GAME-CHANGING PLATFORM
FUZE CEO Matthew Pickering talks about powering MENA’s next-gen gaming creators
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WELCOME
If I mention AI, I can almost hear some of you groan: “What, AI? Again?” And yet, walking the halls of IBC2025, it was impossible not to marvel at how deeply AI has permeated every facet of broadcasting. There were hundreds of exhibitors demonstrating innovations that make you rethink what’s possible in production and storytelling. There were so many exhibitors showcasing their AI innovations. We had the opportunity to see a handful. Veritone, for instance, demonstrated its aiWARE platform, orchestrating machine learning models to turn complex data into actionable intelligence for media organisations. DeepDub showcased AI-powered dubbing and voice replication technologies, making global content localisation seem seamless. DVEO introduced a suite of AI tools designed to make media content more accessible and scalable across markets, while Freispace GmbH unveiled an AI-native ERP platform for post-production, highlighting the potential of intelligent systems to streamline workflows behind the scenes.
Last month, I attended a BytePlus conference on AI and was blown away by how the technology is transforming content creation and distribution – and by how other industries are harnessing it, too. Then there are companies like Runway, turning text prompts into fullyfledged videos and images; and DeepDub and Respeecher, redefining dubbing and voice replication. AI innovation is advancing at a staggering pace, and we’ve only just begun to scratch the surface.
With AI in the spotlight, the 15th edition of the ASBU BroadcastPro Summit next month will also feature a dedicated panel on AI – a space that I suspect will be be dominated by vendors showing just how far ahead the technology has moved. It’s a chance to see breakthroughs in action, connect with the minds driving them and imagine how they might shape your own work. Join us and be part of the conversation. Registration is mandatory to attend.
VIJAYA CHERIAN, EDITORIAL DIRECTOR
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UPDATE NEWS
NEP acquires Seven Production; BeIN Media Group launches beIN Stream in UAE; OSN launches targeted streaming ads with Harmonic; Soumaya Bellafquih to lead Bridge Media MENA content distribution; Advanced Media to host CINESchool this month; and more
COVER
READY TO PLAY
OPINION LINEAR TV, BIG STORIES: CELEBRATING SHARED VIEWING
Amid the constant chatter of streaming trends, pocket-sized screens and AI-curated feeds, Sanjay Raina calls for a return to the simple, immersive joy of TV – shared, linear and savoured without rush
Following the launch of FUZE, PLG CEO Matthew Pickering talks about the creator economy, MENA’s growing esports scene and the future of gaming-led brand engagement
REVIEW A CUT ABOVE: TESTING DAVINCI RESOLVE
Dubai-based Creative Director Nina Sargsyan puts DaVinci Resolve’s latest AI tools to the test on a demanding real-world edit
IBC
2025
HIGHLIGHTS FROM THE SHOW
IBC2025 was all about AI, UHD and the future of media. From live production innovations and localisation breakthroughs to streaming strategies and global partnerships, the four-day show offered a glimpse of where the industry is headed. Andy Marken brings us the details
PRODUCTION NOTES FLAVOURS OF DUBAI
Reim El Houni takes us behind the scenes of producing a food series in Dubai and discusses the local content scene 26
GUEST COLUMN WHO ARE WE BUILDING FOR?
Laurent Mairet talks about trust, context and innovation for a new generation of viewers
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NEP expands Middle East footprint with Seven Production acquisition
NEP Group has acquired Dubai-based Seven Production, a film and broadcasting independent production company. With the addition of Seven, NEP Middle East and Asia will become one of the largest companies of its kind serving broadcasters, production companies, sports leagues and federations, event organisers and government entities in the region. The company will continue to offer a wide range of
live production services including OB trucks, satellite trucks, flypack systems, connected production facilities, a network of studios in the Middle East, 4K/HD ENG broadcast cameras and equipment, flexible wireless solutions and other services including crewing, live webcasting, host broadcast support
BEIN MEDIA GROUP LAUNCHES BEIN STREAM IN UAE
BeIN Media Group has introduced its new subscription service, beIN Stream, in the UAE, offering viewers a flexible way to access world-class sports and entertainment content. The service is powered by a Wi-Fi streaming device that can be connected to any smart TV, giving subscribers seamless access to live and ondemand programming without long-term commitments. It gives UAE audiences access to exclusive beIN Sports coverage of
major events such as the UEFA Champions League, tennis Grand Slams and Formula 1, alongside blockbuster movies and premium entertainment channels. Subscribers will also receive complimentary access to the beIN Connect app, enabling a smooth
viewing experience across multiple devices, whether at home or on the go. The device is available for purchase across the UAE through beIN shops as well as from authorised distributors, Amazon, Virgin Megastores and Noon.
and systems integration. Martin Stewart, CEO of NEP Group, said: “This partnership marks a significant investment for us in the Middle East, allowing us to deepen and expand our support for broadcasters, leagues, rights holders and producers who need a trusted partner equipped to meet their demands.”
PIF ACQUIRES 54% STAKE IN MBC GROUP
Saudi Arabia’s Public Investment Fund (PIF) has acquired a 54% stake in MBC Group for a total value of SAR 7.469bn ($1.99bn), priced at SAR 41.60 ($11.09) per share. The acquisition was completed through a private deal between PIF and Istedamah Holding Company.
Following the deal, MBC Group reaffirmed its commitment to creating and investing in premium Arabic content that reflects regional culture and appeals to audiences worldwide, including the global Arabic diaspora.
OSN launches targeted streaming ads with Harmonic
OSN has teamed up with Harmonic to introduce targeted advertising across its video streaming channels. Leveraging Harmonic’s cloud-native VOS360 Ad SaaS, the deal allows OSN to deliver frame-accurate, personalised ads that enhance monetisation while maintaining broadcast-grade reliability and quality.
SOUMAYA BELLAFQUIH TO LEAD BRIDGE MEDIA MENA CONTENT
DISTRIBUTION
Bridge Media Holding has appointed Soumaya Bellafquih as Regional Director, Content Distribution – MENA. With more than 30 years in the market, Bellafquih will take the lead on content aggregation, distribution and development. Her role also involves driving innovation through the introduction of advanced AI technologies to the regional broadcast sector.
Melvin Saldanha, Senior VP Technology at OSN, said: “This collaboration represents a transformative milestone for our network, as we introduce targeted ad insertion across our video streaming channels for the very first time. Harmonic’s expertise in server-side ad insertion technology, combined with
its robust partner ecosystem, significantly accelerated our deployment timeline. Within just a few months, we’ve been able to launch personalised, revenue-driving ad experiences, marking a major advancement in our monetisation strategy and our ability to deliver more relevant content to audiences.”
SHASHA SECURES SERIE A RIGHTS ACROSS 16 MEA COUNTRIES
Kuwaiti streamer Shasha has secured the broadcasting rights to Italy’s Serie A across 16 MEA countries. The deal covers Kuwait, Egypt, Oman, Jordan, Iran, Syria, Lebanon, Libya, Yemen, Palestine, Sudan, South Sudan, Djibouti, Chad, Mauritania and Somalia. The acquisition was facilitated by Athlos Agency.
The first Serie A match was available to subscribers from round 4 last month. To complement the coverage, Shasha launched a new studio programme, which premiered on September 27.
Bader AlKulaib, Shasha co-founder and Vice Chairman, said: “We are thrilled to bring Serie A to Shasha’s international audience. Our dramas and current affairs productions are already showcasing the best of our region, and our growing sports output will allow us to give our audiences even more incredible content to enjoy.”
Bader AlKulaib, co-founder and Vice Chairman, Shasha.
CREATORS HQ AND YOUTUBE LAUNCH
MENA’S FIRST YOUTUBE ACADEMY
Creators HQ, the UAE’s first content creator hub and part of Visioneers, has partnered with YouTube to launch the first YouTube Academy in MENA. The initiative is aimed at empowering regional creators while aligning with the UAE’s vision to strengthen the content economy and foster global partnerships with leading technology companies.
The YouTube Academy is designed to equip emerging and established creators with the tools and resources needed to enhance content quality, leverage data analytics and build sustainable careers on the platform. Through workshops, training programmes and specialised initiatives led by YouTube experts, creators will gain actionable skills beyond general advice, including monetisation strategies, community building and effective use of analytics tools.
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Saudi Pro League extends media rights partnership with IMG
The Saudi Pro League (SPL) has renewed its partnership with global sports marketing agency IMG, extending the company’s role in distributing the international media rights of the Roshn Saudi League (RSL) for the next four years. IMG first began representing the league’s media rights in 2023, during which time international distribution expanded dramatically. Last season, RSL matches were broadcast in more than 184 countries across six continents through over 43 global platforms. Recent deals secured by IMG include agreements with ESPN in Africa, DAZN in Germany,
FIRST GULF COMPANY NAMES AHMAD HADI AL KAYAL MD FOR MENA
Ahmad Hadi Al Kayal will serve as MD of FGC’s operations in MENA. The appointment is part of FGC’s efforts to expand its regional presence, especially in the UAE and Qatar. It also marks an important step in enhancing the company’s ability to broadcasting, telecommunications, data management and security. With more than 25 years of experience in broadcast and media systems across the region, Kayal brings extensive expertise and leadership to the role. He has overseen major projects for prominent broadcasters, including Asharq News, Sky News Arabia, beIN Sports Qatar, Al Jazeera, Al Kass TV, Dubai TV, Abu Dhabi TV and MBC. He has successfully managed large-scale, complex initiatives that balance advanced technical solutions with long-term client partnerships and operational efficiency.
Austria, Switzerland and France, Movistar in Spain, FOX Sports in the United States, Mexico, Latin America, the Caribbean and Central America, Globo in Brazil, Sportitalia and ComoTV in Italy, and French content creator Zack Nani in France. Alongside media rights distribution, IMG also
signed a five-year production agreement last year to cover the RSL, the King’s Cup and the Saudi Super Cup, starting with the 2024-25 season. Its production services have introduced new innovations, including advanced remote production technologies powered from its Stockley Park studios.
STARZPLAY EXPANDS DEAL WITH ABU DHABI MEDIA FOR SERIE A COVERAGE
StarzPlay has announced an expanded partnership with Abu Dhabi Media (ADM) to deliver enhanced coverage of Italy’s Serie A. The upgraded broadcasts will air exclusively on StarzPlay Sports Channels. The deal combines StarzPlay’s direct Serie A rights with ADM’s production expertise. Coverage will feature detailed pre- and post-match analysis, tactical insights and expert breakdowns.
Rashed Al Qubaisi, CEO of ADM, said: “Together, we
are combining world-class production expertise with StarzPlay’s digital reach to deliver premium Serie A coverage that reinforces our leadership in the regional media landscape.”
Danny Bates, COO at StarzPlay, added: “This partnership delivers exceptional value to our subscribers, and we’re thrilled to enhance the quality and depth of coverage that has made our Serie A offering on StarzPlay Sports Channels so popular.”
Rashid Al Qubaisi, CEO of ADM.
Danny Bates, CCO and co-founder of StarzPlay.
THIRD EDITION OF SAUDI FILM CONFEX ANNOUNCED
The Saudi Film Commission is preparing to host the third edition of the Saudi Film Confex from October 22-25 in Riyadh. The event will bring together prominent filmmakers, local and international producers, and industry experts from across the global film sector. This year’s edition will focus on showcasing production opportunities, strengthening the country’s film infrastructure, and supporting startups and entrepreneurs. The programme will feature an international conference with 30+ panel discussions and workshops addressing topics such as film financing, content development and regulatory frameworks. Side events and specialised workshops will also be held to introduce young talent and wider audiences to potential career paths and professional roles in the industry.
Philipp Glänzel takes over as MD of Qvest MENA
Philipp Glänzel has taken over as Managing Director for Qvest’s MENA operations. In his new role, he will oversee the company’s operations across Saudi Arabia, the UAE and Qatar, with a mandate to strengthen Qvest’s position as a major consultant and systems integrator for the media and entertainment sector. His focus will include advancing initiatives in AI, cloudification and digital transformation. Qvest is also restructuring its local sales teams to enhance customer engagement and support. This effort builds on Glänzel’s extensive track record at the company, where he has spent 15 years in senior leadership
positions, most recently as GM and CTO. During that time, he directed high-profile media technology projects for major broadcasters such as Al Jazeera, Sky News Arabia and Asharq News. As part of the restructured sales leadership, Stuart Almond, Senior VP Sales Media & Entertainment, will assume expanded responsibilities in MENA. Reporting to him, Satheesh Kumar will serve as VP Sales for Saudi Arabia, while Mohammed Eid Abugarad will act as Sales Manager for the UAE.
SHAHID AND FCCE JOIN FORCES TO LAUNCH ENTERTAINMENT FEED
Shahid has introduced a new daily feed of short-form news and entertainment content in collaboration with Amsterdam-based producer-distributor FCCE. Designed for a young, mobile-first audience, the feed will feature celebrity updates, film trailers, red-carpet coverage, lifestyle stories and highlights from major regional cultural events such as the Red Sea Film Festival, according to a report
by C21 Media. The content will be fully localised and rolled out across the Shahid platform in phases. Lina Matta, Director of MBC4, MBC2, MBC Max and AVoD content at Shahid, added:
“Through this latest collaboration, we’re going to be delivering fresh, engaging content more quickly and more frequently, offering our audiences even better access to what they love, when they want it.”
WATCH IT NOW AVAILABLE ON SAMSUNG TV WITH EIGHT FAST CHANNELS
Watch IT has officially gone live on Samsung TV+, introducing eight dedicated FAST channels that deliver a diverse mix of Egyptian series, classics, children’s programming and family entertainment. For the first time, Samsung TV users across the region will be able to access Watch IT’s content without a subscription. The partnership represents a major step forward in expanding Watch IT’s reach.
Philipp Glänzel.
Advanced Media to host second edition of CINESchool this month
Advanced Media has once again joined forces with Prague Film School (PFS) to bring a new edition of its biannual digital cinema series, this time tailored specifically for university students pursuing degrees in film and content creation. Known for its praxis-driven curriculum, PFS has built a reputation for training filmmakers and actors through hands-
on projects that often go on to screen at leading international festivals.
The three-day programme will run from October 15-17 at Advanced Media’s showroom and training facilities in the UAE. It will offer intensive workshops covering a wide range of cinematography practices, from camera operation and lens selection to lighting, grip, colour and digital exposure techniques.
Returning to lead some sessions is veteran PFS instructor Thomas Krivy, from previous CINESchool editions. Krivy’s prolific career extends across narrative features, commercials, documentaries and music videos.
For the first time in the CINE series, this year’s programme will feature a female instructor, Chinese screenwriter and director
Ran Li. A graduate of Tsinghua University and PFS, Ran Li gained international recognition for her feature film Till Love Do Us Part (2022), which screened at more than 30 festivals worldwide and was acquired by HBO. At CINESchool, she will guide students through the stages of launching a career as a filmmaker. Registration is free and open to students across the UAE.
Following the release of the Sony FX2, Advanced Media organised an exclusive workshop at Creators HQ, Dubai last month to introduce the camera to the UAE’s creative community. The workshop was attended by 40 carefully selected indie filmmakers and industry professionals. The session, curated by Advanced Media in partnership with Creators HQ, was
SONY FX2 WORKSHOP FOR UAE FILMMAKERS
to test the FX2 and gain first-hand insight into its capabilities.
The workshop was organised as part of the company’s ongoing mission to empower the creative and tech community in the UAE and beyond. ADVANCED MEDIA HOSTS EXCLUSIVE
delivered by Sony ambassador Timothy Fare-Matthews (pic above). With attendees exploring the camera’s features, the session served not only as a technical introduction to the Sony FX2 but also as an open conversation on its potential role in digital cinematography. The workshop concluded with a hands-on segment, allowing participants
Pooyan Farnam, Head of Marketing at Advanced Media, said: “The FX2 is an exciting addition to Sony’s line-up, and we considered it essential to provide creators with a dedicated environment to explore its capabilities. Hosting the workshop at Creators HQ was a natural choice,
as it serves as a hub for the creative community. Sessions like this enable professionals not only to familiarise themselves with the equipment, but also to understand how it integrates into their work.”
KEEP MY TV ON – A COLOURFUL BEGINNING
Amid streaming jargon, handheld devices and AI-driven recommendations, Sanjay Raina makes a plea to preserve the simple, immersive joy of watching TV as it was meant to be – shared, linear and unhurried
Although we had been in love with our small black-and-white TV sets since childhood, it was in the memorable year of 1982 that colour came to our lives. I mean the advent of colour TV broadcasting in India. Before that, people, simple as they were, even placed plastic screens in front of their black-and-white TVs just to enjoy a touch of colour. And then everything changed. Over the years, a core, centrally managed terrestrial channel offered
some remarkable programming, and even today we regret the loss of some of its content. Its credo was simple: 70% of viewers lived on rural land and programming reflected that. One channel led to many others. The first channel is hardly watched now, while countless others have emerged. The TV programmes we once called by many names are now simply content, and how they reach us is called distribution, or more recently platforms or affiliates.
Both these terms were unknown in 1982, the year of colour. Why write this piece? Because core TV watchers like us are under threat today, not because of what is offered on the screen that I still refuse to call the idiot box, but because technology is reshaping the landscape. We are being forced to keep pace, running our lives on a treadmill at impossible speed. We are learning terms like ‘devices’, ‘TV on the go’, ‘OTT’, ‘small screens’ and ‘tablets’, and being told that all
programming – no, content – will soon be available on these machines. And now AI, this ever-watchful force, seems intent on knowing everything about us.
Let me tell you why many of us remain TV purists.
The screen addiction
The screen is addictive. Its size, its presence, its very being draws you in. Coming home and gazing at it can feel as comforting as spending time with a beloved pet after a long day. The screen is also baffling; you never know what will appear when you switch it on. Today, massive screens of up to 100 inches are common. Back then, it was either small or big. Still, the addiction remains.
We smile alone, shed tears alone, celebrate a hero’s victory alone. For purists, the screen is a companion. We can spend hours transfixed, meals forgotten, completely absorbed. A child or spouse walking past? A simple wave keeps them away. And when food is placed in front of us, it is consumed almost unconsciously.
An hour later we may ask, “What did you cook for dinner?”
Something called a remote
The remote control arrived late, long after colour TVs had become common. It was treated with reverence, protected as if it were a household treasure. Some kept it in leather covers, others in thick protective sleeves with only a tiny opening for the signal. When batteries died, the cover was discarded and the remote returned to bare hands. Yet there was bliss in pressing the buttons at the perfect moment, gliding through channels, asserting authority over the household noise.
I have seen remotes flying during domestic disputes, and manufacturers certainly profit from replacements. Try living without
one for a day, and life would be chaos. The remote is precariously balanced on bellies and shoulders, sometimes in back pockets. Rumours of a combined phone-and-remote device? Please, spare us the trouble.
The family dynamic
There is joy in collective viewing. Conflicting tastes, the news for one, reality shows for another, cartoons for the young – these create tension, but it is a tension that unites. The smallest household member often bears the brunt of compromise. Doorbells may ring, dinner may be ready, but all pause to respect the sacred screen. It is a subtle assertion of authority, a ritual of one-upmanship bestowed by the TV itself.
A plea for preservation
I have nothing against technology’s march, but please leave some areas untouched. The jargon of streaming, VOD, SVOD, FAST and recommendation engines complicates
a delight that once was simple. Why surrender choice to an algorithm?
Watching a blockbuster on a tiny handheld device is no substitute for a proper screen. Let me enjoy my favourite programmes in linear mode, deciding for myself what to watch and when.
For the B2B audience, it is worth remembering that these preferences and viewing habits still drive advertising, content strategy and distribution decisions. Linear TV remains a core medium, and understanding the attachment of audiences to traditional viewing can help shape better engagement strategies and platform development. I am a TV purist who believes television should be watched the way it always has been, and I will resist any migration to smaller devices. I invite readers to share their own experiences in this appreciation of the medium.
SANJAY RAINA IS SENIOR VP, TIMES TELEVISION NETWORK
A NEW PLAYER RISES
Following the launch of FUZE, a new platform from Power League Gaming aimed at redefining how brands collaborate with creators in MENA, PLG and FUZE CEO Matthew Pickering speaks to Vijaya Cherian about the momentum behind the creator economy, the region’s rising esports scene, and what’s next for gaming-led brand engagement
You’ve described FUZE as a response to the “crowded and chaotic” influencer space. From your point of view, what structural problems are brands and creators facing today in the MENA region that traditional influencer platforms aren’t solving? The issue isn’t just that the space is crowded, it’s misaligned with how gaming and tech audiences consume content in MENA. Traditional influencer platforms treat gaming creators like lifestyle influencers, but our Ipsos research conducted in December 2024 on gamers’ behaviours across Saudi Arabia, the UAE, Egypt and Jordan shows that 71% of gamers trust gaming influencers precisely because of their expertise and authenticity within the gaming ecosystem.
The real challenges are discovery, measurement and cultural understanding. Brands struggle to find creators who genuinely resonate with gaming audiences, not just those with big follower counts. And when they do, the tools they use to measure performance are flawed. Most platforms still focus on vanity metrics like followers or impressions, but in gaming campaigns what really matters is engagement – how actively the audience interacts with the content. Focusing on real-time performance data and gaming creators in MENA helps us achieve engagement rates of 62-71%, which is far higher than typical lifestyle influencers.
The final gap is cultural nuance. MENA audiences are distinct, so we need to address these gaps by focusing exclusively on gaming and tech creators, providing deeper analytics that actually drive decisions and tailoring strategies to the unique dynamics of each market in the region.
How is the rise of the creator economy shifting the dynamics of storytelling, particularly
A creator with 100,000 highly engaged followers can drive more meaningful impact than a TV ad reaching millions
MATTHEW PICKERING, CEO, PLG AND FUZE
for entertainment, gaming and media brands?
We’re witnessing a shift from one-way broadcast storytelling to collaborative narratives co-created with creators. In gaming especially, this matters – our Ipsos research shows 75% of MENA gamers value engaging storylines and want to be part of shaping them. Live streams and interactive formats now rival and often outperform traditional broadcasts. A creator with 100,000 highly engaged followers can drive more meaningful impact than a TV ad reaching millions, which is why major publishers like EA and PlayStation are moving significant marketing budgets from traditional media buying to creator collaborations, where authenticity and engagement rates are dramatically higher. At the same time, creators are raising their production standards, producing documentary-style content, branded series and even influencing game development through community feedback, while traditional media companies are adopting more authentic, interactive approaches to stay relevant.
With the numbers you have, what are the opportunities in this space? In the MENA gaming market, penetration is as high as 86% in mature markets like the UAE,
representing around 6.75m gamers. But here’s what’s remarkable: across all our surveyed markets, 77% of gamers say in-game advertisements influence their purchasing decisions, and yet most traditional brands are still barely scratching the surface of this opportunity. The spending power is significant too, with average monthly in-game spending ranging from $13 in Egypt to $24 in the UAE and Saudi Arabia.
From a creator economy perspective, 70% of gamers are influenced by gaming content creators and 63% take immediate action after seeing influencer content, whether that’s visiting a website, following a brand or making a purchase. We also see gaming as a consistent habit, with gamers active four to five days per week, with peak engagement between 5pm and midnight, which makes timing campaigns crucial.
MENA is home to a large and engaged gaming audience, yet the infrastructure for creator-brand collaboration has lagged behind. Why do you think that gap existed for so long, and what has changed for marketing platforms? The gap existed because the region was long viewed through a Western lens that underestimated the depth of its gaming ecosystem. International platforms saw MENA as a smaller, less sophisticated market, while regional players stuck to traditional advertising instead of developing the creator economy. That changed when the data became impossible to ignore. In Saudi Arabia alone, 59% of gamers are aged 1524 – a young, highly engaged audience brands can’t overlook. At the same time, government investment, particularly Saudi Arabia’s Vision 2030 initiatives and the Esports World Cup, positioned gaming as both an economic and
cultural priority. Add the surge in digital adoption during Covid-19 and the entry of major gaming publishers seeking regional expertise, and this became the perfect moment for platforms built specifically for this audience and ready to help brands tap into it effectively.
We see smart search engines helping to match creators and brands. How is data or criteria prioritised in the matchmaking process?
Our matchmaking prioritises engagement, content quality and audience relevance over surface-level numbers. We look closely at what games creators actually play versus what they post about; who their audiences are and how these audiences engage with their content across platforms; and their relevance within the MENA markets. The algorithmic layer handles the heavy lifting, analysing real-time engagement rates, demographics and content performance, but the human element is crucial.
Cultural context can’t be automated. For example, a creator might have perfect metrics on paper but if they don’t understand Saudi gaming culture versus Egyptian preferences, the campaign will fail. It’s about
knowing that Egyptian gamers gravitate toward different genres than Emirati gamers, or how Ramadan affects engagement patterns.
With influencer-led campaigns being increasingly multi-platform and multi-format, what role do you see emerging for production standards, IP protection and brand safety, especially for broadcasters and content distributors considering creator collaborations?
As creator content professionalises, the framework around it has to evolve. Broadcasters and distributors now require consistent production standards that ensure quality without stripping
Most platforms still focus on vanity metrics like followers or impressions, but in gaming campaigns what really matters is engagement
MATTHEW PICKERING, CEO, PLG AND FUZE
away the creator’s authenticity. IP protection is a growing concern, particularly with cross-platform content reuse and global syndication. Contracts need to clearly define rights, ownership and licensing terms to avoid downstream conflicts.
Brand safety is no longer a niceto-have; it’s a necessity. Given the spontaneous nature of creator content, campaigns require proper vetting, ongoing monitoring and safeguards.
Gaming and esports increasingly overlap with entertainment. Where do you see the growth potential for media and entertainment companies?
Gaming is no longer a niche vertical, it’s becoming the foundation of modern digital entertainment. We’re seeing strong growth in hybrid formats – creator-led docuseries, gaming documentaries, behind-the-scenes esports content and interactive shows. Publishers like Riot Games are creating Netflix series based on their games, while traditional media companies invest directly in creators. For media and entertainment companies, the opportunity lies in understanding that gaming audiences are mainstream and expect interactive, authentic content.
Influencer marketing in the gaming space can sometimes face scepticism around authenticity and ROI. How can transparency and campaign performance be tracked in a way that satisfies both creative freedom and business accountability? It starts with working only with creators who genuinely play and understand the games they promote. Our research shows that 65% of gamers trust gaming influencers because they perceive them as authentic voices in the community. The trust disappears if content feels forced.
FUZE content creator Basharkk.
On measurement, we, for instance, go beyond basic reach and impressions. We track how content influences real behaviour from website visits to purchases, connecting creator activity to business outcomes. Brands see not only how many people engaged but how it affected perception and conversion. It is important to maintain creative freedom by collaborating closely with creators on campaign objectives, allowing them to integrate brand messages naturally. This approach consistently yields higher engagement and better ROI because the content feels authentic while meeting business goals.
Some platforms in this space operate as open marketplaces; others lean on curated talent rosters or agency models. Where do you sit on that spectrum?
We operate as a curated marketplace with gaming expertise as our filter, combining the scale of an open platform with the quality control of curation. Open marketplaces often lack quality standards, while pure agency models limit creator diversity. Our focus is on gaming credibility rather than arbitrary exclusion. Creators need to demonstrate genuine gaming knowledge, consistent content quality and the ability to collaborate professionally. We continuously monitor performance and community feedback to ensure relevance. Creators who consistently deliver results and maintain authentic audience relationships remain in our ecosystem, while those who don’t meet standards are coached or removed. Access isn’t based on size or experience level; we work with micro-influencers with 10,000
engaged gaming followers and major creators with millions of subscribers. What matters is authenticity and the trust they hold with their audiences.
Are sectors like tech, fashion or entertainment more aggressive or experimental in tapping into the creator economy? What trends are you seeing in how different industries approach this space? Gaming publishers were early adopters because they intuitively understood the space, but we’re now seeing surprising aggression from nonendemic brands. Fast food chains, for instance, are heavily investing in gaming creator partnerships – McDonald’s shows a 43-58% brand association with gaming across our markets. Tech brands are most experimental, particularly those targeting younger demographics. Cryptocurrency and
fintech companies are among the most aggressive entrants, though they require careful brand safety considerations.
Fashion brands are entering through virtual merchandise and creator collaborations, while entertainment companies are taking a more strategic approach – co-creating content with creators, developing gaming-focused series and using creator insights to inform new productions. Across all industries, we’re seeing a clear shift from transactional partnerships to longterm collaborations that drive deeper engagement and co-created content.
As AI and automation continue to evolve, what parts of the brandcreator collaboration process do you think should remain humandriven, and where do you see real value in using tech to streamline or enhance outcomes?
Cultural understanding and relationship building must remain human-driven. Achieving localised content requires understanding gaming preferences and community dynamics that AI simply
cannot replicate. Creative direction and authenticity assessment also need human judgment. Determining whether a creator genuinely resonates with their audience or is just performing for metrics requires contextual insight that algorithms can’t provide. Where AI shines is in scale. We use it for real-time performance monitoring, demographic analysis and initial creator-brand compatibility assessment. But the real value comes from combining it with human insight –what we call augmented intelligence.
The Esports World Cup in Saudi Arabia has put a global spotlight on the region’s ambitions. What longterm infrastructure or ecosystem investments still need to happen for MENA to become a sustainable global hub for creators and gaming?
The Esports World Cup demonstrates Saudi Arabia’s ambition to position itself as a global gaming hub, but lasting success requires building the ecosystem beyond major events. Two priorities stand out: First, creator economy infrastructure. This means better payment systems, legal frameworks for international brand partnerships and professional development programmes for creators. Creators have strong influence, but they need business education, contract negotiation support and professional management capabilities to operate at a global level. Second, talent development. We need educational programmes that combine gaming expertise with business skills, content creation training and international market understanding.
When countries invest in creator training, digital infrastructure and long-term ecosystem building, they create hubs that attract global gaming companies, brands and talent, turning short-term visibility into sustainable growth.
PLG partnered with Mywhoosh for one of the e-cycling world championships.
DAVINCI RESOLVE’S AI LEAP
We went hands-on with the latest release of DaVinci Resolve. Creative Director Nina Sargsyan tested its new AI tools on a demanding real-world edit to see how the updates hold up under pressure
For years, DaVinci Resolve has been the industry standard for colour grading. But no one expected the significant shift the 2013 release, Version 10 would bring to the market, with the introduction of its very own video editing suite. The new tools successfully solidified its reputation as an all-in-one comprehensive
tool for post-production.
Blackmagic Design then expanded its capabilities by integrating Fusion for visual effects and Fairlight for audio editing. These firmly established it as a can’t-do-without platform for both professional and newbie video editors and colour graders. Building on this success, in Version 16 it released proprietary AI engine, the DaVinci Neural Engine.
Now, with Version 20, it has taken those foundational features and made significant advancements, firmly positioning DaVinci Resolve at the forefront of AI-powered creative software.
In this latest release, the Blackmagic team has focused on enhancing key areas across the board – editing, colour grading, visual effects and audio. Whether you’re a beginner or a seasoned professional, these improvements make working on projects feel seamless and intuitive. The user interface remains simplified and sleek, maintaining its reputation as software for pros, but with fewer barriers for newbies.
With just a few clicks in the Cut page, you can cut a sequence, apply a LUT in the Colour page and export your final project – no fuss, no friction. The real game changers, however, are the AI-powered tools. They transform previously timeconsuming, complex tasks into quick, simplified actions, saving you heaps of time, supercharging your ability to be creative and pushing the boundaries of what users can achieve.
Having always favoured DaVinci Resolve for colour grading, I was most impressed by the new features for editing and overall workflow. This release came at a perfect time, and with multiple interviews and multi-cam projects going on I put the new AI features to the test.
This version has been made to primarily make sure that users and their workflows are evolving with the market, but in a very intuitive way that doesn’t overwhelm
NINA SARGSYAN, CREATIVE DIRECTOR, DBN PRODUCTION
I was recently working on a series of interviews for a corporate client. With the help of my new best friend AI IntelliScript, I not only saved time editing, but the whole process was also far more efficient. What AI IntelliScript essentially does is take your script and create a timeline from the clips you have provided, matching the audio to the text. What’s even more amazing is the fact that if you have multiple cams, you have those angles with the same script overlaid. This is a MAJOR timesaver, enhancing workflow –where before time was spent going through content and making cuts and taking the best bits, now everything is cut accordingly and layered. All you have to do is fine-tune the edit. By coupling this feature with the new addition to the Fairlight page, which allows you to remove silences via AI IntelliCut, I was able to go through the entire edit quickly and with great ease. Both these new additions are game changers. The other new AI enhancements really drive home the fact that this version was truly made to enhance
the workflow of every user and cut back on the small monotonous steps we all had to go through. The company has truly harnessed the new advancements in AI and tailored them to users’ unique needs.
With the market now saturated with short-form vertical content, clients request both landscape and reel formats for videos. With the enhancements in this version, it’s safe to say Blackmagic has been
The Colour and Fusion pages each have powerful little upgrades that really make a difference in how a user works
NINA SARGSYAN, CREATIVE DIRECTOR, DBN PRODUCTION
paying close attention to the market – and it has delivered. Simple new updates like the Vertical Resolution switch give users the ability to quickly and efficiently convert the entire timeline to vertical format; no need to mess around with manually entering the resolution anymore.
This once again saved me time on my project. The client had also requested extra snippets for social media, so I just toggled Vertical Resolution and finished everything super smoothly without the hassle of manual adjustments. And what’s amazing is this carries through the whole software; even when colour grading in the Colour page, the ease of the video being in vertical is a plus. Simple little enhancements to the Cut and Edit pages have made the entire process of editing in DaVinci Resolve seamless, really making the projects fly by, which in today’s fast-paced market is a plus.
The new Fairlight features are also impressive. While other software has offered similar features for a
The Cut page provides ease and flexibility in making quick cuts.
The Colour page with its new AI updates gives users more precision in
while, Blackmagic brought them into this version of DaVinci in a very user-friendly way, ensuring that it doesn’t feel overwhelming. As someone who prefers to keep everything in one piece of software – especially when deadlines are tight – the new AI Music Editor is great at making sure I no longer need to sit and manually extend music tracks. It takes out the tedious hassle of making sure everything sounds seamless. For the interviews project I was working on, I simply used the tool to extend the track over a fiveminute interview and no longer had to spend time on tedious tweaks.
As I said, the market is now full of reels and videos with mini-interviews and soundbites. Blackmagic has enhanced and polished existing features like AI Voice Isolation. Just having this as an option to play around with is fantastic. You don’t need to keep jumping back and forth turning off your music and other tracks – just flick the switch and you can hear only the speaker.
And still on the Fairlight page: the craziest new feature that really amazed me was the AI Voice Converter. I cannot express how many times I have worked on a project and the client comes back stating they don’t like the way they said a specific word, or their flow of speaking. Instead of going through the whole process of re-doing an entire take, I can now simply adjust a few parameters to change the voice, dramatically cutting down turnaround time. These small but powerful enhancements, and many more on this page, really make the entire audio process extremely user-friendly and greatly expedite workflows.
The Colour and Fusion pages each have powerful little upgrades that really make a difference in how a user works, and the speed at which
The user interface remains simplified and sleek, maintaining its reputation as software for pros, but with fewer barriers for newbies
NINA SARGSYAN, CREATIVE DIRECTOR, DBN PRODUCTION
they work. The most notable for me is the new AI Magic Mask v2, which takes masking to a whole new level. Blackmagic has really enhanced the speed and the accuracy of the feature, making the user’s life easier and the end product all the more amazing.
The Fusion page has been given an update that pushes DaVinci Resolve more into the content creation space with Animated Subtitles. Users no longer have to manually do animations or use third-party apps to create animated subtitles – they can simply add the effect in the Edit
page and in Fusion edit the finer details and settings, making the entire process fast and smooth. Another notable mention is the ability to view your colour-graded clips directly within the Fusion page. This has saved me a ton of time since I no longer have to jump back and forth to visualise colours while adding effects.
Overall performance and compatibility have also been improved, which is always welcome, especially when managing multiple aspects of a project in one go. The ability to select where you save your project files is another welcome change that really just makes things easier when it comes to organising and keeping track of projects. Further enhancements to codec support and general little tweaks have given the software a great boost without creating any performance issues. Essentially, this version has been made to primarily make sure that users and their workflows are evolving with the market, but in a very intuitive
This version was truly made to enhance the workflow of every user and cut back on the small monotonous steps
NINA SARGSYAN, CREATIVE DIRECTOR , DBN PRODUCTION
way that doesn’t overwhelm. While a lot of these features and updates are only in the paid Studio version of DaVinci Resolve 20, I would say having them in your arsenal is worth the investment. Blackmagic has once again thought about its users and made sure our wants and needs are met.
NINA SARGSYAN IS CREATIVE DIRECTOR AT DBN PRODUCTION IN DUBAI.
The AI updates within the Fairlight page give users more control over their audio edits.
Users can now see their colour-graded clips within the Fusion page.
BEYOND THE BLING: EXPLORING DUBAI’S HIDDEN FOOD SCENE
As Dubai’s food scene diversifies, Ditch the Silver, premiering this quarter on OSN, uncovers the city’s hidden culinary gems. Producer Reim El Houni talks to BroadcastPro Middle East about creating the series, independent production in the UAE and the rising demand for authentic local stories
Dubai’s culinary landscape is often associated with glitzy high-end dining, but there is another layer: small, characterful eateries that reflect the city’s diversity and community spirit. Ditch the Silver, a new 10-episode docu-style series premiering on OSN and OSN+ this quarter, focuses on that. Hosted by Arva Ahmed, founder of Frying Pan Adventures, the show visits neighbourhoods across the UAE, uncovering eateries that might otherwise go unnoticed.
“The concept is simple, it does what it says on the tin. We are ditching the silver. We are not heading to the Michelin-starred establishments that everyone already knows. We are focusing on the unsung heroes and
shining a light on authentic, characterfilled eateries that may not have made the headlines yet but should,” says Reim El Houni, producer of the series.
Each 24-minute episode explores a different neighbourhood and highlights the stories behind the food, chefs and communities. “Our hope is that by the time viewers finish the season, they will not only have discovered new places to eat but will also feel a stronger connection to the culinary diversity that exists just beneath the surface,” El Houni adds.
Food as cultural storytelling
In the UAE, a country with close to 200 nationalities and rapidly diversifying food offerings, culinary
Ditch the Silver will premiere on OSN and OSN+ this quarter.
experiences serve as a meaningful way to celebrate cultural identity while connecting people in a deeply human and enjoyable way. According to the Dubai Gastronomy Industry Report 2024, Dubai ranked number one globally for fine dining and issued nearly 1,200 new restaurant licences across diverse categories last year. The report also highlights a remarkable increase in dining out, with the average resident now eating out 2.5 times per week.
“These numbers show how central food is to Dubai’s social and economic dynamics. Food-based storytelling not only reflects cultural diversity but also helps preserve and elevate local identities. Every eatery has a story, whether it’s an Emirati-made lamb dish, a regional recipe or a hole-in-the-wall café with decades of history. I think it’s one of the strongest genres and the strongest content plays that will always remain and will outlast most genres. It’s personal, it’s human, it’s relatable and enjoyable to watch,” El Houni explains.
From YouTube to broadcast
Ditch the Silver began as a digital experiment. El Houni and Ahmed launched the show on YouTube first, building an audience and attracting sponsor interest before taking it to traditional TV. “I enjoyed her podcast and admired her deep knowledge and passion for food,” says El Houni. “She joined one of our media training bootcamps, On Air, about a year ago, and shortly after we launched a YouTube channel together called Ditch the Silver. As the channel began to grow steadily and attract sponsor interest, I decided to take a leap of faith and pitch the show to OSN.”
The series is also set to reach a broader audience, with plans to feature on Emirates Inflight Entertainment.
We are focusing on the unsung heroes and shining a light on authentic ... eateries that may not have made the headlines yet but should
REIM EL HOUNI, PRODUCER, TI22 FILMS
Producing in a developing market
El Houni emphasises that producing original content in the UAE is still challenging. “I genuinely think what is missing right now is more broadcasters and platforms being ready to commission new content and take creative risks. Having worked in this industry for over 25 years, 18 of which in the UAE, I have personally found it incredibly difficult to get shows made despite how passionate I am about content creation.”
Independent producers often need to navigate limited budgets and fragmented support systems. The path from concept to broadcast typically
involves multiple stages – proof of concept, building an audience, securing sponsorships and scaling production for TV or streaming platforms. Ditch the Silver is an example of how persistence, careful planning and digitalfirst experimentation can overcome these challenges, El Houni says.
Authenticity as audience currency
Audiences are also shifting, and El Houni sees a growing appetite for authentic, relatable stories. “I am not sure if this is a shift that is specific to the MENA region, but I do believe there is a growing interest overall in real, authentic stories and in getting a
peek behind the scenes. That is likely why we are seeing increased popularity in documentaries, docu-series and even reality formats. From what I see, there is less pressure now for content to be fully polished or highend and more emphasis on following a compelling story and connecting with people. Audiences want to see something that feels genuine.”
This authenticity drives the show’s narrative choices, from the selection of eateries to the way interactions are filmed. It also reflects a broader industry trend: viewers value transparency, personality and specificity over spectacle.
Supporting local creators Ti22 Films, a Dubai production company founded by El Houni in 2011, played a key role in developing and producing the series. While the company’s portfolio includes corporate content and live events, it has increasingly focused on projects that support creators and bring local stories to broader audiences. “Growing visibility is incredibly important to me, whether that is through the hosts and presenters who go on to lead shows or through the subject matter we feature, including the restaurants, chefs and eateries that deserve more attention. Ditch the Silver is a show that does exactly that,” says El Houni. The UAE is increasingly fertile ground for independent production, with streaming platforms, telecom providers and digital networks creating opportunities for new voices. However, funding and commissioning structures remain cautious. El Houni sees the path forward as one of experimentation, community building and targeted audience engagement.
The future
Ultimately, Ditch the Silver is a grounded exploration of Dubai’s neighbourhoods, flavours and people. It reflects both the practical realities of producing in the UAE and the creative possibilities that exist for independent content creators. “Some ideas may sound very specific or even limiting at first, but I believe there is an audience for every niche. That is what can make content truly different and compelling,” says El Houni. Through the lens of food, the series captures the human stories that define Dubai’s diverse communities, while demonstrating how authentic local storytelling can find a place on both regional and international platforms.
In Ditch the Silver, show host Arva Ahmed guides viewers to the UAE’s hidden culinary gems.
WHAT SHAPED IBC 2025: KEY TAKEAWAYS AND TRENDS FROM THE SHOW
Crowds, conversations and a packed programme
Show folks said attendance was down slightly from pre-pandemic days, but you couldn’t tell it by the meetings and floor action or trying to catch dinner at any of the great Dutch bruin cafés. It seemed like everyone was there to absorb as much as
possible on innovations, new applications and how the industry and organisations are going to keep up with all of the advances, market opportunities and current world geopolitical environment. Every year we’re amazed at how rich and comprehensive the convention programme
that Mike Crimp and his team put together is, and it makes it difficult to ensure we see what fantastic new technology is being introduced. We didn’t even try to take it all in this year, because that would require about five AI clones of us sitting in sessions and prowling the halls/stands.
AI everywhere – promises and pitfalls It goes without saying that AI was everywhere, and some meaningful and valuable specific applications are emerging, but there were times we wondered what was happening and why! We focused on those things that were addressing real needs and have staying power and direct value, as well as a growing number of collaborative efforts, with organisations joining forces to deliver valuable solutions to major challenges, issues and opportunities that really could shape the future of the industry. Several sessions addressed the growing complexity and uncertainty of content creation and distribution.
Allan McLennan, CEO of PADEM Media Group, noted that we’re now able to work globally with multiple platforms in live IP sports, new perspectives on content and software licensing, along with personalised programming in linear and streaming. This has improved the creation, development and distribution of enhanced and intelligent supply chains that had been making things overly complex and expensive. “The industry now has a better path to focus on ROI,
which will streamline the activities and enable services and suppliers to bring costs under control and provide higher-quality deployments to meet the overall demand everywhere, which is vital in today’s environment,” he explained.
Business models in flux
Some of the solution and product announcements in areas such as cloud migration, AI integration, personalised user experiences and content delivery that we saw at IBC will help
major and minor players deliver better content to a more diverse audience, economically and reliably. For example, during McLennan’s IET session – ‘A perfect storm: From peak TV to peak transformation’ – panellists explored the changes in both traditional broadcast and streaming. They discussed how new business models are placing increasing demands on production and content delivery, and how organisations have to carefully select AI implementation and integration opportunities, and effectively test and manage the solutions, before using them for programming and advertising. All agreed that the keys to the implementation are ensuring that copyright is protected and content is authentic and accurate, as well as guarding against misrepresentation and hallucinations. “AI can be an exceptional tool in shaping content that engages the audience,” one of the speakers noted, “but care has to be taken that it is done in a responsive, responsible manner, so it has to be implemented carefully and cautiously after extensive testing and comprehensive validation.”
Evan Shapiro, ESHAP Media Cartographer, encouraged traditional linear content services to rethink the landscape and consider YouTube as an opportunity rather than as competition.
IBC’s IET Perfect Storm session consisted of (l-r) Rob Koenen, founder/CBO Tiledmedia; Krish Kumar, CEO Wowza; Karen Clark, CEO Telstra Broadcast Services; and moderator Allan McLennan, CEO PADEM Media Group.
Shapiro’s wake-up call on platforms and power
Several key sessions explored the industry’s shifting business models and the transformational technology that is going to make it all possible.
Evan Shapiro, Media Cartographer at ESHAP, probably surprised and frightened many in the audience during his session. “Traditional media companies aren’t on the verge of collapse,” he emphasised, “but all of the growth is going to the big tech platforms, and it represents trillions of dollars. Five years ago, when everyone shifted to direct to consumer, we ceded 100% control to the user, and content owners and developers are never going to get it back.” He explained that Netflix knows who its competition is. It’s not Amazon, Disney, WBD or Paramount. It’s YouTube.
Strategic alliances and the YouTube factor
“Traditional wisdom says sharing
content across other platforms could cannibalise your audience,” Shapiro said, “but the opposite is true because YouTube is only a distribution tool and it makes it easier for viewers to find your content. We’ve entered the affinity economy, where content companies have to go directly to the audience wherever they are. Right now, that’s social media. YouTube dominates the arena and people, especially young people, are watching it on the big screen in their living room.”
He could have added that for indie project creators/producers and second- or third-tier content distributors, YouTube, due to its reach, is also an economic method of finding an audience and monetising content.
In terms of relationships and alliances, Netflix and Disney both announced agreements during IBC. Netflix has quietly taken the lead in the collaborative approach, with bundling agreements with MBC Group in MENA, TF1 in France,
Canal+ in Africa, Binge in Australia and SK Broadband in South Korea. Disney+ has entered into a series of strategic alliances in Europe, including Atresmedia in Spain, ITVX in the UK and ZDF in Germany. Interestingly, during the ‘Better together’ session YouTube Managing Director Justine Ryst emphasised: “We don’t commission. We don’t own IP. We don’t create it. We have 2.5bn global users who watch content and 700m of them connect to us on their TV, but to say we’re competitive to and cannibalising TV is erroneous. We’re actually extending their reach and the life of their content.”
Localisation breakthroughs
On another note, Ryst also said that YouTube provides a platform for creators of all types (professionals and up-and-comers) to profitably develop an audience of people watching a new definition of TV. We’re not sure, but she might be right that this is a way for legacy services to reach
YouTube’s Justine Ryst (centre) and Channel 4’s Grace Boswood (r) explained to moderator Sasha Quadri and the IBC audience how Channel 4 is leveraging YouTube’s extended audience to quickly and economically improve and extend its audience and improve its bottom line.
a new, profitable audience, and it might – just might – be a profitable way for professional content creators to rapidly reach a global audience.
Of course, it would also help if YouTube CEO Neal Mohan would quit pitching the idea that creators should be considered for industry awards, even if a few do have millions of followers and make lots of money. This doesn’t necessarily make them professional – just profitable.
But … who knows!
The sessions we attended were all great, full of information about how every corner of the industry can profitably meet viewers’ expectations, but we also had to make our way through the friendly crowd to see what was new and hot on the show floor. Okay, we’ll only say it once (again) … AI was everywhere.
Because this is a global event and industry, we noticed a lot of amazing, well-thought-out localisation and engagement tools that are going to open up new opportunities for content creators to have their films/shows seen everywhere. Camb.AI, Gaudio
Lab and CaptionHub were some of the products we saw on the show floor that aim to take the complexity and time out of localising dubbing and subbing news, sports, films and shows to be enjoyed everywhere.
Pushing the limits of live and UHD
We’re perfectly happy to follow subtitles and enjoy the action in the native language, but with some of the AI-based tools, it is mindboggling to see the project translated and lip-
synced in what feels like real time. Either way, it breaks down the barriers to sharing the best content out there for indie and content owners.
Latency has always been an issue for streamers, especially for sports and live events, so we had to swing by Pixop’s announcement in the Ultra HD Forums stand and neighbouring Accelerator Innovation Zone. Morten Kolle Christensen and his Danish team demonstrated Pixop Live for the first time at IBC. It takes HD SDR signals from the field and almost instantly upscales them to UHD 4K for realtime processing and distribution, with latency of less than 600ms.
Streamlining sports and streaming with AI
The side-by-side demo was very impressive because it’s always that last little bit of the workflow video stream that is expensive and timeintensive to deliver, whether live or from library. Christensen explained that studios, streamers and networks with large libraries of shows and movies are interested in using Pixop Live to bring the content up to the quality standard viewers expect to see, by making it fast, easy and economical
The team from Saudi Broadcasting Authority at the BroadcastPro ME stand at IBC.
Harmonic introduced its new hybrid centralised management system at IBC.
to refresh the content in richer, more vibrant UHD 4K. He also noted that Pixop Live fully supports next-gen TV standards including Japan’s ISDB-Tb and Brazil’s TV 3.0/DTV initiative.
And speaking of working to improve sports enjoyment, Harmonic introduced its hybrid streaming solution, which includes an AI-centralised management system that leverages an enhanced VOS360 and SaaS for improved UHD channel density, and bandwidth efficacy for 5G content delivery. AI has also been incorporated to add multiview and low-latency features, as well as automatic highlight generation and speech-to-text transcription.
Tools for creators: Docks to data platforms
Okay, we admit it, we’ve been impressed with OWC for years – it builds some of the best prosumer products we’ve seen. This year it introduced the new Thunderbolt 5 Dual10GbE network dock, probably one of the best and most versatile connectivity solutions we’ve seen for filmmakers. The dock has been around for a long time and the latest version is proof of OWC’s commitment
to the content creation market. It includes dual fully independent 10GB/s ethernet ports, a front-facing 2.5GB/s ethernet port, and about every connection a content creator or video production person would need. We realise a lot of workflow and production is done in the cloud today and it’s pretty reliable, but there’s just something comforting about having a fully loaded SSD production you can see and touch.
The new OWC Jellyfish S24 lets you load the unit up with as much high-
performance, highly reliable Mercury Extreme Pro SSD (up to 384TB) you need to handle any project, including a blockbuster film. Designed to work on a dual 100G ethernet backbone, it delivers superior sustained read/write performance with almost no latency to keep your production project on time. Avid keeps raising the bar for the content industry, and the new content data platform does away with siloed production areas and works across editorial, operational and business areas. Optimising AI and agentic workflows, it transforms content from static files to intelligent, connected and actionable data. The scalable and intelligent solution helps streamline operations and optimise content value, to keep pace with the constantly changing ideas of what people want to watch.
Blackmagic’s bold moves
Blackmagic Design has always impressed us with its steadily improving line of cameras that cover almost every feature, capability and performance issue a filmmaker might have, at an unbelievably reasonable price. At IBC it unveiled the new Blackmagic Camera 9.8 which supports Apple ProRes RAW, a new lower price for 12K LF and 17K URSA cine camera
With enhanced AI and agentic workflow capabilities, Avid introduced its new content data platform to eliminate siloed workflows.
Glenn Lightbody of Blackmagic Design poses with the new Camera ProDock, which generated buzz at IBC for bringing full production capabilities to the Apple iPhone 17.
kits, and more. In addition, because we can only guess that they want almost everyone on production teams to use Blackmagic hardware and solutions, the DaVinci Resolve production solution just keeps improving; 20.1.1 supports edit, colour, VFX and more.
We would have said nothing the company does could surprise us, but then it went and announced the new Blackmagic Camera ProDock.
If you’re one of those shooters who has been won over and now uses an iPhone as a full-featured production camera, it will absolutely wow you. It
VISITS AT IBC
provides all the professional camera connections you’ll need for the iPhone 17 Pro and Pro Max. It really does put all the power and performance at your fingertips, whether you’re a YouTube creator or a seasoned professional. All we can say is Blackmagic CEO Grant Petty and his team are insanely committed to making life easier, better and cheaper for the content creation industry.
What we missed (and the cafés we found)
There was a lot we missed at this
year’s IBC, but the show only lasted four days and there is only so much we could see in the packed halls. The rest of our time was spent exploring Amsterdam, which has so many charming and colourful bruin cafés with excellent food and hospitality. There’s always next year.
ANDY MARKEN IS A MARKETING/ COMMUNICATIONS CONSULTANT WITH A BROAD RANGE OF TECHNICAL AND INDUSTRY EXPERTISE IN STORAGE, STORAGE MANAGEMENT AND FILM/ VIDEO PRODUCTION.
Andy Bellamy at AJA Video Systems explained how the IP25-R, UDC-4K and BRIDGE LIVE 12G-4 simplify handling a wider range of connectivity types, resolutions, frame rates, formats and protocols.
Lawo showcased a forward-thinking portfolio of software-defined, cloud-ready innovations at IBC. At the stand with Andreas Hilmer.
Nicola Atta (c), flanked by Abdul Hadi (l) and Christian Bockskopf (r), has recently joined Riedel Communications as Senior Regional Sales Manager, Middle East.
Ibrahim Al Akkad and a colleague highlighted new developments with Autoscript prompters at the Videndum stand.
LAURENT MAIRET
Are we creating clear, paid pathways for new talent, or do our structures unintentionally favour those already inside?
After IBC: Can media still
be a
compass for the next generation?
Each IBC proves how well we stage shared moments at scale. Yet this year I left with questions, not answers. Who are we building for if the people we most need to reach are often a generation younger than many of us who build the systems? In a feed that moves faster than facts, how do we make trust visible, not assumed? If attention is mobile and social first, can the economics we rely on keep pace or do we need to align costs to real usage? Will metadata, rights and provenance travel with content so that context survives the algorithm? Are we creating clear, paid pathways for new talent, or do our structures unintentionally favour those already inside? What will success look like five years from now?
The challenge beyond technology After 25 years in broadcast, our challenge is as much about populations and economics as it is technical. Younger audiences often value relevance, accessibility and low friction. They tend to expect personal context and honest labelling when machines assist. At the same time, rumour can outrun verification, especially in moments of shock. If we do not keep verification visible, attention tends to drift to places that optimise for speed
over depth. The task is not only better pixels or lower latency. It is building a chain of trust that travels with the media from acquisition to archive, while keeping the business sustainable enough to serve public life, sport and culture in the moments that define us.
Five moves we can make together
First, we can make trust portable. Adopt open standards for identity, rights and provenance so that proof of origin and context moves across platforms without breaking. Treat metadata as a backbone, one consistent view of assets, rights and obligations that follows content end to end.
Second, use AI as an assistive tool. Keep humans in the loop by default, enable audit trails and label machine assistance clearly so that audiences are not left guessing.
Third, consider recalibrating economics around usage. Centralised and remote production, IP and cloud workflows, and managed or as-aservice operations let teams launch quickly, scale with demand and align OPEX to what is actually consumed.
Fourth, widen pathways for talent. Paid apprenticeships, handson academies and hybrid roles that blend workflow engineering, data
and creative operations can renew skills at scale. Without investment, we risk a thinner pipeline.
Finally, practice resilience. Build redundancy for power and connectivity, maintain playout contingencies and run real cybersecurity drills. Trust erodes quickly when systems fail at the moments that matter.
Many teams are already moving this way. None of this belongs to a single vendor or region. It is collective work for integrators, manufacturers, operators, universities, leagues and regulators, with ethics as the thread that holds it together.
Turning principles into operations at Broadcast Solutions
If IBC reminded me of anything, it is that innovation only matters if it builds a bridge between the rigour of our craft and the expectations of a generation that sees us differently. I caught the bug 25 years ago and I hope it endures, not for nostalgia, but because a trusted media system helps communities make sense of the world. The bridge is ours to hold – together.
LAURENT
MAIRET IS MANAGING PARTNER FOR BROADCAST SOLUTIONS MIDDLE EAST
