GAZA UNFILTERED
Twin directors Tarzan and Arab Nasser boldly bring Gaza to the world cinematic stage
TUNING INTO TOMORROW
FGC strengthens Saudi Arabia’s audio network with cutting-edge DAB, powering Vision 2030 with seamless & reliable nationwide coverage
First Gulf Company (FGC) supports Saudi Broadcasting Authority (SBA) in leading the transformation of Saudi Arabia’s audio broadcasting, delivering the infrastructure that will power the Kingdom’s Vision 2030 ambitions.
Building on more than 25 years of RF and digital broadcasting expertise, FGC has deployed advanced Digital Audio Broadcasting (DAB) systems across the Kingdom — from new sites in Jeddah and Dammam to five other major cities. FGC’s work ensures crystal-clear, uninterrupted coverage for residents, travelers, and motorists nationwide.
The current rollout includes nine additional cities and nine strategic transmission points along the Riyadh–Abha corridor — including Wadi ad-Dawasir — guaranteeing continuous reception. At the core is a centralized, fully redundant headend in Riyadh, managing 32 digital channels with automated switching and the flexibility for targeted regional content.
Starting in 2025, new regulations have required every vehicle sold in Saudi Arabia to include a DAB tuner. FGC’s satellite-enabled backbone will ensure reliable, high-quality audio, as well as centralized messaging, public alerts, and location-specific information, even in the most remote regions.
“Technology is just one part of this project; at its heart is connecting communities and supporting the Kingdom’s ambitions for 2030. Expanding DAB ensures radio is both accessible and reliable across the Kingdom, wherever people live or travel.” says Adam Hamza, SATCOM & Transmission Director at FGC.
With unmatched precision and execution, FGC is redefining national broadcasting standards and setting the pace for the Kingdom’s connected future.
www.fgc.sa
GROUP
Managing Director Vijaya Cherian vijaya.cherian@cpipromedia.com
+971 (0) 55 105 3787
EDITORIAL
Editorial Director Vijaya Cherian vijaya.cherian@cpipromedia.com
+971 (0) 55 105 3787
Editorial Contributors
Kalyani Gopinath
Nusrat Ali
Urooj Fatima
Sub Editor Aelred Doyle
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Group Sales Director Sandip Virk sandip.virk@cpipromedia.com
+971 (0) 50 929 1845 / +44 (0) 7516 993 862
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Finance Executive Yonwin D’souza finance@cpipromedia.com
DESIGN & PRODUCTION
Art Director David Fraser design@cpipromedia.com
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Web Developer Hafiz Muhammad Waqas IT@cpipromedia.com
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Dominic De Sousa (1959-2015)
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WELCOME
As the MENA media landscape continues to evolve rapidly, we proudly bring you stories from across the region this month – from the launch of a marine-focused streaming service in Kuwait, to a new UAE OTT platform that not only delivers premium content but also showcases the work of mid-tier producers who may lack marketing muscle despite exceptional creativity. We cover the myriad partnerships unfolding in Saudi Arabia, a massive restoration project in Turkey, and the celebrated Arab Radio and TV Festival in Tunis, among other things. As the only magazine representing the Arab world on the international stage, we are committed to bringing our markets’ voices, innovations and creativity to the forefront.
Yet amidst all the glitz, ambition and technological breakthroughs, there is a story that refuses to be sidelined. The story of Gaza. It is the story of a city and a people whose culture and creativity persist despite relentless efforts to erase them from the face of the earth. Our cover story, born from an in-depth conversation on the making of Once Upon a Time in Gaza with filmmakers Arab and Tarzan Nasser and co-producer Rise Studios, is a testament to the resilience, dignity and artistry that emerge from unimaginable circumstances.
In every frame of the film, which won the Best Director award at Cannes this year, Gaza asserts itself – not as a footnote or a backdrop, but as a living, breathing canvas of humanity, memory and expression. While we celebrate innovation in technology, production and distribution across the Middle East, our conscience compels us to remind readers that the most important story this month is that of survival, identity and creativity in Gaza.
In the meantime, it’s been a real honour to serve as a judge for the IBC Innovation Awards over the years, and this year I’m delighted to have also judged the IABM Impact Awards. I can’t wait to see you at the show. For anything MENA-related, hit us up.
VIJAYA CHERIAN, EDITORIAL DIRECTOR
HOME with a View.
Lawo’s HOME Apps processing platform empowers broadcasters to create efficient, dynamic media facilities with maximized infrastructure utilization. Paired with Lawo’s .edge SDI-to-IP gateway, the new HOME Intelligent Multiviewer minimizes bandwidth and CPU usage by intelligently selecting optimal downsized video proxies for layouts.
UPDATE NEWS
MBC Group posts 37.8% revenue surge in H1 2025; BeIN and SMC renew partnership; Fadi Radi joins SRMG; MBC and Netflix bring bundled offer to MENA audiences; CABSAT shifts venue and changes dates; and more 5
OTT CASE STUDY - GCC NEW SERVICE ON THE BLOCK
How the UAE’s newest streamer Tesliya plans to change the game for regional OTT 22
OTT CASE STUDY - KUWAIT BAHRY SETS SAIL IN STREAMING
Kuwaiti OTT player
Bahry charts new waters, aiming to make waves with marine content worldwide 28
ASBU - TUNIS THE SULEIMAN STRATEGY
34
SPORT - EGYPT INSIDE THE VAR ZONE
CAF and BSG partner to bring cutting-edge video assistant referee solutions to African football
Abdelrahim Suleiman’s bold financial moves have turned ASBU into a self-sustaining powerhouse
AI COLUMN DEMYSTIFYING GENAI
Karim Sarkis cuts through the hype to expose four GenAI myths and their implications for media 12
COVER STORY BRINGING GAZA TO THE WORLD
Directors Tarzan and Arab Nasser weave exile, identity and survival into Once Upon a Time in Gaza, a haunting narrative that won them the Best Director award at Cannes. Vijaya Cherian explores the creative vision behind the film
CASE STUDY - DUBAI
OSNTV’S BOLD TECH OVERHAUL
Melvin Saldanha discusses the seven initiatives that transformed OSNtv’s digital ecosystem 38
48
PRODUCTION - ABU DHABI
RACING MEETS
HOLLYWOOD MAGIC
F1: The Movie is testament to the UAE’s operational readiness and collaborative capabilities 52
RESTORATION - TURKEY TURKEY’S FILM ARCHIVE GOES DIGITAL
Mimar Sinan Fine Arts University uses Cintel to digitise more than 125,000 film reels 44
IBC 2025 WHAT’S NEW AT THE SHOW
A snapshot of some of the innovations exhibitors are bringing to the show in Amsterdam this year
56
60
GUEST COLUMN SYNCING GROUND AND CLOUD
As cloud becomes part of the production pipeline, solutions like MXL are essential, says John Mailhot
09/25
Keep up-to-date at broadcastprome.com
D360 Bank and Thmanyah partner for broadcast rights to Saudi football matches
D360 Bank, Saudi Arabia’s Shariah-compliant digital bank, has signed an exclusive partnership with Thmanyah, a subsidiary of the Saudi Research & Media Group (SRMG), to secure the broadcast rights of the Kingdom’s football competitions. The agreement grants it exclusive rights to the Saudi Pro League (Roshn
League), the Saudi Super Cup and the First Division League (Yelo League), in addition to a wide variety of sports-related content produced by Thmanyah. This establishes the bank as the only financial institution spearheading a new chapter in sports broadcasting.
As part of the collaboration, fans will gain
access to the game with advanced viewing features that allow simultaneous streaming of up to three matches, instant replays of key moments, real-time analytics and high-definition coverage at 50 frames per second. Tiered subscription packages will further ensure a personalised and immersive experience for every viewer.
MBC GROUP REPORTS REVENUE SURGE IN H1 2025
MBC Group has reported a 37.8% yearon-year rise in revenues to $800m for H1 2025, with net profit up 41.1% to $89.43m and margins expanding to 11.1%. Quarterly results showed revenues of $987.9m in Q2, up 2.5% year-on-year, though net profit fell 38.3% due to the timing of Ramadan and weaker advertiser sentiment amid geopolitical volatility.
CEO Mike Sneesby highlighted the Group’s diversified business model, noting strong
revenue across core segments, resilience against geopolitical volatility, and robust growth from Shahid, its OTT platform.
The BOCA segment led growth, with revenues up 29.6% to $463.35m and net profit rising 23.7% to $83.75m. TV revenues increased 13.3% to $230.21m, while Broadcast & Technical Services surged 52.7% to $197.31m, driven by major government and institutional projects.
Shahid’s revenues grew 25% to $185.79m,
with SVOD up 24.4% to $144.06m, supported by a new password-sharing policy, and the platform posted a net profit
D360 Bank said the initiative aligns with its vision of partnering with homegrown innovators who embody values of community, culture and progress. By investing in sport, it aims to strengthen its connection with audiences and extend its role beyond financial services into shaping shared cultural experiences.
of $0.72m, reversing last year’s loss. Media & Entertainment Initiatives nearly doubled revenues to $159.25m, with net profit nearly tripling to $4.96m. Content highlights included Ommi, Aser and Share’ Al A’sha, reinforcing MBC’s leadership in drama and Ramadan programming. Over 150 projects are in the pipeline, more than 90% in Saudi Arabia, underscoring the Group’s commitment to the Kingdom’s creative economy.
MBC Group CEO Mike Sneesby.
BeIN and SMC renew deal until 2027
BeIN Media Group has renewed its partnership with Riyadh-based SMC Group, extending the latter’s role as the exclusive advertising media sales representative for beIN across 23 MENA markets until 2027. The agreement covers more than 20 premium sports and entertainment channels, including the flagship beIN Sports network. Under the agreement, SMC will continue to integrate media, sports and technology through AI-powered advertising solutions and innovative platforms that deliver impactful, targeted campaigns. The partnership also supports Saudi Arabia’s wider economic goals, fostering innovation, investment and growth in the sports, media and entertainment industries both regionally and internationally.
Mohammad Al-Subaie, CEO of beIN MENA, said:
FADI RADI JOINS SRMG
Fadi Radi has joined Saudi Research and Media Group (SRMG) as Advisor to CEO Jomana R. Al-Rashid. In this new role, he will provide strategic guidance on corporate initiatives, helping to navigate the evolving media environment and leverage emerging technologies.
Radi has over 25 years of experience in broadcast and creative operations across MENA. Known for blending creativity with strategic insight, he has led transformative campaigns and initiatives that have reshaped the media landscape. He has been at the forefront of innovation, from concept to execution, with highlights including the launch of Blinx.com, a platform that reflects his ability to turn visionary ideas into seamless digital experiences.
“We are pleased to extend our valued partnership with SMC Group, a collaboration that has become a cornerstone of our commercial success since the historic FIFA World Cup Qatar 2022. This renewed agreement not only strengthens our shared commitment to excellence but also reinforces beIN’s strategic vision to lead in premium sports and entertainment media, both across the MENA region and on the global stage.”
OSN AND THE TRADE DESK ANNOUNCE STREAMING ALLIANCE
OSN has partnered with global advertising technology leader The Trade Desk, making it the first demand-side platform (DSP) to give advertisers direct access to OSNtv’s premium programmatic video inventory. The collaboration allows brands to reach high-value audiences at scale across OSN’s library of Arabic and international content, including HBO, Warner Bros. Discovery and exclusive original productions.
Through The Trade Desk’s platform, advertisers can now target engaged viewers on OSN’s connected TV and addressable VOD products, delivering impactful storytelling in a
high-attention format while gaining deeper insights to optimise campaigns for streaming audiences.
OSN Director of Advertising Hamid Davari said: “Partnering with The Trade Desk on our Advanced TV products allows us to open our premium inventory to brands in a way that is transparent, data-rich and performance-focused.”
Terry Kane, Managing Director of MENA at The Trade Desk, added that this partnership with OSN “underscores our commitment to unlocking the region’s premium inventory and empowering advertisers to make smarter, more data-driven decisions at scale”.
The teams from beIN Media Group and SMC Group.
Introducing Blackmagic Design’s biggest live production switcher with a massive 80 standards converted 12G-SDI inputs and 48 independent 12G-SDI outputs! ATEM 4 M/E Constellation 4K Plus includes advanced features such as DVEs, media players, advanced chroma keyers, multiviews and more! The Fairlight audio mixer includes a compressor, limiter and 6 band parametric EQ on each input.
Standards Converted 12G-SDI Inputs!
The ATEM 4 M/E Constellation 4K Plus features a massive 80 independent 12G-SDI inputs, each featuring its own dedicated up and cross converter. That means it’s possible to convert any 1080p input source to the video standard of the switcher! So each switcher SDI input can run a completely different television standard and it all just works!
Customizable 12G-SDI Outputs
ATEM Constellation has a massive number of independent 12G-SDI outputs. These outputs are powerful because you can independently route any SDI input or internal source to each SDI output. That’s perfect for running independent feeds to stage screens, master recorders and streaming processors. All SDI outputs contain RP-188 timecode, SDI camera control, tally and talkback.
Includes Multiview with Labels, Tally and Meters
The built in multiview lets you monitor multiple sources on a single monitor. All external SDI inputs, plus all internal video sources can be routed to any view. The multiviews are fully customizable and can be independently set to 4, 7, 10, 13 or 16 simultaneous views. That’s a massive 64 views across 4 monitors! You can also add a tally indicator, source label and VU meters as an overlay on each view.
Choose from Hardware or Software Control Panels
Included with ATEM Constellation is a free software based control panel for Mac and Windows. When you need more power, you can add an ATEM Advanced Panel with broadcast quality buttons, knobs and a t-bar fader. These panels work with all ATEM switchers, even the massive ATEM 4 M/E Constellation 4K Plus, so you are always ready for future video standards.
the speed and power of an
Fujifilm ME announces inaugural short film festival
Fujifilm Middle East has announced the launch of the inaugural Fujifilm Short Film Festival (FFSFF), a new platform dedicated to spotlighting emerging filmmakers from the Middle East, Africa and Central Asia. Nominations are now open, with the festival set to culminate in December with public screenings and an awards ceremony celebrating standout stories
from across the region. This sets the stage for the global debut of Fujifilm’s firstever digital moviemaking system, Eterna, in 2025. The festival has been created in collaboration with Cinema Akil, the GCC’s independent arthouse cinema, and Gulf Photo Plus, the region’s visual storytelling hub. Open to filmmakers from 22 countries where
SRMG APPOINTS NEDAA AL MUBARAK CEO OF SRMG MEDIA SOLUTIONS
Saudi Research and Media Group (SRMG) has named Nedaa Al Mubarak as the new CEO of SRMG Media Solutions (SMS), the group’s commercial arm. She will lead SMS in offering strategic advertising and media services powered by premium content, advanced advertising technology and exclusive access to regional audiences. SMS acts as the commercial representative for over 30 of SRMG’s brands, including Asharq News, Arab News, Hia, Sayidaty, Billboard Arabia, Manga Arabia and Thmanyah. Most recently, Thmanyah secured exclusive rights to distribute Saudi Pro League content across the region through 2031, further expanding SMS’s reach and value for advertisers.
Fujifilm Middle East operates, submissions are invited across five categories: Narrative, Documentary, Experimental, Commercial and Student. Accepted entries will lead to a cultural programme in the second half of the year, including public screenings at Cinema Akil, curated workshops and mentorship sessions at Gulf Photo Plus, and a grand awards event in December. Winning filmmakers will receive cash prizes and Fujifilm equipment to support their future projects.
Shortlisted entries will be announced in November 2025. Submissions are open until September 15, 2025.
MBC GROUP PARTNERS WITH NETFLIX IN MENA
MBC Group has partnered with Netflix, the first collaboration of its kind for Netflix in MENA. This alliance will see Netflix’s full streaming service integrated into MBCNOW, the content aggregator platform by MBC Group. The new subscription bundle merges Netflix with Shahid, MBC’s Arabic streaming platform, and the Group’s array of linear TV channels into a single, convenient package. It brings together two major streaming platforms under one roof for the first time in the region, promising to deliver a mix of content that appeals to families across Saudi Arabia, the Gulf and the broader Arab world. With the deal, MBCNOW offers a bundled Shahid + Netflix Pack, delivering a vast catalogue of Arabic and international content. The package offers more than 21% in savings compared to subscribing to the services individually.
I‘M AN ARTIST
TONI MODROW
CAMERA OPERATOR
TONI MODROW
Who knew professional crew communication could feel this intuitive? I just grab a Bolero and go, knowing the Artist backbone is doing the heavy lifting behind the scenes.
I don’t have to think about the system – it just works, so I can really focus on capturing the perfect shot.“
ARTIST INTERCOM
Professional and reliable live communications. Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom. Easily scaling from 16 to 1024 ports with flexible licensing.
CABSAT 2026 to be hosted in June at DEC in Expo City Dubai
CABSAT 2026 will take place June 2-4, 2026 at the Dubai Exhibition Centre (DEC) in Expo City Dubai. Spanning 45,000sqm of flexible event space, DEC offers nine exhibition halls, five multipurpose halls, 24 meeting rooms and four suites. The venue is directly connected to the Metro’s Route 2020 station.
and the Esports Pavilion showcasing gaming’s digital transformation. Matchmaking and Concierge Services will ensure targeted, meaningful business connections across the media and content ecosystem.
Relocating CABSAT to this modern space allows more dynamic exhibition layouts, enhanced visibility for exhibitors and an upgraded experience for attendees. The June dates open greater opportunities for international participation. Running alongside the second edition of SATExpo 2026, the region’s fastestgrowing satellite technology exhibition, it will create a comprehensive platform covering the full scope of broadcast, media and satellite communications.
Dubai-based One Touch Production has completed its Cinegy Partner Certification, enabling it to roll out software-defined TV solutions across MENA. The partnership brings together Cinegy’s software-first broadcast
approach with One Touch’s boutique model of working alongside broadcasters and integrators.
CEO Alex Tseplyaev described the company as “young but fastmoving – combining deep broadcast
CABSAT 2026 will continue to have its flagship features such as the Content Congress, the Co-Production Salon for Arabic content investment
Alex Nicholl, VP of New Industries at Dubai World Trade Centre, said: “CABSAT’s move to the Dubai Exhibition Centre is more than a change of venue, it’s a step-change in how we connect the global media community. More details on exhibition space are now available at cabsat.com.
expertise with cuttingedge technologies like XR, remote production, and immersive AV.”
COO Stas Savinov added that rather than competing with large integrators, the company partners with them to support local teams and optimise workflows.
CTO Michael Usanov said the team was drawn to Cinegy’s flexible, modular architecture.
“This flexibility means the integrator has to be confident in configuring the system properly. But with the right expertise, this modular ‘Lego-like’ approach gives us the freedom to tailor solutions precisely to each project.”
He highlighted Cinegy Encode as promising for the region, calling it “a highly flexible multi-channel streaming solution” suited for efficient multi-stream delivery. He also noted Cinegy’s subscription and rental model as well-suited to today’s event-driven projects.
ONE TOUCH PRODUCTION BRINGS SOFTWARE-DEFINED TV TO MENA WITH CINEGY
The One Touch Production team.
CTME makes major investment in Robe lighting equipment
Creative Technology Middle East (CTME) has expanded its rental inventory with a major acquisition of new Robe lighting equipment.
This includes a wide array of fixtures such as 60 iFORTES, 60 iFORTE LTXs, 8 iFORTE LTX FS Cameras, 80 iTetra2 LED battens, 100 LEDBeam 350s, 12 iBOLTS and 4 RoboSpot BaseStations, bringing the total number of RoboSpots owned by CTME to eight. This follows a procurement earlier in the year which included 24 FORTES, 80 LEDBeam 350s and four RoboSpots.
The new equipment has already been deployed across CTME’s packed calendar of concerts, shows, corporate events and large-scale spectaculars throughout the Middle East. According to Sam Connolly, CTME’s Head
of Lighting & Power, the purchases are aimed at reinforcing rental stock to meet increasing demand. He noted the advantage of mixing IP and non-IP versions of the FORTE range due to their visual and performance uniformity, offering maximum flexibility for different production environments. After an extensive market evaluation, CTME selected the iTetra2 as its go-to IP-rated LED batten. Connolly cited its superior light output, creative effects and practical design as the decisive factors. The iBOLTS have already been used to dramatic effect at events such as the Sir Bani Yas 2024 gathering, a VIP reception in Al Ain and the Richard Mille Awards at The Louvre Abu Dhabi.
The new fixtures have played a key role in recent
high-profile productions. At Hans Zimmer Live at Dubai’s Coca-Cola Arena, iTetra2s added colour and fluid motion to the cinematic concert experience. Meanwhile, the iFORTE LTX fixtures took centre stage during Maroon 5’s headline act
at the Formula 1 Qatar Grand Prix, delivering power and precision at Lusail International Circuit for both in-person and broadcast audiences.
CTME’s lighting solutions also shone at the Longines Global Champions Tour in Saudi Arabia.
Robe fixtures shine at an F1 concert in Doha.
GENAI’S IMPACT ON MEDIA: MYTHS
AND POSSIBILITIES
Generative AI is the media industry’s biggest buzzword, but not everything being said is true. Karim Sarkis cuts through the noise to expose four persistent myths clouding the conversation, and what media professionals, companies and governments must do next
The promise of generative AI is energising boardrooms while simultaneously creating uncertainty across the media sector. Initial studies expect significant benefits including cost reduction (+20%), higher productivity (+40%), improved operating margin (+60%), boost in customer engagement (50%) and more content creation (+58%). Yet the journey toward those results is littered with half-truths that can derail progress. Four stubborn myths need
to be debunked so that individuals, companies and governments can navigate the transformative impact of this technology.
Myth #1: GenAI will not take your job, but someone with AI skills will This is a comforting thought that masks a harsher reality. The World Economic Forum’s Future of Jobs Report 2025 forecasts 170m new jobs by 2030. It also estimates 92m jobs will disappear and 39% of today’s skills will become outdated. Upskilling is therefore essential; complacency is fatal. One cannot assume one’s job is safe by simply learning to use GenAI tools.
Evidence surfaces daily. Floral, a professional ‘spec-ad’ for Adidas, was generated by a single creator over days without the need for actors, crews, locations, equipment or weeks of work. In Sydney, radio listeners spent months listening to a host named Thy, created using tools from ElevenLabs, before realising she wasn’t human. Human influencers now compete with virtual influencers created through self-serve tools such as Creatify. Even the deceased are re-entering the labour pool: BBC Maestro offers a writing course fronted by Agatha Christie, complete with her own voice and cadence.
Music exhibits the same pattern, with platforms like Suno and Udio allowing the generation of songs without the need for human singers, musicians or studios. The less glamorous aspects of media, such as dubbing, voiceovers, subtitling and audio book narration, are also being impacted.
If none of this strikes a chord, how about Meta CEO Mark Zuckerberg putting the entire advertising industry on notice by saying Meta’s AI technology will redefine advertising as an AI-agent?
Myth #2: There will always be a human in the loop
This is a comforting thought that implies GenAI-powered workflows will always require human involvement. This outcome is not guaranteed given the shift to agentic AI replacing employees and automating workflows. Microsoft’s Work Trend Index 2025 predicts organisations will evolve from humans having assistants to humans working alongside agents. It is not a stretch of the imagination to think of agents managing humans within that context.
Artisan, a startup selling AI sales agents, plastered San Francisco with “Stop Hiring Humans” billboards, touting that AI agents don’t need worklife balance. This PR stunt may also be an indicator of things to come. It is not only employees that may become AI agents. Your customers might do the same. For example, Visa and Mastercard have both announced autonomous shopping and payment agents.
Myth #3: GenAI is only for short-form video
Don’t feel safe because you work in professional long-form video. The technology is evolving rapidly. Staircase Studios, the first of many AI-first film studios, plans to release AI-generated feature films with budgets below half a million dollars. Runway’s Gen:48 short film competition increases participation and quality every year. Google’s Veo 3 now includes sound in generated video. Game development shows similar acceleration. NVIDIA’s ACE toolkit lets developers spawn non-player characters that perceive, plan and speak in real time, opening the door to game worlds that adapt to every player. The developers of Assassin’s Creed and Candy Crush have touted the use of AI for world and level development.
Beyond music generation, Google’s NotebookLM can generate podcasts in minutes from document and video inputs. In publishing, companies such as Publishing.ai aim to flood digital shelves with hundreds of AI-authored books each year, prompting heated debate about discovery and quality control. The common thread is clear: once AI models master structure and consistency, duration is a variable, not a barrier.
Myth #4: GenAI is only a threat
Given this ominous introduction, it may surprise you that I believe GenAI can be an opportunity for the Middle East, not a threat. Creating better films and series, more advanced games, more local music and multi-language output can turn the region from a content consumer to an exporter; reducing operating costs for publishing, lowering development costs for video games and improving operating margins for media companies can shift us from value destruction to value creation.
As with any new technology, the region can build on its inherent strengths: a digitally native workforce that adopts new tools quickly, sovereign capital that funds large bets while investing in its people, and regulators prepared to trial new business models ahead of slower jurisdictions.
How to stay ahead of the GenAI transformation?
If you are a professional, take control of your destiny. Be the first to understand the impact of AI and apply it to your own job. Objectively assess your role and skills and determine if you are likely to be entirely replaced by AI. If so, analyse what the new roles that replace yours will be, and start repositioning and upskilling accordingly. Your company will always be slower than you to adapt training programmes.
If you are a professional, take control of your destiny. Be the first to understand the impact of AI and apply it to your own job
KARIM SARKIS, PARTNER, STRATEGY&
If you are a company, embrace the technology and understand where it can generate the most impact. Start with familiarising not only staff but also senior leadership with the capabilities of the tools. Examine your business to understand where AI can not only increase efficiency but also reinvent business models and outmanoeuvre competitors. Experiment across the organisation, with the business leading and IT supporting. Collaborate with AI startups, with your suppliers and with
academia to broaden your perspective. If you are a government, your role is to incentivise and adapt at scale. Invest in attracting and scaling talent. Incentivise the private sector to build compute infrastructure. Encourage research, development and entrepreneurship. Balance regulatory control with speed of innovation. Manage impending risks in ethical deployment of AI and the threat to intellectual property. Collaborate with other governments to manage a potentially society-level transition that will increase jobs but may leave many behind. Partner and collaborate, as you cannot deal with this scale of change alone. Some of you may still think GenAI is all hype. The jury is still out on how widespread its impact will be. If you ignore it and do nothing, you may be left behind. If you embrace it and it doesn’t deliver, you will have gained new skills. If it does turn out to be a transformative technology, you will have secured your future. The choice is yours.
GAZA, UNFILTERED
From grassroots to the global stage, filmmaker Arab Nasser and Rise Studios’ Ziad Srouji talk to Vijaya Cherian about the making of Once Upon a Time in Gaza and what it signals for Arab independent filmmaking
UNFILTERED
When Arab and Tarzan Nasser, identical twin brothers and filmmakers from Gaza, arrived in Amman to begin shooting Once Upon a Time in Gaza, they brought with them more than a script – they carried the weight of memory, a lifetime of displacement and an unshakable determination to resurrect a place that is relentlessly being erased. The result, a haunting and poetic film that won the Best Director award (Prix de la mise en scène) at Cannes this year, is both a creative triumph and a cinematic act of remembrance.
“I don’t think of Gaza as just a location,” says Arab Nasser. “It’s
our emotional geography. It’s where everything begins – our imagination, our stories, our pain.”
While the film’s bold title nods to the classic Westerns that shaped the brothers’ early cinematic love –Sergio Leone’s Once Upon a Time in the West and Once Upon a Time in America – this is no genre pastiche. It is an intensely personal and deeply crafted portrait of Palestinian life, told through the lens of those who have lived its daily contradictions.
“We always dreamed of creating a film that carried the spirit of those Westerns,” Arab explains, “but with our own unique flavour – the flavour of
Gaza, with its characters, textures and distinct rhythm. We let the story and its details choose the form, style and energy that suit it. Therefore, our films are often a mix of several genres because we don’t confine ourselves to a single mould but rather give each moment the honest expression it deserves. We don’t believe in unifying the tone or genre, but in the freedom to express the moment as it is.
“In Gaza, this deeply intertwined human and psychological place, a moment might carry sadness and drama, but within it you might find irony or even laughter, even if it’s not the right moment for laughing and vice versa. What matters to us is conveying the feeling, not sticking to a technique or classification. We like to give the scene and the human within it what they truly demand, whether it leans towards comedy, tragedy, absurdity or even horror, if that is what the experience honestly expresses.”
Reconstructing Gaza from memory
Unable to shoot in Gaza itself, the film painstakingly recreated it in a Palestinian refugee camp in Amman, Jordan. The challenge, Arab recalls, wasn’t just logistical – it was emotional.
“Gaza still lives within us. Its streets, its stories, its soul. What we do through our films is an act of emotional release. We’re not just shooting scenes, we’re building an honest cinematic archive of Gaza, beyond headlines and war footage.”
Every detail, from costume to lighting, was curated by the directors.
“We approach filmmaking like painting on a blank canvas. Each frame is a memory. Each scene is a tribute.”
The brothers, surprisingly, do not have any formal academic training in cinema.
“But we learned through watching, reading, listening and staying open to what others create. We believe
that preparation and study make up 70% of the filmmaking process, while the remaining 30% is the moment of execution, which must be based on a strong foundation of knowledge.
“This world is full of great films, thousands of diverse experiences, and we always ask ourselves: Where do we stand in this landscape? And what can set us apart? With each new project our storytelling method changes, our tools evolve and our vision expands. We grow as individuals, and the stories we tell grow with us, yet they always originate from the same place: the need to say something honest, humane and connected to our roots.”
That creative conviction is what drew Rise Studios into the project. Ziad Srouji, SVP of Business and Content Development, recalls how the project had been “on our radar” for over a year before Rise
came on board as co–financiers.
“We technically co–financed the film,” Srouji says. “We weren’t involved at the pitch stage, but once the project solidified, we stepped in. That’s not unusual. In fact, there are different financing models: gap financing, development, production or buyer deals. Each stage has its own structure. What mattered to us was the vision, and this one was strong.”
Gaza still lives within us. Its streets, its stories, its soul. What we do through our films is an act of emotional release
ARAB NASSER, FILMMAKER
A scene that wrote itself
One of the film’s most powerful sequences almost didn’t happen. Arab recounts a pivotal behindthe-scenes moment that ended up shaping the narrative in real time. They were preparing a complex scene involving an Israeli soldier confronting a Palestinian child holding a kite in national colours. Without wind to lift the kite – and lacking the production means for special effects – the directors opted to simplify. A young Jerusalemborn production manager, fluent in Hebrew, agreed to play the soldier. But just before shooting, he balked, Arab explains. “He said, ‘I can’t step on the flag. I’m Palestinian. My identity doesn’t allow me to do this.’” That moment of refusal – unplanned and raw –became the scene.
The film was shot in a Palestinian refugee camp in Amman, Jordan, with every detail, from costume to lighting, curated by the directors.
We approach filmmaking like painting on a blank canvas. Each frame is a memory. Each scene is a tribute
ARAB NASSER,
FILMMAKER
“We realised that what had just happened between us was more powerful than anything we’d written. So we recreated the real interaction. The soldier refuses. The crowd claps. It became something honest, something spontaneous – and the most emotional scene in the film.”
Financing, festival runs –and what comes next
For Rise Studios, backing Once Upon a Time in Gaza wasn’t about chasing commercial guarantees.
“This is a film that has a new tone and fresh storytelling approach,” says Srouji. “Cinema math has changed. Even big studio films are flopping while indie titles are succeeding. It’s not just about content, it’s also timing, positioning and release strategy. And yes, a bit of luck.”
The film premiered at Cannes and is now being positioned for a regional festival launch. Distribution, Srouji says, remains the toughest bottleneck in the region. “Platforms work under a lot of constraints – limited airtime, limited capacity. The real challenge is cracking international markets, and that’s something we’re actively working on.”
Despite the logistical and
political hurdles, Arab sees the film’s journey as almost metaphysical.
“Sometimes it felt like a divine hand was guiding us. When everything seemed impossible, doors opened. A person would appear. A location. A moment of perfect light. As if the film itself insisted on being made.”
A cinema of resistance
Though the brothers insist they don’t make overtly political films, Once Upon a Time in Gaza brims with subtext about exile, identity, dignity and survival. Arab is quick to clarify. “We focus on the human being first. Politics is the shadow that follows. What we want the audience to feel is simple – what if I were in their place? What would I do? How would I survive?”
This grounding in character and nuance is also what makes Rise’s involvement strategic rather than symbolic. Srouji, a
Tarzan and Arab Nasser, identical twin filmmakers from Gaza, won the Best Director award in the Un Certain Regard section at Cannes this year.
A scene from the film Once Upon a Time in Gaza.
former buyer with over 15 years in the industry, is pragmatic about how projects are greenlit.
“It’s a mix. I start from intuition, experience, then validate with data. But it’s also about understanding the audience. This Ramadan, people turned away from dark dramas. They wanted something light. We have to pay attention to social signals.”
He sees the region entering a bold new phase. “Everyone’s experimenting. There’s disruption, but that’s good – it leads to diversity. This is a region with 8,000 years of culture. Throw a stone, and you’ll hit a good story.”
From festival circuit to the future
Rise Studios currently has five or six projects underway. One is Palestine 36, directed by Annemarie Jacir, which will premiere at the Toronto Film Festival. Another is Love Conquers All by Danielle Arbid, starring Hiam Abbas, with its world premiere set to be announced at an international festival. Still, Srouji is quick to clarify that Rise
This is a region with 8,000 years of culture. Throw a stone, and you’ll hit a good story
ZIAD SROUJI, SVP OF BUSINESS AND CONTENT DEVELOPMENT, RISE STUDIOS
Studios isn’t chasing volume.
“We prefer customised content over mass content. If we have ten good titles, great. If there are only two worth doing, we do two.”
While Once Upon a Time in Gaza reflects the personal and poetic style the Nasser brothers are known for, future plans are already underway.
“We always have a parallel project that we work on in the background,” says Arab, “a kind of breathing space we turn to whenever we need to temporarily step away from the main project then return to it with a clearer and fresher perspective. Our next film, unless a stronger story comes along, might be a work we began developing in 2021. It is inspired by the reality following one of the devastating wars on Gaza.”
While the brothers aren’t opposed to making films outside Gaza, their emotional home remains the primary source of inspiration.
“We may venture out one day. But for now, Gaza continues to give us stories – and we’re not done telling them,” concludes Arab Nasser.
Once Upon a Time in Gaza brims with subtext about exile, identity, dignity and survival.
MAKING WAVES IN DIGITAL STREAMS
The UAE’s latest OTT entrant, Tesliya, is gearing up for its soft launch this month, powered by a cloud-native platform integrated by MAAS World. In an exclusive interview with Vijaya Cherian, Tesliya founder and CEO Tony Saab and MAAS World Managing Partner
Adeeb Abed discuss how the platform’s innovative technology and diverse content strategy aim to reshape streaming across the Middle East
The Middle East OTT landscape is stretching at the seams as new players bring fresh perspectives and technology to an increasingly competitive market. UAE startup Tesliya is positioning itself as a
flexible, scalable service designed to bridge gaps in content availability and monetisation. Founder and CEO
Tony Saab’s journey to launching Tesliya began just six months ago, when he formalised his company in
Dubai’s Meydan district. Drawing on his extensive background spanning both technology and content, Saab identified a clear gap in the regional OTT market. “There are so many small
and medium producers creating great content but struggling to monetise and distribute their work,” he says. “Most major OTT platforms either produce their own premium content or acquire it from a handful of big studios. I wanted to create a platform that can accommodate more producers to publish and monetise their content easily; we take only a small cut, and they retain their rights.”
Built by Saab Media with technology integration led by systems integrator MAAS World, Tesliya is a modular, cloud-native OTT platform engineered for scalability and flexibility. The content strategy is broad and flexible. Besides premium content from established studios, Tesliya’s library will also comprise mid-tier content and original micro dramas designed to appeal to younger, mobile-first viewers, Saab says.
“We are launching with about 2,000 micro drama assets. These are bite-sized, easy-to-watch English series, such as The Tangled and Desired and In Love with My Godfather’s Daughter I’m also in discussions with a major Arabic producer to bring micro dramas in Arabic soon.”
Beyond on-demand videos, Tesliya’s ecosystem includes games, 10 FAST (free ad-supported TV) channels, several live entertainment channels such as Aghani Aghani, and a growing slate of radio stations including Nostalgie and Mount Lebanon. Podcasts are planned for the near future. The platform also has a feature that enables users to upload their own stories and short videos, subject to fulfilling some criteria.
Tesliya will also carry educational, cultural and health-related
content. “These don’t necessarily require subscription commitments. Having this mix helps combat piracy by providing free, legal options to users,” says Saab
The platform currently operates only AVOD and TVOD business models.
I wanted to create a platform that can accommodate more producers to publish and monetise their content easily
TONY SAAB, FOUNDER & CEO, TESLIYA
“We offer pay-per-view for premium movies, including titles from studios like Working Man featuring stars like Jason Statham. Users can rent content for 48 hours or buy it outright, with DRM protections securing the experience.”
The platform rollout will start with a soft launch in mid-September on three devices, after which the full launch will cover seven platforms: iOS, Android, web, Apple TV, Android TV, Samsung and LG Smart TVs. It will initially launch only in GCC countries and select Levant markets, with plans for broader regional and international reach in the future.
Saab Media currently runs with a small core team of seven people overseeing daily product design.
The tech backbone
Powered by Brightcove for secure, high-performance video delivery and Enveu for a robust, feature-rich and native multi-device app development and content management, Tesliya’s tech backbone includes a custom FAST channel workflow built with AWS MediaTailor and Brightcove. This integration enables dynamic linear channel experiences with targeted ad insertion across all devices.
A key strategic choice for Tesliya was partnering with MAAS World, selected for its end-to-end approach and solution-as-a-service model, allowing flexible ongoing platform enhancements. Building a platform this diverse and ambitious required a robust and scalable technology architecture, says Adeeb Abed.
“We designed Tesliya around a modular, API-first architecture,” he explains. “We didn’t go for a pure microservices set-up, but it’s not monolithic either; it’s a hybrid
One of the biggest technical achievements was creating a unified publishing dashboard that integrates Brightcove and Enveu
ADEEB ABED, MANAGING PARTNER, MAAS WORLD
modular system built for flexibility and scalability. We had to balance agility with long-term maintainability, making sure the platform could accommodate both current needs and future feature rollouts without over-complication.”
Brightcove manages the entire video pipeline – ingest, encoding, playback and delivery – while Enveu powers the centralised Content Management System (CMS) that allows Tesliya to publish, update and organise content seamlessly across all platforms, as well as front-end native app development. MAAS World orchestrated this entire integration.
“One of the biggest technical achievements was creating a unified publishing dashboard that integrates Brightcove and Enveu. Content teams can now manage publishing, metadata and scheduling from a single interface, which significantly simplifies operations. This also allows us to push new content live in minutes, not hours, across all platforms simultaneously,” says Abed.
Tesliya’s video delivery benefits from Brightcove’s multi-CDN architecture, utilising Tier 1 providers such as Akamai to ensure low latency, high availability and optimised performance, particularly in key regions like MENA. The platform primarily uses HLS and DASH streaming protocols for adaptive playback, while progressive download is used selectively, for example in downloadable renditions or specific content types.
By relying on Brightcove’s CDN orchestration, Tesliya gains the benefits of a resilient, performance-optimised multi-CDN strategy as part of an endto-end solution. The platform supports adaptive bitrate streaming from 240p up to 4K resolution, with Brightcove’s Dynamic Delivery technology optimising playback for low-bandwidth and mobile-first users. Abed adds that the system is tuned for high concurrency, allowing Tesliya to handle traffic spikes
during marquee content launches or live events without service disruption.
Content is ingested and transcoded in Brightcove, with metadata and scheduling managed via Enveu. Playback is delivered securely via Brightcove players and the multiCDN approach leveraging Akamai and other Tier 1 providers.
The technology stack also includes a behaviour-driven recommendation engine that enables personalised content discovery, alongside a bespoke FAST channel workflow built using AWS MediaTailor in conjunction with Brightcove, which allows dynamic, linear-like viewing experiences. This set-up delivers proven performance in the region, supported by Brightcove’s SLA-backed infrastructure.
Security is handled comprehensively through Brightcove’s multi-DRM support, including Widevine, FairPlay
We are launching with about 2,000 micro drama assets. These are bitesized, easy-to-watch English series
TONY SAAB, FOUNDER & CEO, TESLIYA
and PlayReady, along with geoblocking, concurrency limits and encrypted HLS streams to safeguard content rights. MAAS World also im plemented AWS Shield and WAF for DDoS protection, adding another layer of infrastructure security.
On the analytics front, Tesliya uses Firebase and Google Tag Manager for client-side tracking, combined
with Brightcove’s video analytics tools to monitor viewer engagement and playback quality. Dashboards provide real-time insights for both content and technical teams, enabling rapid troubleshooting and datadriven programming decisions.
Payments integrate Apple and Google’s in-app billing for mobile devices, plus Stripe on the web, supporting transactional purchases, coupons and free trials with secure entitlement management. The architecture allows for future expansion into additional regional payment gateways to support wider MENA monetisation.
Platform reach and user experience Tesliya’s front-end applications are built natively across seven platforms, to ensure optimal video playback and device-specific performance.
The platform features a fully localised UI supporting Arabic and English, with flexible architecture built to accommodate additional languages as Tesliya expands.
“We paid special attention to localisation and accessibility,” explains Abed. “The apps fully support both English and Arabic, with seamless switching between left-to-right and right-to-left layouts. The user interface is consistent across all devices so that users don’t feel lost switching from mobile to smart TV – a consistency made possible by Enveu’s cross-platform design framework. We also ensured compliance with accessibility guidelines for users with visual or motor impairments.”
The entire infrastructure is cloudnative, running on AWS with S3-style storage and CDN caching. There are no on-premises components, allowing Tesliya to scale efficiently as
user traffic grows. The deployment leverages AWS CloudFront alongside Brightcove’s CDN layer for global reach, with infrastructure-as-code practices ensuring rapid environment replication when needed.
One of Tesliya’s standout technical features is its FAST channel capability. Leveraging a custom workflow that integrates AWS MediaTailor with Brightcove, the platform offers dynamic linear streaming with ad insertion, creating a traditional TV-like experience within an AVOD environment. The ad tech stack supports server-side ad insertion (SSAI) for smoother playback, while providing advertisers with precise targeting and impression reporting.
Challenges and next steps
Saab acknowledges that self-funding and launching an OTT platform in a competitive region is challenging, but he focused on building a viable product
before seeking external investment. “I wanted to let the market experience the platform first-hand before talking about numbers and investors. Selffunding is tough, but my experience has helped me keep costs manageable without compromising quality.”
Abed adds that the architecture is designed for scale, with load testing completed and the infrastructure capable of supporting millions of concurrent users. Looking ahead, Tesliya plans to expand its content offerings, refine its AI-powered recommendation engine and deepen partnerships with regional producers, telcos and advertisers.
“Next time we hope to talk about viewership numbers and how analytics shape our growth strategy. For now, we’re focused on a successful launch and delivering a rich, accessible streaming experience to the region,” Saab concludes.
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BAHRY CHARTS
A NEW COURSE
Bahry, the MENA region’s newest streaming platform dedicated to marine life, is powered by a robust architecture developed by systems integrator White Peaks Solutions. In this exclusive, Vijaya Cherian explores how the platform’s founders and tech partners are navigating content, scalability and user-first design
In a market saturated with generalist content, one startup is taking the plunge into a surprisingly underserved niche – marine life. Bahry, a new streaming platform based in Kuwait and dedicated entirely to the world of oceans, boats, fishing and seafood, has launched with bold ambitions and a robust tech stack from systems integrator White Peaks Solutions.
“Marine life has always been a source of inspiration for the people of the Middle East and North Africa,” says Anwar Al Nafisi, founder, Chairman and CEO of Bahry. “With most countries in the region located along the sea, they enjoy diverse marine cultures and traditions that deserve to be explored and shared with the world.”
Casting a wide net
Bahry is not just for yacht owners and deep-sea divers. From the outset the platform has cast a wide demographic net, targeting men and women aged 16-70 with a specific focus on marine enthusiasts, fishermen and boat lovers interested in marine life.
“We identified a significant gap in the market, both on the B2B and B2C levels. There’s high demand for a platform that can cover the full spectrum of the marine and nautical industry from A to Z,” explains Al Nafisi.
That range is reflected in the content strategy. Bahry offers a mix of entertainment, education and scientific programming, updated weekly. “The goal is to build a library that appeals not just to professionals but also to curious general viewers. While the platform includes a selection of licensed programming, 80% of Bahry’s library is built around original productions,” says Julian Hanna, Head of Content & Production at Bahry. “We are telling stories no one else is telling, with production values that match global standards. This is core to how we differentiate ourselves.”
Currently focused on growing its footprint in the MENA region, Bahry nonetheless positions itself as a global platform in both scope and streaming reach.
Hybrid monetisation, seamless UX
In terms of its business model, Bahry has opted for a hybrid SVOD/ AVOD strategy. “The SVOD tier gives premium users full access to our exclusive content, documentaries and early releases. At the same time, our AVOD option allows a wider audience to engage with our platform for free, supported by relevant and non-intrusive advertising. This dual approach enables us to effectively cater to diverse market segments,” says Al Nafisi.
That value proposition is paired with a bilingual, intuitive user interface that supports both Arabic and English. Key features include personalised watchlists, recommendations and a live 24/7 FAST channel that plays live content on a rolling schedule.
The engine under the hull Delivering that experience required a purpose-built technology stack, fully developed and integrated by White Peaks Solutions. “Bahry is built on a modern, modular OTT architecture leveraging a headless content management system (CMS) – FAULIO – for maximum
The sea connects us all. Bahry is here to tell its stories above and below the surface
ANWAR AL NAFISI, FOUNDER, CHAIRMAN AND CEO OF BAHRY
flexibility across devices, with a microservices backend that’s built to scale,” explains Jessy Abou Habib, COO of White Peaks Solutions.
Each application was developed natively to ensure optimal performance and user experience. SwiftUI for iOS and tvOS apps, Kotlin for Android mobile and Android TV, and platform-specific native development were applied for LG (webOS) and Tizen to fully align with their respective SDKs and design guidelines.
The web experience was built using Nuxt 3 to deliver a fast, responsive and SEO-friendly interface. FAULIO powers the backend, with MySQL for data management. The online video platform runs on White Peaks’
proprietary solution KWIKmotion. For content delivery, Bahry uses Akamai CDN and KWIKmotion’s live streaming infrastructure to ensure low-latency, high-quality playback.
For payment workflows, Bahry integrates with MyFatura for web payments while native payment gateways are used for both Apple and Android devices to ensure a seamless in-app purchase experience. More integrations with mobile operators are in the pipeline.
“Our solution is built using a microservices architecture, allowing for seamless orchestration and virtually unlimited scalability. It is fully multi-cloud compatible, enabling us to distribute services across different cloud environments efficiently. Designed from the ground up to handle high traffic, the system incorporates intelligent object caching, which ensures optimal performance and supports many concurrent users without requiring extensive infrastructure. And we utilise AWS for cloud storage with Amazon S3, alongside Akamai’s storage solutions,” explains Abou Habib.
FAST and feature-rich
The FAST channel is delivered through a linear playout system supported by KWIKmotion, with SCTE-35 ad insertion. “Our system provides a playout to schedule content and deliver it through KWIKmotion’s live streaming infrastructure. The system
Offline downloads are also supported for mobile devices, with options to choose video resolution and file size. “The download process begins with a visible progress indicator and continues seamlessly in the background, storing the content locally on the device for offline access.”
From an advertising standpoint, Bahry’s AVOD offering is powered by Google Ads, integrated through FAULIO, with support for VAST, VMAP and SSAI ad tags. This allows the platform to plug into major SSPs and exchanges for dynamic and efficient ad delivery. Analytics are also front and centre. KWIKmotion (Player and CDN) is integrated with NPAW, which provides real-time dashboards for tracking viewer behaviour, playback performance, engagement metrics and overall platform health.
Securing the stream Security and compliance have also been addressed as part of Bahry’s
Anwar Al Nafisi, founder, Chairman and CEO of Bahry, has set his sights on positioning the platform as a global contender.
GDPR standards, with rigorous testing pipelines that include automated, unit, smoke and regression testing.
“We use dedicated sandbox environments to implement and validate all changes before deployment,” explains Abou Habib. “Our testing strategy follows a structured multi-level pipeline. These tests are embedded into our CI/ CD workflows to ensure quality at every stage of development. As part of our commitment to ISO 27001 compliance and GDPR adherence, we maintain strict control over data handling in our test environments and conduct regular security reviews to ensure the protection of personal and sensitive information. Once quality assurance (QA) signs off on functionality, we proceed with deployment.
“For web applications, we generate new builds in a controlled manner. If any errors occur during the build process, the existing production HTML files remain unaffected, preventing any disruption to the user experience. For mobile platforms, we use TestFlight for iOS and Firebase App Distribution for Android to distribute pre-release versions internally to the QA team. After successful internal testing and
approval, the apps are submitted to the respective app stores for final review before being made available to users.”
User authentication is handled through 2FA and opaque tokens. Multiprofile logins and parental controls are supported out of the box via FAULIO, providing users with personalised
and secure access across devices.
“We believe strongly in making the platform fully inclusive and accessible across all media formats,” says Abou Habib. To that end, AI-powered closed captions are available in both VOD and live formats, with real-time transcription and translation. Text-to-speech features support viewers with visual impairments or those who prefer audio narration.
Moving forward
With 4K, HDR and immersive video formats already supported through KWIKmotion, Abou Habib says Bahry’s architecture is designed to be future-proof.
Al Nafisi, however, points out that Bahry is just getting started. “This isn’t just about where we are now; it’s about where we’re going. From content to technology, Bahry is built to grow.”
While niche OTT platforms often struggle to scale, Bahry is betting that a global audience of marine lovers is hungry for something more focused and authentic. So far it’s off to a steady start in the MENA region, with its sights set on broader horizons.
“The sea connects us all. Bahry is here to tell its stories above and below the surface,” concludes Al Nafisi.
Jessy Abou Habib, COO of White Peaks Solutions, says Bahry is built on a modern, modular OTT architecture.
Julian Hanna, Head of Content & Production, says Bahry’s content is aimed at both general and professional viewers.
INSIDE THE VAR ZONE
CAF is waging a new kind of war on refereeing errors, armed with a state-of-the-art VAR system developed by systems integrator Broadcast Solutions Group. Vijaya Cherian spoke exclusively with the systems integrator to uncover how this technology-driven battle for fair play is transforming African football
When CAF, a FIFA affiliate headquartered in Cairo, set out to elevate refereeing standards in the country as well as the wider region, the challenge was to deliver a cuttingedge video assistant referee (VAR) solution that could not only support competitions in Egypt but also become a training and certification hub for officials from across Africa. CAF contracted systems integrator Broadcast Solutions Group (BSG),
which has its own VAR factory in Dubai, to undertake the project.
As a FIFA entity, the contract came with strict mandates. The VAR systems and the design of the set-up had to be referenced and validated by FIFA as part of the Rules of the Game, controlled by IFAB and IAAP, two regulatory organisations affiliated with the sport.
Bringing VAR to Africa
At the core of this project sit VAR video servers, used as recording and replay devices. They have dual roles: as training units and as live production systems. CAF collaborates with local federations and event organisers to deploy the system during competitions, though the governing body does not itself directly manage leagues or tournaments.
“The main objective was to design, build and deploy from Cairo a complete VAR ecosystem to train and certify all referees in Egypt and across Africa,” explains Jens Fischer, Senior Technical Lead and Head of VAR at BSG. “This partnership aligns with our support for FIFA and UEFA football promotional initiatives. VAR is about ensuring that FIFA standards are respected everywhere and for every game. It applies to CAF in Africa and to AFC in Asia as well. This ensures that the level of refereeing quality and fans’ viewing experiences are consistent across all geographies, competitions and levels.”
State-of-the-art mobile infrastructure
The VAR set-up is entirely mobile, housed within four rugged transport flight-cases for ease of deployment and operation in diverse stadiums across Egypt.
“The main flight-case hosts the active VAR and audiovisual equipment,” explains Fischer. “A second case carries four to five VAR pods where operators
manage video review. The system is complemented by two additional transport flight-cases: one for the pitchside equipment, called the RRA kit, used by the central referee as a review screen in case of verification of litigious situations – those famous referee arm gestures we see on TV. The last contains training accessories and eight PTZ cameras and tripods used to film matches for referee certification under IAAP standards.”
Central to the system is the EVS Xeebra server, the industry gold standard for VAR video recording and replay. Mohammed Bouita from EVS elaborates: “EVS Xeebra servers are trusted worldwide for their reliability in live sports broadcasting. They ensure seamless recording, instant replay and high availability, which is critical for matches. VAR was initially used as a service by CAF, but they decided to bring its solution in-house and empower their local teams to operate and maintain these systems independently, reducing both dependency and costs. With prices for VAR technology becoming more accessible, it has become a more cost-effective solution for federations worldwide to adopt and scale VAR operations internally.”
A factory approach
What sets BSG apart is its VAR factory in Dubai, a dedicated production and integration hub that builds standardised, FIFAcompliant VAR systems at scale.
“VAR is no longer a luxury for top-tier competitions; it’s an essential part of the game’s integrity. Our Dubai VAR factory helps democratise access to world-class VAR technology, making it scalable and accessible for federations of all sizes,” says Fischer. “FIFA and CAF share a vision of raising the global standard of refereeing. Our
VAR factory is a cornerstone of this effort, producing certified, streamlined systems that reduce set-up time and empower federations to focus on the game, not the technology.”
By pre-building, integrating and testing the systems in Dubai before shipping, BSG reduces onsite installation time significantly, explains Sammer Elia, Head of Sales and Business Development for EMEA, Broadcast Solutions Group.
“This ensures efficiency and quality. Once ready, the systems are commissioned and we invite our customers to come spend three to five days in Dubai to run factory acceptance testing and technical knowledge transfer. For fixed VAR (installed in stadiums) and centralised VAR, we pre-cable and prepare the systems in the VAR factory before travelling to sites for local installations.”
Customisations are minimal due to strict FIFA and UEFA standards, but BSG tailors system sizing to each client’s match volume and operational needs. “Apart from adding logos and adjusting capacity, the
VAR is evolving beyond on-pitch technology to embrace transparency, fan engagement and referee development
JENS FISCHER, SENIOR TECH LEAD AND HEAD OF VAR, BSG
core design remains standardised. That standardisation supports consistency across competitions, which is a must for fairness and quality control,” clarifies Fischer.
Built on EVS Xeebra servers, the VAR systems incorporate several layers of redundancy. These include video routers to commute sources and destinations, duplicated video recorders on different media, uninterruptible power supplies (UPS)
At the VAR factory in Dubai.
to secure operations in unstable power contexts, ready-to-use spare components such as a second pitchside RRA screen, duplicated intercom systems and redundant fibre optic links, adds Elia.
Training the next generation
CAF leads referee and VAR operator training programmes based on IAAP regulations. These include theoretical introduction, simulator-based sessions and real match-condition exercises culminating in official certification.
“Training is fundamental to ensuring the technology’s impact. Our VAR system supports this with simulators and certified recording tools,” explains Fischer. “VAR is evolving beyond on-pitch technology to embrace transparency, fan engagement and referee development. Tools like VAR simulators and Referee Content Hubs offer officials real match-condition training, while Ref-Cam provides fans and analysts fresh perspectives on decisions and storytelling. At BSG we’re building a comprehensive VAR ecosystem that includes immersive training environments, interactive content libraries and innovative
tools like Ref-Cam to enhance both performance and transparency.”
The ongoing Egypt installation is closely linked to the Dubai hub. Twice a year BSG hosts workshops where frontline operators and technicians share feedback, driving iterative improvements.
These tools are helping shape the next generation of officiating talent
SAMMER
ELIA, HEAD OF SALES AND BUSINESS DEVELOPMENT FOR EMEA, BSG
“We are constantly working together to enhance the blueprint of our VAR systems. At these workshops we learn from on-the-ground return of experience from users, as well as from the technical teams who set up and de-rig the systems before and after each match. Our goal is to streamline our design while increasing operational security, ease of use and reliability,” adds Fischer.
Future-proofing African football
The CAF project is just the beginning. BSG is working closely with FIFA and CAF on broader developments to extend VAR coverage across Africa.
“We are passionate about football; it’s in our DNA. Our goal is to build the next generation of VAR systems, incorporating innovations like semiautomated offside and AI-powered decision support that will shape the future of officiating. This reduces human error while speeding up the decision-making process without compromising accuracy or control. Our focus goes beyond the pitch. We’re developing VAR simulators, content platforms and training modules that give referees realistic match experiences and continuous access to best practices. These tools are helping shape the next generation of officiating talent,” says Elia.
At one of the CAF referee and VAR operator training programmes.
INSIDE OSNTV’S BOLD TECH OVERHAUL
From a next-gen set-top box and addressable advertising to telco partnerships and AI-powered personalisation, OSNtv has reimagined its digital ecosystem for the streaming age. SVP Technology and Product Melvin Saldanha tells BroadcastPro ME how the pieces came together
In an industry defined by constant reinvention, few stories illustrate the power of aligned execution as clearly as OSNtv’s technology journey in 2025. Over the course of just seven months the company launched seven major initiatives, each significant in scope, complexity and impact. But beyond the deliverables, it’s the how that truly stands out: a timeline shaped by internal teams, cross-functional squads and a shared strategic vision.
At the heart of this transformation is Melvin Saldanha, SVP Technology and Product at OSNtv, who led the company’s ambitious journey to modernise platforms, enable personalisation, unlock monetisation and deepen partnerships.
“We were intentional from the beginning. We wanted to meet our business objectives in terms of subscriber growth, engagement, operational efficiency and partner enablement. Every sprint we ran, every release we launched, was built around these outcomes,” says Saldanha.
What follows is the account of seven projects in seven months – a disciplined execution cycle with clearly defined business outcomes.
Reinventing the OSNtv box
The starting point was perhaps the most symbolic: a complete reboot of the OSNtv set-top box platform. Settop boxes have long been the delivery workhorses of satellite TV, but in a streaming-first era they needed to reflect modern app ecosystems, UI standards and backend intelligence.
OSNtv’s previous box infrastructure was functional but limiting, says Saldanha, so the goal was to deliver a modern Android-based STB platform that could support a fluid content experience across linear and VOD, integrate with partner apps, and offer data-rich insights to improve performance and personalisation. But what made this project remarkable was the speed of execution.
“We committed to doing it in six months and that was unheard of,”
Saldanha recalls. “Most STB lifecycles stretch over 12-15 months, especially with the rounds of QA, certifications and field testing required. But we built an agile team structure, set up nightly build cycles and ran parallel hardware-firmware-app certification tracks. That’s how we got there.”
By the end of Q1 2025 OSNtv had rolled out the new box to its customer base on time, fully tested and delivering both performance and usability leaps. Time to activation dropped sharply, app compatibility widened, and the box formed the foundation for everything OSNtv would layer on next.
Building a self-service app in-house
With the box reengineered, attention turned to the customer journey. With digital expectations rapidly evolving in the MENA region, the OSNtv team recognised the need to address the gap between a great viewing experience and a fragmented service touchpoint. The answer was a self-service app that the team designed, developed and deployed entirely in-house.
The goal was to empower customers with frictionless access to everything they needed, from viewing bills and updating payment methods to upgrading packages and resolving technical issues without needing to call or wait, says Saldanha. “It was critical for us that this wasn’t outsourced or templated. Our internal developers, product leads, CVM team and designers worked together from the ground up. That allowed us to build features that genuinely reflect our users’ habits and preferences, rather than just ticking off a checklist.”
Once the app was launched, customer care calls dropped noticeably, digital payments surged and app ratings across iOS and Android stores surpassed expectations, he claims. The app marked a major shift in service delivery by placing more control in the hands of subscribers.
Launching addressable advertising
As monetisation is the cornerstone of any media business, the OSNtv team focused next on this with the third project to go live – the launch of
addressable advertising capabilities allowing dynamic ad insertion on IP streams, including Android STBs. This required not only technology integration but also legal, content and commercial alignment. Inserting personalised or targeted ads in real time meant OSNtv had to upgrade its playout stack, segment audience data meaningfully and partner with advertisers who understood the promise of contextual relevance.
Saldanha notes that this wasn’t a standard technical rollout. “What we built was an ecosystem that could deliver differentiated ads to households based on location, time of day, content type and viewing behaviour. It required back-end orchestration, real-time responsiveness and front-end transparency. But when done right, it benefits everyone. Viewers see more relevant content and brands get more ROI.”
The early results showed an uplift
It was critical for us that this wasn’t outsourced or templated
MELVIN SALDANHA, SVP TECHNOLOGY AND PRODUCT AT OSNTV
in CPMs and stronger interest from advertisers. More importantly, it laid the foundation for personalisation across advertising and content discovery.
Personalisation through AI
While addressable ads were being finalised, another track was running in parallel: building an intelligent recommendation engine that could unlock OSNtv’s deep catalogue. Partnering with Google’s Vertex AI platform, OSNtv’s data and engineering teams built a machine learning pipeline that ingested viewing history, content metadata, subscription plans and device behaviour to drive precise, relevant recommendations.
Vertex AI allows model training at scale, with automatic refreshes and A/B testing of different recommendation strategies. The impact was almost immediate: session durations increased, obscure content gained traction and engagement curves extended deeper into the catalogue.
“We had to break out of the top-10 trap; 50-60% of our catalogue was being consumed regularly, thanks to a very effective curation team,” says Saldanha. “We knew we had gold in the long tail, we just needed a smarter way to surface it. This wasn’t just a rec engine, it became the heartbeat of our content navigation.”
Creative
automation
In tandem with personalisation, the team rolled out a suite of video AI tools in collaboration with Prime Focus Technologies. This allowed OSNtv to automate a wide range of tasks across compliance, creative and metadata generation. From mood detection and preview generation, the AI platform became a silent co-creator, working behind the scenes to accelerate workflows.
“Imagine being able to auto-generate trailers, flag sensitive content and tag scenes with emotional tone across thousands of hours of content. That’s what we built. It’s not about replacing creative teams, it’s about scaling their superpowers,” says Saldanha.
The time savings alone were dramatic. Internal creative teams reduced turnaround time by 60% and metadata completeness jumped to over 80%.
But the hidden value was in unlocking new pathways for recommendation and search – linking content not just by title or genre, but by feeling.
Expanding reach through telco partnerships
OSNtv didn’t stop with internal modernisation. Earlier this year it launched a new go-to-market model: Media as a Service (MaaS), beginning with Vodafone Qatar. This initiative reimagines how content and platform technology can be
bundled together for telcos. Rather than simply selling rights, OSNtv co-developed a white-label service fully embedded directly within Vodafone’s subscriber ecosystem. It included custom-branded OSNtv settop boxes, billing system integration and a fully native user experience.
“This wasn’t merely a content deal. We became Vodafone’s end-to-end technology partner, powering their TV offering with OSNtv’s platform, infrastructure and premium content across their entire subscriber base,” says Saldanha, adding that success was immediate.
“Tens of thousands of subscribers onboarded in Q1, there was high app engagement and a strong uplift in ARPU. It became a benchmark for regional expansion and a template for future telco collaborations.”
In July, OSNtv expanded the MaaS offering by launching a companion mobile app that mirrors the set-top box experience, allowing subscribers to move seamlessly between home and on-the-go viewing. What set this apart was that it was conceived, designed and developed entirely in-house.
OSNtv on Samsung
Rounding off the seven-month sprint was arguably the most futuristic move: launching OSNtv directly on Samsung Smart TVs via HbbTV and TV Key integration, eliminating the need for a set-top box – the first deployment of its kind in the region. Users could now connect their satellite dish to their TV’s tuner and instantly access OSNtv’s full suite of live channels and on-demand content natively, securely and seamlessly.
“For years we’ve talked about convergence. This is it. No box, no external device. Just the TV and a satellite signal, and suddenly the full OSNtv experience comes alive,” says Saldanha.
“Technically, this involved deep integration with Samsung’s platform team, localising for regional device profiles and running extensive field testing. But once launched, it instantly expanded OSNtv’s addressable footprint and reduced hardware friction, a key factor in customer acquisition and retention,” he adds.
Seven projects in seven months
As impressive as the technology stack is, the real story lies in execution. Each project was led by autonomous pods of teams comprising product managers, architects, engineers, data scientists, marketers and operations leads, each empowered with clear ownership and decision-making rights. There was no command-and-control. Instead, governance rhythms helped keep everything on track – bi-weekly sprint reviews, monthly KPI retrospectives and a unified project radar that tied every
We weren’t chasing vanity metrics, we were tracking real KPIs: engagement, retention, ARPU, delivery velocity and NPS
MELVIN SALDANHA, SVP TECHNOLOGY AND PRODUCT AT OSNTV
initiative to OSNtv’s strategic pillars.
“We had one guiding principle,” Saldanha reflects. “Align everyone around the ‘why’ and let them own the ‘how’. We weren’t chasing vanity metrics, we were tracking real KPIs: engagement, retention, ARPU, delivery velocity and NPS.”
Over 90% of the planned deliverables were launched on time, and the culture shifted from delivery-focused execution to empowered product ownership.
The next chapter
The first half of 2025 was defined by bold execution, cross-functional collaboration and an unrelenting focus on delivery.
As OSNtv continues its journey, Saldanha says this is just the beginning.
“While we’re not revealing what’s next just yet, the teams are already working on the next wave of innovation. These projects reflect the collective effort of cross-functional teams across product, technology and delivery.
We’ve shown what a unified vision, clear priorities and focused execution can achieve, and we’re just getting started,” Saldanha concludes.
REVIVING TURKEY’S FILM ARCHIVE WITH CINTEL
Mimar Sinan Fine Arts University has developed a meticulous restoration pipeline to protect Turkey’s largest film archive. Combining painstaking physical work with advanced scanning technology, the team has been safeguarding a century of cinematic history for future generations
Founded in 1962 by Professor Sami Şekeroğlu as Club Cinema 7 (Kulüp Sinema 7), and renamed the Turkish Film Archive (Türk Film Arşivi) in 1967, the audiovisual collection housed at Mimar Sinan Fine Arts University is the largest in Turkey. The archive has preserved a century of national cinema history, with more than 8,000 titles including feature films, documentaries, early nitrate reels, animations, posters and sound recordings.
Since 2020, the digitisation and restoration of more than 125,000 film reels has been led by project head Dr Öğr. Üyesi Başak Ürkmez. “As with many historical archives, film deteriorates over time,” he says. “Transferring it to digital is no longer optional, it is a responsibility we have to our cultural heritage and to future generations.”
To that end, the university has developed a restoration and archive workflow built around the Cintel Scanner G3 HDR+, DaVinci Resolve Studio and a Blackmagic Cloud Store 20TB system for storage and networked collaboration.
“Each film goes through a meticulous physical restoration process,” Ürkmez explains. “The reels are manually cleaned, repairing damaged perforations and removing any dust, mould or residue using dedicated solutions. The more fragile negatives are also softened before scanning.”
Once ready, the reels are mounted for real-time 4K scanning. “The Cintel’s sprocketless design and capstan drive let us handle even fragile or damaged reels without risking further breakage.”
Scanning at the highest quality
For more compromised footage, including overexposed or chemically degraded reels, HDR scanning has been used. “Doing so helps us recover shadow and highlight detail that would otherwise be lost. It requires
Transferring it to digital is no longer optional, it is a responsibility we have to our cultural heritage
DR
ÖGR. ÜYESI BASAK ÜRKMEZ, PROJECT HEAD
up to four times more storage than standard scanning, so we reserve it for the most sensitive materials, like nitrate stock,” Ürkmez elaborates. Among the restored nitrate films are
Aysel Bataklı Damın Kızı, one of Turkey’s first sound films, and Aşık Veysel (Karanlık Dünya), directed by acclaimed filmmaker Metin Erksan. “Scanning at one frame per second allows us to handle deteriorated or irregularly exposed materials with care. For better-preserved reels, working at 30fps accelerates the process without sacrificing quality.”
Restoring the soundtrack
A crucial part of the process involves restoring optical sound, often separated from the image. “For reels with separate 17.5mm optical soundtracks, a rather rare format almost unique to Turkey, we use a dedicated reader. But for standard
The Cintel’s sprocketless design and capstan drive have helped the team handle even fragile or damaged reels without risking further breakage.
35mm or dual format 16/35mm prints with combined optical audio, we rely on the optional sound head that comes with the Cintel,” explains Ürkmez.
The archive has used the Cintel Audio and KeyKode Reader to digitise audio in sync with the scanned image. “It is a practical and reliable way of capturing optical audio. Audio is saved directly to the corresponding folder in Resolve and the KeyKode makes it easy to match frames during post, especially when syncing elements from different sources.”
Post-production in a single platform
The captured files are imported directly into DaVinci Resolve Studio
via a DeckLink PCIe capture and playback card. “During scanning, Resolve’s AI tools analyse the scan in real time and suggest corrections for any horizontal or vertical instability. We use it throughout the restoration process, from stabilisation, colour correction and density balancing to editing and final mastering. Having everything in one platform keeps the workflow clean and simple,” Ürkmez explains. Storage and collaboration rely on Blackmagic Cloud Store 20TB network storage. “When writing scan to a standard drive, we top out at around 15fps. Adding the Cloud Store gives us the bandwidth to reach 24fps,
which makes a real difference when we are working with well-preserved reels. It also means the scanned material can be accessed immediately across departments without having to duplicate or move data around.” The work is supported by long-term institutional investment. Following a recent evacuation due to seismic risk, the archive has been temporarily relocated to a climate-controlled facility. A permanent site is now in development and will feature purposebuilt restoration labs, screening rooms, a media library and earthquakeproof vaults. According to Ürkmez, it will be “the largest industrial cinema museum in Europe”.
The Turkish Film Archive preserves more than 8,000 titles including feature films, documentaries, early nitrate reels, animations, posters and sound recordings.
THE SULEIMAN STRATEGY
ASBU Director General Abdelrahim Suleiman has reshaped the organisation’s financial and technological foundation, turning it into a rare success. Through real estate ventures, regional training programmes and cutting-edge digital infrastructure, he has advanced a mission grounded in equity, innovation and Arab cultural identity. Vijaya Cherian reports
At the Arab Radio & TV Festival that took place in Tunis this June.
In an era of crumbling public media infrastructures and shrinking budgets, the Arab States Broadcasting Union (ASBU) stands out as a model of resilience and vision. Under the leadership of its General Assembly and Director General Abdelrahim Suleiman, ASBU has transformed from a traditional intergovernmental union into a dynamic, commercially viable organisation that continues to serve the interests of Arab public broadcasters. Once Suleiman took the helm, he turned the Tunis-based organisation into a self-sustaining powerhouse that not only funds its operations independently but also invests heavily in technology, training and infrastructure for its 22 member countries.
“Over the past seven years, we’ve supported all our members with $33m through our annual budget. When I started, the budget was about $21m, but we managed to stretch our resources and support members well beyond that figure, especially since many of them were going through financial difficulties.”
This transformation didn’t happen by chance. Suleiman took a hard look at expenses, slashing ASBU’s annual budget to $15m while maintaining, and in some areas expanding, its offerings. “Each year we’ve backed the budget with $4m, entirely through our investments. We do not ask our members to pay anything for the projects. Everything from training to infrastructure upgrades is covered.”
Banking on better deals
One of Suleiman’s first moves was to reassess how ASBU handled its finances. “When I took over, ASBU was earning only $80,000-90,000 in annual bank interest,” he recalls. “That didn’t make sense for an organisation
Over the past seven years, we’ve supported all our members with $33m through our annual budget
ABDELRAHIM SULEIMAN, DIRECTOR GENERAL, ASBU
with substantial reserves.”
He pushed back against complacent banks and split ASBU’s reserves among six institutions, encouraging them to compete. The results were immediate. “Our annual income increased 15 times in the first year and then quadrupled annually,” he notes. Strategic deposits in local currencies like the Tunisian dinar, with higher interest rates, added to these gains.
Building the future
ASBU’s ambitions go beyond banking. It first built a five-star hotel, fully equipped with amenities for its members and available
for commercial use during offpeak periods. The property also features a large conference hall with capacity for 600 attendees.
Moreover, it is constructing a 15-storey commercial tower in central Tunis, with 45% already leased before marketing has even begun. Two additional towers have been approved, including one with a possible medical facility.
“These projects are not just about real estate,” says Suleiman. “They represent a shift in mindset combining sustainable business with the mission of public service broadcasting.”
Training with purpose
The ASBU Academy has evolved into a regional benchmark for media training. “We offer not just free training but also free accommodation and hospitality to all our members’ attendees. This includes full board, airport pickups and local transportation. We prioritise candidates from under-resourced countries like Djibouti, Somalia, Comoros and Palestine. For many of these broadcasters, this is the only training they receive all year. The value of that access cannot be overstated,” says Suleiman.
“Post-Covid, we recognised the power of online certification and expanded our remote learning offerings. We’ve also launched specialised programmes for engineers, content creators and editors. We’re now looking to integrate AI and digital tools more deeply into the curriculum. My dream is to elevate the academy into a hub for futurefacing media education across the Arab region. The goal is not just skills development but also equity, ensuring that all Arab countries have access to top-tier training regardless of their economic situation.”
Reviving Syria’s media infrastructure
ASBU’s facility in Damascus remained unused for a long time due to regional instability. Suleiman held off on lowball rental offers until the right partner emerged.
“Our Damascus facility is quite big and has both a training centre and a hotel. For a while, the best offer we got was a couple of hundred thousand dollars annually. Recently, interest picked up again. We had visits from various companies in the region, and have now leased it to a Gulf-based firm at five times the previous rate. We’re transforming it into a media production hub with professional studios, editing suites and post-production capabilities. It will serve both local and regional clients. The goal is to make it a fullfledged regional training and production base. It’s important that we revive Syria’s media infrastructure and reintegrate it into the regional ecosystem.”
Powered by cloud and satellite ASBU’s technological evolution is no less ambitious. The organisation now operates four HD satellite television channels on Arabsat and Eutelsat, and multiple radio and TV systems on its MENOS system, as well as unlimited TV and radio streaming supported through its cloud platform.
Radio content exchange between members has increased from 15 to 31 hours daily, and television content
Around 80% of our radio content and 70% of television traffic now flows through the cloud
ABDELRAHIM SULEIMAN, DIRECTOR GENERAL, ASBU
now averages 24-27 hours a day. “Around 80% of our radio content and 70% of television traffic now flows through the cloud. It’s a massive transformation. We’ve invested in connectivity and server infrastructure to support seamless exchange. Our engineers work around the clock to ensure uptime, and we’ve extended this capability to members at no additional cost. Many countries simply could not afford this infrastructure on their own, so we stepped in.”
Raising ASBU’s profile
A flagship ASBU event is the Arab Radio and TV Festival, which plays a key role in raising its visibility. “This year, delegations from Fujairah, Sharjah and others returned after years of absence. We received one consistent piece of feedback: the event should be longer.”
Beyond its glitz, the festival is also a forum for networking, training
The Arab Radio and TV Festival is ASBU’s flagship event and serves as a forum for networking, training and cultural exchange.
and cultural exchange. To keep costs down, ASBU manages most logistics in-house, from hotel bookings to airport pickups. “The cultural programme includes performances, exhibitions and masterclasses, which help position ASBU not only as a technical organisation but also as a champion of Arab content. The only outsourcing we do is for venue décor and audiovisual systems.”
Even with regional crises, exhibitor participation increased by 10%, Suleiman notes. “At one point the Iran crisis nearly compromised our event, but we managed. We’re now considering Hammamet for future editions. It offers more space, better hospitality deals and a more relaxed atmosphere.”
ASBU also helps its members with shared resources. Previously, each member covered major events such as the Arab Summit, UN General Assembly, G20 and Hajj individually. This led to higher costs and duplicated infrastructure. Today, ASBU coordinates joint coverage through unified teams supported by its satellite network and cloud platform, resulting in significant cost savings and improved visibility.
Content sharing and cultural unity
Daily radio and TV content exchange is just one part of ASBU’s collaborative model. The organisation curates panArab series around themes such as music, museums and cultural heritage.
“We organise thematic series – for instance, 26-minute documentaries from each member country on cultural heritage. We’ve also introduced children’s programming, sports highlights and educational content to the exchange. Members contribute based on their strengths and everyone benefits. It’s an organic, circular economy of content, sustained entirely
by collaboration. For major political or sporting events, we switch to satellite to ensure zero latency, but the daily traffic runs smoothly on the cloud.”
Preparing for the AI era
Looking ahead, ASBU is launching an Arab AI task force that will explore applications in dubbing, smart translation, programming and children’s content. “Registration will be free and online,” Suleiman says. “The group will focus on AI tools for media production, including children’s content, dubbing and smart translation. We already use AI internally. My team even used ChatGPT to draft new committee
guidelines. AI-based translation is enabling multilingual training without additional cost. We plan to launch our AI initiative by year-end.”
With nearly all member states now HD-ready, ASBU’s next challenge is helping them transition into the AI-driven future.
Suleiman’s vision for ASBU is more than just financial sustainability; it’s a model for how regional institutions can adapt, thrive and lead in an era of rapid change. “ASBU is unique – no other pan-Arab organisation is doing what we do for public media. We’re proud to be self-sufficient, forward-looking and inclusive,” he concludes.
BASSIL ZOUBI, CTO, ASBU
“We’ve just completed the second phase of our Cloud Exchange Network development, specifically the ASBU Cloud Platform. This involved collaboration with multiple vendors, all carefully selected under the oversight of the ASBU Broadcast Solutions Group. This group meticulously reviews integrations across our facilities, ensuring seamless operations. Our comprehensive solutions are now accessible to all members, featuring advanced AI capabilities, live streaming using open protocols, low latency transmissions via TVU Networks, and robust postproduction facilities integrated into our file exchange network. Moving forward, our focus shifts to enhancing our AI capabilities. This includes deploying features such as language auto-detection, facial recognition and
content summarisation, strengthening our technological infrastructure. In our upcoming phase, administrative enhancements will be in focus. We’re analysing workflow efficiencies among ASBU members, evaluating usage metrics to optimise content deployment. This
RACING MEETS HOLLYWOOD MAGIC
As F1: The Movie launched worldwide last month, BroadcastPro ME went behind the scenes with Ali Al Beshr, GM of Yas Marina Circuit at Ethara, to explore how Abu Dhabi’s iconic racetrack became a key player in this groundbreaking film production
In an unprecedented cinematic feat, Yas Marina Circuit in Abu Dhabi transformed from a world-class racetrack into a bustling Hollywood film set during the 2024 Formula 1 Abu Dhabi Grand Prix weekend. Against the backdrop of the high-stakes race, a story unfolded not just on screen but behind the scenes, where precision and careful coordination brought the highoctane drama of F1: The Movie to life.
Filming on location during a live Grand Prix weekend demanded months of planning and flawless execution to balance the rigours of one of the world’s most complex sporting events with the creative demands of a major Hollywood production.The emirate’s Creative Media Authority (CMA) and Abu Dhabi Film Commission (ADFC) played critical roles, providing regulatory support and logistics to facilitate a seamless partnership between Yas Marina Circuit, Formula 1 Management and the film’s international production team, led by director Joseph Kosinski and producer Jerry Bruckheimer. The film, which launched globally last
month, follows a fictional adrenalinecharged tale of redemption and rivalry on the Formula 1 circuit. Yas Marina Circuit, Zayed International Airport and twofour54 Studios formed a dramatic backdrop for key scenes shot across three separate filming periods totalling 29 days. The production involved over 280 local crew members and 15 interns, highlighting Abu Dhabi’s growing creative ecosystem and commitment to nurturing homegrown talent.
“The F1 movie follows the actual Formula 1 race calendar. Since the Abu Dhabi Grand Prix is the final race of the season, it was naturally a part of the script and the focal point of the story,” says Al Beshr.
“The initial conversations started with the F1 and FIA teams. In Abu Dhabi, the key stakeholders were CMA and ADFC. They facilitated the filming at Yas Marina Circuit and across other locations. Working closely with these organisations, and the film director and the crew, we helped authentically depict the high-speed drama of the final race and showcase Abu Dhabi’s capabilities.”
Filming during a live Grand Prix required intense coordination. “It was a huge effort involving all parties at Yas Marina Circuit, F1 and FIA. We had to coordinate access to different parts of the venue, including minute-by-minute schedules on how to use the space safely alongside the major event we were hosting. Pulling it all off required months of planning and efficient coordination during execution.”
Scheduling was the biggest challenge. “It required very detailed planning – deciding where film crews could be stationed, which
The Abu Dhabi Grand Prix is a massive event on its own, and to introduce the Hollywood production on top of this was an eye-opener for what we’re capable of delivering
ALI AL BESHR, GM OF YAS MARINA CIRCUIT AT ETHARA
areas they’d access and how all of that aligned with race operations.”
The result was a flawlessly executed Grand Prix weekend for fans alongside a cinematic achievement for Abu Dhabi.
“The Abu Dhabi Grand Prix is a massive event on its own, and to introduce the Hollywood production on top of this was an
eye-opener for what we’re capable of delivering. The right skillsets within our team, close collaboration with all parties and support from stakeholders helped us succeed.”
Preparations began nearly a year in advance, with regular conversations with all the stakeholders. “We had weekly meetings, which became more frequent as the Grand Prix approached and filming plans grew complex. It’s a testament to what public and private sectors can achieve together. The F1 movie not only highlights our stunning locations but also our operational readiness, skilled workforce and the deep collaboration required to host world-class live events alongside major film productions.”
Beyond the spectacle, the project brought immense pride to local crews and talent. “It was incredibly meaningful for everyone involved to see the national anthem featured
The scale of coordination was immense involving the film director, the production company, F1, FIA and key Abu Dhabi stakeholders.
The film’s international production team was led by director Joseph Kosinski (pictured) and producer Jerry Bruckheimer.
in the film,” Al Beshr reflects.
“Watching the movie allowed us to pause and appreciate the scale of what we’ve built here over the years.
Yas Marina Circuit and Yas Island were shown in a powerful, cinematic way that moved many of us.”
Looking ahead, he sees the film as a sign of things to come. “While motorsport racing remains our core, projects like this highlight Yas Marina’s versatility as a multi-use platform for entertainment and content production. We have a dedicated
While motorsport racing remains our core, projects like this highlight Yas Marina’s versatility as a multi-use platform for entertainment and content production
ALI AL BESHR, GM OF YAS MARINA CIRCUIT AT ETHARA
venue team ready to accommodate global sporting events, concerts and large-scale Hollywood shoots.”
Abu Dhabi’s growing reputation has already attracted other major productions including Now You See Me: Now You Don’t, further cementing its status as a creative powerhouse.
Ultimately, the successful coexistence of live global events and complex film productions offers a valuable lesson, says Al Beshr: “With the right level of pre-planning, trust and communication, this kind of synergy is not only possible but can thrive. It sets a powerful precedent for the future of international productions in the region.”
The project highlights Yas Marina’s versatility as a multi-use platform for entertainment and content production.
BHV TO BRING FIRST PRODUCTION UNITS OF SPORTSBOX TO IBC2025
STAND 10.B10
BHV, known for its design and engineering expertise supporting many of broadcast’s leading brands, is set to debut the first production units of its own-branded SportsBox at IBC2025. The compact remote vision mixer and picture processor is designed to deliver high performance in demanding environments while
LAWO DISPLAYS AGILITY WITH DMF AND BROADCAST TOOLS
STAND 8.B90
Lawo will launch HOME 4.0, the latest evolution of Lawo’s IP-native infrastructure management platform, at IBC this year. It introduces a simplified licensing model with HOME Passes, enabling broadcasters to control costs precisely while scaling operations as needed. The platform’s modular architecture ensures seamless integration with Lawo’s devices and software.
Another highlight is Lawo Workspaces, a new browser-based interface that brings full broadcast-grade control to any device with a modern browser.
For the first time in Europe, Lawo will also demonstrate its Dynamic Media Facility (DMF), a tangible implementation of the EBU initiative that allows users to switch technology stacks with a single press, optimising workflows on the fly.
maintaining a remarkably small footprint.
The 17 x 22 x 3 cm SportsBox supports full four-channel 12G-SDI inputs for 4K/4:2:2 video and embedded audio. Its standout capability lies in transporting all four video channels simultaneously over a single baseband link such as COFDM, making it suitable for applications like onboard
motorsport coverage. This enables galleries to preview four cameras per vehicle, enhancing viewer engagement with dynamic, multi-angle coverage.
At its core, SportsBox is built on a softwaredefined architecture that enables deployment customisation and offers a roadmap of future features including HDR support and IP video transport.
GLOBECAST OFFERS NEW CONTENT EXCHANGE SOLUTION
STAND 5.A61
Globecast will debut its new Content Exchange solution at IBC, a major enhancement to the Globecast Media Platform. Built for rightsholders, it provides a scalable, flexible hub for managing demanding media workflows. Leveraging satellite, fibre and hybrid cloud infrastructure in an all-IP environment, it enables seamless
live and on-demand content exchange while creating secure, collaborative opportunities to monetise and expand global reach.
Alongside the launch, Globecast will also showcase its hybrid cloud services portfolio, spanning remote production, media asset management, TV headend, live and channel playout, and video OTT solutions.
GRASS VALLEY PLANS GVMU INNOVATIONS FOR IBC SHOWCASE
STAND 9.A01
Grass Valley will be bringing the full power of the Grass Valley Media Universe (GVMU) to IBC2025, with major new innovations that cover every stage of the media production workflow. Alongside its GV Alliance partners, the company will demonstrate the end-toend solutions empowering media organisations around the world, setting the pace for industry transformation. The company will welcome visitors to its familiar Hall 9 to share the success stories behind its organic growth, including strong year-over-year
gains in bookings and revenue across its product portfolio. This momentum is driven by Grass Valley’s commitment to innovation, the rapid adoption of its AMPP ecosystem (with bookings up over 120% YoY), and the continued success of core products
like the newly updated Karerra and K-Frame VXP production switchers and the refreshed LDX100 series camera range, including the new LDX 180 Super 35 system camera. All of these solutions will be showcased in Amsterdam as part of the broader GV
Media Universe ecosystem. Fresh from its launch at NAB Show in April, the LDX 180 camera will make its European debut in Amsterdam. Boasting an in-house-developed 10K Super 35 Xenios imager, it combines cinematic depth of field with the speed and precision required for live production, giving media companies the ability to completely redefine storytelling with native UHD output in better quality. Grass Valley will also preview a brand-new addition to the LDX portfolio exclusively at IBC2025.
You can‘t always see G&D right away. The products and solutions are often hidden. But they are systemically relevant and work. Always!
You can rely on G&D. And be absolutely certain. That‘s quality you can feel. When working in a control room. With every click. When installing in a server rack or at workplaces.
G&D ensures that you can operate your systems securely, quickly, and in high quality over long distances. People working in control rooms can rely on G&D.
G&D simply feels right
EDITSHARE GEARS UP TO SHOW ULTIMATE EFS NODES
STAND 7.A35
At IBC2025, EditShare will showcase its expanded EFS storage solutions. One highlight will be the debut of the new Ultimate EFS Nodes, engineered for high-performance media workflows of any scale. EditShare will preview all-NVMe systems built to handle
demanding 8K, VFX and DI workloads. Also featured will be the updated EFS Field, a portable and rugged storage solution that offers greater capacity, live ingest and secure, verified media transfer. Additional updates to the Ultimate EFS lineup will be revealed exclusively at IBC.
GATESAIR TO DEMO DAB/DAB+ TRANSMITTER ARCHITECTURE
STAND 8.B75
GatesAir’s modernised transmitter infrastructure for its entire DAB/DAB+ product line will debut at IBC2025. The updated architecture boosts efficiency levels by 50% or more due to innovations such as adjustable-voltage power supplies designed to reduce power
consumption. The new architecture spans several transmitter lines, including VAXT, VAX-OP and PMTX1 outdoor models, covering both aircooled units from 25 watts and liquid-cooled versions up to 10kW. It also optimises EDI connectivity for enterprise-level distribution.
RIEDEL BRINGS EXPANDED SIMPLYLIVE RANGE TO IBC2025
STANDS 10.A31 AND 10.A38
At IBC2025, Riedel Communications will roll out a slate of new products and premieres across its live production, broadcast and sports portfolio, underscoring its push into scalable, softwaredefined workflows.
Within the SimplyLive range, Riedel will debut the new Flex licensing model for the Production Suite, giving users the ability to tailor deployments across on-premises, remote or
cloud environments with flexible CapEx, OpEx or hybrid investment strategies. Alongside this comes the launch of RiView, a touchscreenbased video review system
for officiating, coaching and analysis, available in three configurations: RV4, RV8 and RV16. Riedel will also expand its replay offering with the RiMotion R16 and
R166 systems, designed for high-impact sports coverage. Completing the lineup is the Venue Gateway 1612 Advanced, a high-density transport platform delivering 16 bidirectional SDI channels with HDR workflows, enhanced audio and expanded tally integration, and SimplyLive Connect, a REST API designed to streamline thirdparty integration and workflow automation across the ecosystem.
UNIVISO GOES COMPACT WITH SPARK MINI PORTABLE ENCODER
STAND 1.B17
At IBC, Univiso Technologies will unveil the Spark Mini live broadcast terminal, a compact solution designed for modern lightweight production. Combining broadcast-grade video compression with multi-link aggregation, the portable device delivers high-quality video and audio in the field. It integrates HEVC/H.265 and AVC/H.264 encoding
with the company’s i-Mux engine, supporting up to eight simultaneous network connections for reliable transmission.
It features HDMI and USB inputs, a USB-C interface for external cameras and power banks, and can be managed via LCD, local web or cloud control, including PTZ operation from mobile or desktop. Weighing just 580g, the unit offers
more than four hours of battery life, cold shoe mounting and shoulder-bag portability. It also supports WiFi hotspot and access modes concurrently.
Spark Mini comes in two models: the 5G edition with one 5G modem and three 4G modems, and the 4G edition with four 4G modems. Both support RTMP, SRT, HLS, UDP-TS and RTSP protocols for seamless integration into professional workflows.
NEXT-GEN OTT INNOVATIONS FROM WHITE PEAKS SOLUTIONS EASE LIVE CHANGES THE GAME WITH DATAPORT
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White Peaks Solutions, a provider of cloud media services and OTT technology, will exhibit at IBC2025 within the Paris Chamber of Commerce Pavilion. It will showcase its flagship platforms – KWIKmotion, its advanced online video platform, and FAULIO, its headless content management system –
alongside its end-toend OTT ecosystem covering ingest, preparation, delivery and publishing. White Peaks will also debut a suite of AI-powered plug-ins to simplify content management, unveil a redesigned KWIKmotion portal with a new UI/UX, and launch KWIKmonitor, a real-time solution for monitoring live stream performance.
Ease Live will demonstrate new innovations in real-time sports interactivity at IBC2025, headlined by the public debut of Dataport, its AI-driven workflow tool. Designed to automate the creation and deployment of interactive graphics, it leverages GenAI and machine learning to handle tasks such
as data mapping and overlay design. The tool enables broadcasters to deliver personalised, real-time experiences during live matches while reducing production time and costs.
Alongside Dataport, Ease Live will highlight how its SaaS platform powers interactive sports coverage across mobile, web and connected TV.
JOHN MAILHOT
As cloud becomes part of the production pipeline, not just a destination for overflow or disaster recovery, robust solutions like MXL are essential
Keeping Ground and Cloud in Sync
As the media industry continues to transition to IP, the focus is turning toward cloud integration to enhance workflow scalability, flexibility and cost-effectiveness. This requires not only moving signals between locations, but also preserving synchronisation and interoperability across the entire production chain. Achieving this in real time is no small feat, especially in hybrid environments where precision is critical.
True to form, when faced with a complex challenge the broadcast community looks to tackle it from multiple angles. In this case, the issue of timing across distributed systems has sparked parallel initiatives: one by the Video Services Forum (VSF) through its Ground-Cloud-CloudGround (GCCG) working group, and another from the European Broadcasting Union (EBU).
The VSF’s GCCG group focuses on signal chain, but equally on managing timing across the entire chain from on-prem systems to cloud, between cloud instances and back to ground, while maintaining end-to-end synchronisation. That’s essential for real-time applications where signal alignment matters, such as keeping seamless lip-sync integrity regardless of where the content is being handled. Consider a simple workflow: a live
camera feed is sent to the cloud for an AR effect, then returns to the local production switcher. Meanwhile, the audio, having never left the ground, continues uninterrupted. Without a way to account for the latency added by the cloud, the two signals won’t align. But if that delay is measured accurately and accompanied by time metadata, it can be compensated for. The VSF-GCCG focuses on solving this type of problem.
In parallel, the EBU is exploring orchestration of cloud workflows through its Dynamic Media Facility (DMF) initiative, which focuses on cloud-native workflows: how services are deployed, how video streams move between components, and how entire chains of operations can be managed within cloud environments. While GCCG addresses timing between ground and cloud and within the cloud, DMF tackles how to make cloud operations function reliably and efficiently on their own. Both efforts approach the broader problem from different ends, and over the past several months they’ve begun to converge. This has led the EBU to create the Media eXchange Layer (MXL), an open-source project under the Linux Foundation. MXL acts as a foundational interoperability layer, enabling modular, vendor-
agnostic media services to exchange audio and video in virtualised environments. It’s also a key part of the EBU DMF architecture.
MXL redefines how media flows in the cloud. Instead of treating cloud as a temporary detour for isolated processing, it supports workflows where multiple tasks – graphics, audio processing and transcode –are completed in sequence without returning to ground. That’s the real promise of hybrid infrastructure, and MXL helps unlock it.
As vendors and other contributors develop within the MXL project, there is interest in adapting the principles from the VSF TR-11 timing model into the overall MXL framework. This will make it easier to realign signals after they pass through different cloud hops, enabling real-time reintegration across hybrid paths.
As cloud becomes part of the production pipeline, not just a destination for overflow or disaster recovery, robust solutions like MXL are essential. They give engineers the tools to connect services, preserve timing and deliver the deterministic behaviour broadcasters rely on.
JOHN MAILHOT IS SVP PRODUCT MANAGEMENT AT IMAGINE COMMUNICATIONS
