainment Movies & Series Kids & Family 0

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direction, from 14.7% to 9.4%, while Movies & Series fell from 6.3% to 6.2% and Sports from 12.0% to 4.7%. The March structure therefore combined two strong poles: a very large Generalist segment and a rapidly strengthened Information & News segment. This is distinct from both Egypt’s more diversified entertainment-oriented structure and the stronger news concentration observed in the UAE.

Egypt – % of watched time (February vs March 2026) February

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News Generalist Religion Sports Entertainment Movies & Series

UAE: The strongest concentration

Kids & Family 0

10%

At the same time, several categories lost ground. Sports declined from 16.6% to 7.1%, while Movies & Series fell from 13.2% to 5.9%. Entertainment remained smaller, at around 6%. The result was a television structure in March that was more concentrated around Information & News and Generalist viewing than the February picture. Egypt: Fiction and Entertainment remain important

Egypt followed a different path. Movies & Series remained the largest category in March at 19.5%, though down from 27.3% in February. Entertainment was at 16.7%, while Generalist viewing stood at 16.5% and Information & News rose strongly to 17.0%. Sports remained significant at 12.9%, while Kids & Family was at 8.9% and Religion 7.7%. Compared with February, the Egyptian market therefore became more balanced across several categories. The reduction in Movies & Series was accompanied by increases in Generalist, Information & News and Entertainment, rather than by a single category taking over the market.

20%

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Iraq: Generalist remains dominant, Information & News gains ground

Iraq remained the most concentrated of the four markets around Generalist television. Generalist accounted for 40.8% of watched time in February and 40.2% in March, making it the dominant category in both months. The most notable movement was within Information & News. Its share increased from 14.6% in February to 32.1% in March, more than doubling in relative terms. Religion moved in the opposite

around Information & News

The UAE recorded the most pronounced movement of all four markets. Information & News had already accounted for 32.9% of watched time in February, but reached 49.3% in March. Generalist viewing also increased, from 26.4% to 30.6%. Most of the other major categories declined. Sports fell from 13.9% to 5.4%, Movies & Series from 8.3% to 5.6%, Religion from 6.6% to around 2%, and Entertainment from 4.8% to a smaller share. The March picture was therefore highly concentrated around Information & News and Generalist television, with the

Iraq – % of watched time (February vs March 2026) February

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UAE – % of watched time (February vs March 2026) February

A market view rather

March

than a single ranking

is the growth of Information & News in three markets. Saudi Arabia moved from 19.2% to 32.6%, Iraq from 14.6% to 32.1% and the UAE from 32.9% to 49.3%. Egypt also increased from 5.7% to 17.0%, although its overall category structure remained more diversified, with Movies & Series and Entertainment still occupying major positions.

The main lesson from the FebruaryMarch comparison is that Ramadan coincided with different forms of audience reorganisation in different television ecosystems. In Saudi Arabia and the UAE, the movement towards Information & News was particularly strong. Iraq retained its exceptionally large Generalist segment while also recording a major increase in Information & News. Egypt remained structurally different, with Movies & Series, Entertainment, Generalist and Information & News all occupying substantial positions in March. This is where category-level audience measurement becomes useful. Looking only at individual channel rankings can describe who leads at a given moment. Looking at categories helps explain what kind of television is attracting viewing time, how competitive the market is within each segment and how that structure changes over time.

News Generalist Religion Sports Entertainment Movies & Series Kids & Family 0

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former alone accounting for almost half of measured watched time. What changed between February and March?

The four markets do not show a single Ramadan viewing pattern. Instead, the comparison reveals different forms of rebalancing. The strongest common signal

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Largest category movements highlighted in the article (February vs March 2026) UAE

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Movies & Series Sports News

Movies & Series Sports News -10%

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PRO2027 has all you need to know about the top players in the region’s broadcast and satellite market. A compilation of profiles of broadcast and satellite companies in the GCC, the hardback coffee table book is a valuable resource for not only business entities but also customers looking for a ready reckoner of key industry players.

Book your space now Vijaya Cherian +971 55 105 3787 vijaya.cherian@cpipromedia.com

Sandip Virk +44 773 444 2526 sandip.virk@cpipromedia.com

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CABSAT PUTS MEDIA’S CHANGING BUSINESS IN FOCUS Streaming economics, AI-assisted production and regional collaboration shaped CABSAT 2026, as the show’s move to Expo City Dubai brought media technology and satellite connectivity under one roof 52

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CABSAT 2026 brought the media industry’s commercial and technological priorities into focus as broadcasters, streaming platforms, producers and technology suppliers gathered at Dubai Exhibition Centre, Expo City Dubai, from October 5-7. Across conference discussions and exhibition demonstrations, the emphasis fell on building more efficient workflows, retaining audiences and finding sustainable ways to monetise content. Held alongside the second edition of SATEXPO, the 33rd edition of

CABSAT marked both events’ debut at the venue. Officially opened by His Excellency Buti Saeed Al Ghandi, Vice Chairman of Dubai World Trade Centre, CABSAT attracted more than 18,800 visitors, 450 exhibitors and 700 brands from over 120 countries. Organised in strategic partnership with Dubai Studio City, the event connected the region’s production and broadcast communities with international technology providers. Its opening-day Contentverse Director’s Cut conference examined the

business pressures behind technology investment, from streaming profitability and content discovery to AI and multi-platform distribution. Streaming’s changing economics emerged as a central theme. Elie Habib, CEO of OSN+ and Anghami, argued that sustainable growth depends on stronger retention and disciplined customer acquisition. Following the combination of the two businesses, he reported significant profitability gains in 2026 and highlighted the 53

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importance of improving the relationship between acquisition costs and subscriber revenue. “You have to grow in a better way than simply buying your growth. You need to improve retention; otherwise, the cost of acquiring a user versus the revenue you get from that user becomes negative,” Habib said. Amit Malhotra, Head of International Business at JioStar, approached the same challenge through audience experience. He said competition had moved beyond the size of content libraries, with personalisation, discovery and technology playing a greater role in keeping viewers engaged. He also outlined plans to take JioStar’s India-built streaming capabilities into international markets through Prism and further expansion. “Content can bring you in. Content is not the only thing that’s going to keep getting you back. It’s the experience today 54

NOVEMBER 2026

that really matters,” he said. Those discussions reflected a wider concern across the show: how media businesses can translate content investment into lasting audience relationships. Sessions explored nextgeneration broadcast infrastructure, cloud-powered media and multiplatform strategies, linking technical decisions to distribution flexibility

Content is not the only thing that’s going to keep getting you back. It’s the experience today that really matters AMIT MALHOTRA, HEAD OF INTERNATIONAL BUSINESS, JIOSTAR

and commercial performance. AI featured prominently, particularly in discussions about its role in the creative process. Meta’s Moon Baz described how AI-enabled wearables can support first-person storytelling and simplify tasks from ideation through filming and editing. She suggested that AI glasses will complement smartphones in the near term, providing assistance while allowing users to remain engaged with their surroundings. Her emphasis remained on supporting human creativity: “AI does not replace the person or the creative spark. AI is here to help get your idea to life.” On the exhibition floor, suppliers demonstrated how those ambitions translated into production tools. Nikon Middle East, working with DaVinci Resolve, presented RAW filmmaking and post-production demonstrations alongside its Nikon Z system.

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Digital Future Solutions reported orders for 600 cameras during the event, providing one indication of purchasing activity on the floor. Across production, postproduction, content management and Pro AV, demonstrations reflected demand for environments that combine broadcast reliability with faster, software-driven operation. For production companies and rights holders, the commercial opportunity lies in adapting content for more platforms and audiences without allowing operational complexity to grow at the same pace. The Off the Record podcast studio extended conversations beyond the conference stage, while Dubai Studio City’s Sound Stage Tour gave visitors a closer look at the emirate’s production infrastructure. In his opening address, Majed Al Suwaidi, Senior Vice President of Dubai Media City, Dubai Studio City,

You have to grow in a better way than simply buying your growth ELIE HABIB, CEO OF OSN+ AND ANGHAMI Dubai Production City and in5, linked Dubai’s development as a contentproduction hub to investment in facilities, emerging technologies and international talent. New studios and LED production capabilities form part of that expanding ecosystem. Alongside CABSAT, SATEXPO examined the connectivity and space infrastructure supporting an increasingly connected economy. Held in partnership with the UAE Space Agency, its summit explored commercialisation, sovereignty, security and cooperation between

satellite operators and governments. Exhibition announcements included a partnership between Space Communications Technologies SPC and GIS HUB LLC, focused on satellite imagery and geospatial technology in Oman. Orbit Communication Company and StarWin unveiled a hybrid system combining satellite, broadcast and terrestrial mobility capabilities, while ST Engineering iDirect showcased multi-orbit connectivity, AI-enabled satellite operations and 5G non-terrestrial networks. Together, the events illustrated how closely media production, distribution and connectivity have become linked. CABSAT’s strongest thread was the practical challenge running through those connections: turning new capabilities into better production processes, more compelling viewing experiences and businesses that can sustain both.

PRO|GU E S T

NOVEMBER 2026

DR TZVI GERSTL

I have always believed that innovation starts with solving difficult problems, not simply introducing new technologies

Getting Down to Business: Video’s Next Chapter The video industry has experienced several major transformations, from analogue to digital, broadcast to IP, and traditional pay TV to streaming. While these transitions continue, I believe the biggest challenge facing our industry today is no longer primarily technological – it’s a business challenge. How do operators return to growth in a world where audiences have more choices than ever? How can they attract and retain viewers, monetise content more effectively and improve profitability? For too long, our industry has focused on technology as the driver of transformation. The next chapter must start with business outcomes, with technology playing an enabling role.

understanding who is watching, their preferences, viewing habits and context, and creating a more natural and engaging experience. Short-form video is changing how people discover content, particularly on mobile devices. Instead of searching, consumers increasingly expect to swipe through content or speak to their devices. Operators can leverage their extensive libraries of premium content to surface compelling moments in both vertical and horizontal formats. The aim is not to become another TikTok, but to bring premium content into the ways people increasingly discover and consume video. In the new short-form universe, content discovery is part of the experience.

From searching for content

AI must make business sense

to content finding you

AI is not the end goal. The real question is: what problem are we trying to solve? Connecting an AI model to a video service may be relatively straightforward, but delivering relevant, personalised experiences at scale and at a sustainable cost is much harder. The economics matter. AI must create meaningful value without adding unnecessary cost and complexity. A better understanding of viewers can improve engagement, reduce

One of the biggest opportunities lies in fundamentally changing how people interact with video. Today, viewers spend too much time searching for something to watch. We need to move towards an experience where content finds the viewer, rather than the viewer having to search for it. I call this hyper-personalisation. It goes beyond traditional recommendations. It means 56

churn and create monetisation opportunities through more relevant advertising and services. But viewers must benefit too. Personalisation only delivers lasting business value when it creates a better viewing experience. Operational simplicity is equally important. Video platforms have accumulated layers of complexity over time. Innovation should simplify operations, reduce costs and maintain reliability, while preserving existing technology that continues to deliver value. Innovation must deliver results

I have always believed that innovation starts with solving difficult problems, not simply introducing new technologies. The future of our industry depends on connecting better viewing experiences with stronger monetisation and simpler operations. These objectives reinforce each other and ultimately determine whether video businesses can return to sustainable growth. The next chapter of video will not be defined by how much technology we introduce, but by how effectively we use it to create value for viewers and build sustainable businesses. DR TZVI GERSTL IS CEO OF SYNAMEDIA

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