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Market Profile: Dubai INTV in Jerusalem Wananchi’s Richard Bell
MIPCOM EDITION
www.tvmea.ws
THE MAGAZINE OF MIDDLE EASTERN & AFRICAN TV
OCTOBER 2013
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CONTENTS FEATURES
The African Connection Of the world’s emerging markets, Africa has long received the least attention from the big global media conglomerates.
Ricardo Seguin Guise Publisher Anna Carugati Editor Mansha Daswani Executive Editor Kristin Brzoznowski Managing Editor Joanna Padovano Associate Editor Simon Weaver Online Director Victor L. Cuevas Production & Design Director Phyllis Q. Busell Art Director Meredith Miller Production Associate Cesar Suero Sales & Marketing Director Vanessa Brand Sales & Marketing Manager Terry Acunzo Business Affairs Manager
Ricardo Seguin Guise President Anna Carugati Executive VP & Group Editorial Director Mansha Daswani Associate Publisher & VP of Strategic Development TV Middle East & Africa © 2013 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvmea.ws
While the likes of News Corporation and Turner Broadcasting have been investing significantly in expanding their businesses in the Middle East, Asia and Latin America, Africa has generally been lower on companies’ priority lists. Increasingly, it’s been China that has filled that investment gap. This year, StarTimes Group picked up SES’s stake in On Digital Media (ODM), which operates the struggling South African pay-TV platform TopTV. StarTimes is already the fastest-growing digital TV operator in Africa, with more than 2.6 million DTT subscribers. The Chinese company has ambitious plans for the region, signing a ten-year deal with SES to lease satellite capacity in order to expand its African footprint. It’s not just the Chinese, though, who see potential in Africa’s evolving media landscape. Modern Times Group has been active across the continent for years, with pay-TV channels in Tanzania, Kenya, Uganda, Nigeria and Mozambique.This year it announced a new national DTT free-to-air channel in Tanzania, adding to its free-to-air Viasat1 channel in Ghana. To learn more about the challenges and opportunities in the African media sector, we spoke to Richard Bell, the CEO of Kenya’s Wananchi Group, which operates the East African pay-TV service Zuku. Bell talks about his strategy for delivering a compelling content proposition at an affordable price. In this edition, we also provide an in-depth report on Dubai, one of the Middle East’s key content hubs, which is attracting foreign media companies with investment schemes and mega production complexes.This issue also spotlights the INTV conference in Israel, which will focus on the convergence of innovation and technology in the TV industry. Understanding how to work around the varying degrees of technological development across the Middle East and Africa will be key for all companies looking to build long-term, successful businesses in this part of the world. Indeed, as Paul Dempsey, the president of global markets at BBC Worldwide, recently told me, “How audiences there can get to know our programs and connect with them, probably without going through the traditional way of linear television, is a very exciting challenge. There are many more mobile phones in Africa than there are TV sets. There’s much we can do. Evidence suggests that the brands that we represent have as much connection with the lives of people in that part of the world as they do anywhere.” —Mansha Daswani
8 High on Dubai Investment schemes and high-tech facilities are attracting international media companies to Dubai.
12 Israeli Innovation Media executives from across the globe are heading to Jerusalem this November for Keshet’s INTV convention on the intersections of TV and technology.
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INTERVIEW 14 Wananchi’s Richard Bell
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FremantleMedia International • Full Circle • The Fashion Fund • Save with Jamie From screenwriter Neil LaBute, Full Circle is a new drama focused on 11 individuals whose lives are somehow interconnected. The show is among the top titles that FremantleMedia International is looking to sell into the Middle East and Africa, along with The Fashion Fund, a docu-series centered on the Vogue magazine design competition of the same name. Also being presented by FremantleMedia International is Save with Jamie, which teaches viewers how to eat healthy on a budget. “With a number of key titles all returning—from Arab Idol to South Africa’s Got Talent to The X Factor Nigeria—we are continuing to build our portfolio of local formats in the region, from game shows to dating to lifestyle,” says Jamie Lynn, the company’s senior executive VP of international distribution for EMEA.
“We have seen huge success from our dramas, lifestyle and factual titles, as well as our formats.” —Jamie Lynn Full Circle
Televisa Internacional • The Tempest • Life of Lies • Entertainment formats
Telenovelas lead the slate that Televisa Internacional is presenting for sales in the Middle East and Africa.The Tempest follows the life of a young woman who falls in love with the captain of a fishing boat.There is also Life of Lies, available in English, Portuguese and French, which tells the story of a mother who must flee the country and assume a new identity in order to protect her daughter.The company is also showcasing its catalogue of entertainment formats, which includes such titles as Dancegerous and Sing It, Sell It. “As the markets are maturing the demand for our content has increased, as have the license fees and willingness of the stations to pay top dollar for quality programming,” says Mario Castro, the director of sales for Asia and Africa at Televisa Internacional.
“We continue to expand in all of the key markets throughout the region.” —Mario Castro Life of Lies
twofour54 • Peeta Planet The Emirati entrepreneurs Peyman and Mohamed Parham Al Awadhi, founders of Qabeela New Media, a twofour54 partner company, will be at MIPCOM to promote their new social-media travel series Peeta Planet. The show, which twofour54 helped to develop, follows the two brothers as they travel and explore 12 countries. “And there’s a twist: almost everything that Peyman and Mohamed do in those destinations has been suggested by their followers via social media,” explains Wayne Borg, the chief commercial officer and president of international at twofour54. “From the people they meet to the food they eat and even the funny things they dare each other to do, the brothers have been actively using various social-media platforms, putting the viewers in the driver’s seat, creating a truly unique, international, ‘social travel’ TV series.”
“Over 200 international, regional and local companies have established themselves at our Abu Dhabi campus and are building strong businesses to serve the region.” —Wayne Borg Peeta Planet 512 World Screen 10/13
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HIGH With investment schemes and high-tech
ometimes only a cliché will do in describing the boomtown that is Dubai. The happy problem is that the clichés don’t begin to reflect the “go to it” attitude of the tiny emirate. And despite a hiccup a year or two ago when the financing train fell off the rails, all the clichés are back—and in most cases stronger than ever. And while most eyes look at the endless sea of Manhattanstyle skyscrapers in Dubai, the truth is that the message, at least as far as broadcasting and the media is concerned, continues to resonate well beyond the immediate region. Dubai Media City (which opened in 2001) and Dubai Studio City (which launched in 2006), both of which started out as straightforward real-estate schemes, have succeeded beyond the planners’ wildest dreams. The jobs that the schemes have created are real, valuable, and have become one of Dubai’s cornerstones in the emirate’s plans for its future. And the TV and movie stars are turning up in droves. Whether it is Brad Pitt or Tom Cruise, George Clooney, Eva Longoria, Oprah Winfrey, Robert de Niro, or the likes of Paris Hilton, Dubai’s locations are suiting filmmakers, the celebrities and even the money men! Dubai’s media-related investments continue. In September, Dubai Studio City’s latest addition opened. It is a 50,000square-foot soundstage complex that is claimed to be the largest in the region and comes complete with craft workshops, dressing rooms and all the support paraphernalia needed for production.The MBC stage (25,000 square feet) has been leased for five years by the Arab world’s leading broadcaster and will be used for high-profile drama production. Next door are two more stages. The facility is booked (for a 103day shoot, and for a film’s 95-day shoot). More are planned, and the desert is being made ready with roads, electricity and trees, and accompanied by mid-range hotels for visiting technicians and other support staff. A mile away is a complex of boutique studios, largely occupied by fast-growing creative businesses. Jamal Al Sharif is the passionate and high-profile managing director of Dubai Media City and Dubai Studio City, as well as chairman of the Dubai Film and TV Commission.
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facilities, Dubai is attracting the interest of media companies worldwide. By Chris Forrester He says there are 15 film and major TV productions in the pipeline drawn from a mix of Hollywood, Bollywood, Turkish and other international productions. Key to his overall strategy was establishing a New Yorkstyle Location Approval Services, a “one-stop” permit shop that now has considerable influence on local suppliers, police and such, as well as more than a little clout when it comes to getting discounts on airline seats and hotel rooms. STAGING THE SCENE
“We have been very lucky winning good support from India, which is shooting more and more projects with us,” Al Sharif says, explaining that Hollywood blockbusters such as The Bourne Legacy as well as Mission: Impossible 4 have helped spread the message that Dubai can deliver. “Our objective is not simply to attract high-profile movies such as these, but also to boost the amount they spend here.” The proof is that whether a movie’s VIP element might only be for a few days, the ancillary support and pre-shooting agenda might take many weeks. “For Bourne they brought in seven heads of department, and another 70 or 80 [were] hired locally. For MI4 they had about 150 high-end staff, but ended up with around 300 locals. The full crew was nearer to 450 people, and the shoot was for a month, but with two months prep. It was a great project for us.” Dubai’s efforts to become a media hub are in line with the city’s initiatives to boost other segments of the economy, including Internet, biotech and industrial businesses, each designed to add value. Of course, the year-round tourism business helps keep the hotels busy and tens of thousands of staff employed. Al Sharif admits that as well as creating the logistics to support the new ventures, he had to listen to tenants and businesses. One local grumble was that the Media City had such explosive success that there wasn’t enough shaded car parking! That problem was quickly remedied. “Film was not an original thought, but it simply grew out of the demand from the other aspects of media and culture. But film demands its own special infrastructure, not only in terms of buildings, but also in terms of freelancers, training and the other skills.”
Dubai has a number of advantages, Al Sharif maintains, not the least being its location. The city is “just three hours from India, and within easy traveling time of just about everywhere. To the Arab world we are just a couple of hours away from Cairo and the other capitals. And we have 360 days of sunshine, I can guarantee that!” Dubai Media City, established in 2001, was the starting point, targeting businesses in the broadcasting, advertising, production and publishing sectors and all sitting within a new concept for the Arab world: the Dubai duty-free zone. Plenty of other cities allowed for the free import and processing of goods within duty-free zones, but Dubai offered tax-free status, retention of 100 percent of profits and the freedom to operate without the state breathing down a company’s neck. Then came Studio City, announced in February 2005. “Today we have achieved 20 percent of the plan’s Phase 1, with much more under development taking us through Phases 2 to 4,” Al Sharif says.“We have everything from boutique studios to soundstages to warehouses and workshops.We have a 3-million-squarefoot back-lot. Today we are 100-percent occupied.” BUILDING BLOCKS
Among Studio City’s occupants is TSL Middle East, a television infrastructure company. “We have looked after major TV projects in Kuwait,VTR in Lebanon, Dubai TV and ART’s OB [Arab Radio and Television Network’s outside broadcasting] trucks for covering the Saudi Soccer league, for example,” explains Andy Davies, the business development manager of TSL Middle East. One of the company’s most recent clients was Sky News Arabia, a joint-venture 24-hour news channel. Davies explains that out of Dubai they are quoting around five major projects a week from as far away as Singapore, Morocco and Libya. “TSL has always been focused on news, and file-based activity and multichannel play-out. Without breaking confidences, I think you’ll see movement in terms of pay TV in the region before too long.” Sky News Arabia joins an extremely crowded free-to-air satellite landscape in the Middle East. Nilesat, for example, is now carrying almost 1,000 channels, and the satellite opera10/13 World Screen 515
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Desert horizons: Central Films offers brand and content companies locationshooting services in Dubai.
tor’s European partner, Eutelsat, will launch a new satellite to cope with increased demand for capacity. The growth in free-to-air broadcasting locally has been phenomenal. Arab Advisors Group in an August report talked about 600-percent growth in free-to-air channels over the past ten years. It is fair to say that the top ten channels take at least 90 percent of the overall ad revenues, but broadcasters are continually trying to make their mark. Against this backdrop, pay-TV operators are looking to deliver high-quality content, in high definition, in a bid to convince viewers to pay a monthly subscription fee. Pay-TV operators, like the merged Showtime and Orbit, OSN, are now making their presence felt. Newcomers like Al Jazeera Sport and Abu Dhabi are conventionally using highly priced sports content to compete, and their pockets are deep. Another new entrant was launched on May 30 in the form of My-HD, which, like OSN, is based firmly in Dubai. My-HD is a joint venture with satellite operator Arabsat and offers a bouquet of HD channels at an ultra-low cost. By July 30 it had announced that 9 Rotana HD channels would be added to the bundle of 41 premium channels, of which 35 are in HD. CEO Cliff Nelson, who has a long history in Middle East pay TV, also announced that Irdeto would be protecting his broadcast signals. My-HD has also signed up leading Filipino channels from GMA Network, which should appeal to the region’s large number of guest workers. GMA has switched allegiance from pay-TV platform OSN to My-HD. 516 World Screen 10/13
Nelson says that My-HD has been greatly influenced by the success of HD+, a low-cost HDTV service operating in Germany. My-HD is charging the equivalent of about $4.50 a month for its basic bundle (which compares to the $60-$110 a month paid to the region’s more established pay-TV suppliers). SAFE HAVEN
Dubai also serves as the headquarters of the MOBY Group, which beams programming throughout—cliché time again— “war-torn” Afghanistan. Saad Mohseni, the chairman and CEO of MOBY, has been described as “Afghanistan’s first media mogul.” The description is apt. Mohseni heads up a business of around 1,000 staff out of his headquarters in Dubai. The business operates the leading Afghan channels Tolo TV, Lemar TV and TOLOnews; the radio stations Arman FM and Arakozia FM, as well as the production house Kaboora. It also broadcasts the leading Farsi general-entertainment satellite TV channels Farsi1 and Zemzemeh. MOBY produces Afghan Star, the nation’s number one TV show on Tolo TV. In June, Tolo started screening its own version of The Voice. Mohseni, together with family members, established the business in 2002 and over the past decade built MOBY into Afghanistan’s dominant multimedia powerhouse, with a reported 60-percent market share. Mohseni says it was
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often difficult for outsiders to imagine that the vast bulk of the Afghanistan nation was doing what most other people did in an evening— “they watch TV!” AFGHAN STAR
MOBY’s output extends beyond TV into radio, Internet and publishing ventures and is the number one source of news, entertainment and educational content for 30 million Afghans, reaching 15 million of them daily on Tolo with soap operas, reality shows and journalism. Rupert Murdoch’s 21st Century Fox has a stake in MOBY Group. MOBY is targeting tomorrow’s generation, and is expecting Afghanistan to grow into a nation that is increasingly educated, healthy and with a GDP that’s expanding by 10 percent annually. Today’s GDP growth rate per World Bank data is around 12 percent, and the forecasts talk about a population of more than 80 million by 2050. “The core of our business is in Afghanistan and while our staff is happy enough to be in Kabul for work, they don’t necessarily want to live there or have their families there,” Mohseni says of setting up shop in Dubai. “We have Dubai’s schools, clinics and a very easy lifestyle for the families. To attract good people you have to be in a town like Dubai. Our wives, used to New York or London, are not going to move to a place that has no soul. Everything is relative, of course, and Dubai isn’t quite New York! But it is doing more than enough to make life interesting. We did look closely at Istanbul, but the city is a nightmare with traffic and bureaucracy.”
Mohseni notes that taxation rates were also a consideration when deciding where to base MOBY’s operations. “We pay plenty of tax in those individual countries where we operate, but it is important to be as economical as possible. We have offices in India, but getting a constant supply of electricity is a serious problem. Getting money out of India is a serious problem. And India’s bureaucracy is a nightmare. So these are the reasons why we are here in Dubai, and are very happy. Which is not to say there aren’t challenges: hiring staff here is expensive, because you tend to have to bring people in. You tend to have to pay ‘firstworld’ prices, and private schools are as expensive here as anywhere else, same with health care, restaurants, and so on. Locate in India and you could save some significant cash, or Turkey, but productivity would suffer.”
Talk time: Pan-regional pay-TV operator OSN, which is investing in Arabic-language content like Sisters’ Soup, is based in Dubai. 10/13 World Screen 517
Hub of activity: CNN and Endemol are among the international media companies that have set up shop at Dubai Media City.
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ISRAELI INNOVATION The INTV conference organized by Israel’s Keshet is luring a host of international media executives to Jerusalem this November. By Anna Carugati t seems that every day there is a new device on which to watch our favorite shows and movies, a new website serving up engaging TV series, a new social-media site where we can comment, share and form communities and a new app for our smartphone.The same continuous flow of convenience that technology is serving up to consumers is causing disruption to producers and content owners as they scramble to find ways of moving that content through windows, create new ones, and, most important, be paid for it. The management at Keshet Media Group in Israel thought it was time to organize a two-day conference, INTV, Innovative TV Conference, to address the constant evolution of the television business. “The unique point about INTV, and that’s what makes it so different from other conferences, is that INTV is about television, but only from an innovation perspective,” says Alon Shtruzman, the managing director of Keshet International. Why hold the conference in Israel? “Israeli content has become quite a phenomenon in the last few years,” continues Shtruzman. “In the same way Israel became quite known for technology, Israel is evolving as one of the innovation houses for content as well. In the last few years, we’ve seen production companies delivering top-notch and sometimes even revolutionary shows like In Treatment and [Prisoners of War, which was adapted into] Homeland.” At the first INTV, held in November 2012, Keshet attracted a string of high-level executives to talk about the various aspects of the television industry, including Ari Emanuel, the co-CEO of the talent agency WME; Stephen Lambert, the chief executive of Studio Lambert and creator of Undercover Boss; Josh Berger, the president and managing director of Warner Bros. in the U.K., Ireland and Spain; and Lars Blomgren, the managing director of Filmlance International and producer of hit crime dramas such as Bron (The Bridge). This year, Keshet is preparing another fast-paced two-day conference, which will be held on November 4 and 5 at the YMCA Hotel in Jerusalem, a perfect setting as one of the most historic cities on earth that so suggestively blends old and new. INTV will provide a stage to those that shape the present
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and future of television. While the list of participants is still being compiled, confirmed speakers so far include a wide range of creatives and executives, in order to once again offer a 360-degree view of the ever-evolving television landscape. “We want to make sure we give good representation to different aspects like distribution, technology, online, production and markets like the U.K. and the U.S.,” says Shtruzman. On the creative side, Mikkel Bondesen, the CEO of UFUSE and executive producer of The Killing and Burn Notice, and Tim Kring, the president and CEO of TKImperative and creator of Heroes and Touch, will be on hand to talk about pushing the boundaries of storytelling. Representing channels and broadcasters will be Justin Gorman, the head of entertainment at Channel 4 in the U.K., and David Eilenberg, the senior VP of unscripted development at TBS and TNT in the U.S., both known for embracing new and cuttingedge program ideas. With the cost of programming constantly escalating, independent companies are finding new financing models to ensure the kind of on-screen quality broadcasters and viewers have come to expect. Sandra Stern, the COO of Lionsgate Television, and John Morayniss, the CEO of Entertainment One Television, will share their strategies for producing high-end content. Over-the-top services are gaining viewership and “completely revolutionizing the industry,” as Shtruzman says, so Alex Kruglov, the head of content acquisition at Hulu, will be joining the mix at INTV. Insight into boosting traffic and ad revenues on websites will be provided by Adam Singolda, the founder and CEO of Taboola. And Virginia Mouseler, the CEO and cofounder of The WIT, will provide data and analysis about television programs around the world. Last, but certainly not least, is the city of Jerusalem, whose historic sites and diverse restaurants will provide the perfect setting for the conference. While, as Shtruzman explains, “INTV is a two-day crash course for busy executives who want to stay on top of technology innovation and whatever is happening in this amazingly rapidly changing area of television, we also want the participants to have fun!” For more information about INTV, visit www.in-tv.net.
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sub-Saharan Africa. Over the next three years we plan to systematically exploit that footprint. TV MIDDLE EAST & AFRICA: How is your cable-TV service doing? BELL: We have been very pleased with cable penetration rates. The challenge has now shifted from proving the market exists to scaling out the infrastructure. TV MIDDLE EAST & AFRICA: What led to the decision to deliver a triple-play bundle? BELL: Telecoms in Africa have been largely about the mobile-phone industry. The problem with wireless technology is that the spectrum is limited (as everywhere else in the world). Cable allows us to deliver far, far greater speeds and capacity to subscribers and subscribers like it. TV MIDDLE EAST & AFRICA: What are your plans for expanding the triple play? BELL: We have signed contracts to build into the whole of Nairobi and Mombasa. We are now progressing with plans to build into Kampala and Dar es Salaam and begin work on secondary towns.We expect to steadily add more countries to the cable footprint as the enabling environment allows. TV MIDDLE EAST & AFRICA: What are the prospects for
HD, PVRs and other advanced offerings on Zuku? BELL: We already have both HD and PVR offerings on both
Wananchi Group’s
Richard Bell By Mansha Daswani
Delivering pay-TV entertainment to African homes is the mission of Kenya-based Wananchi Group. The company, led by CEO Richard Bell, is delivering content under the Zuku brand via satellite DTH and cable in a number of East African markets. After significantly upgrading its infrastructure, it has also begun signing customers up to a triple-play cable, phone and Internet bundle. Zuku currently offers a portfolio of international and local channels, as well as a number of Zuku-branded services. Bell, whose background includes building telecoms and ISP services in African markets, talks about Zuku’s plans to deliver affordable mass-market entertainment in the region.
TV MIDDLE EAST & AFRICA: Tell us about how Wananchi
is positioning Zuku across the diverse markets in Africa.
our DTH and cable platforms. We expect to continue developing these and other value-added products such as VOD. TV MIDDLE EAST & AFRICA: In terms of your channel
offerings, how do you balance the mix of African channels, international networks and then your own branded services? BELL: Availability of African channels is limited, while international content often lacks relevance. Our own branded channels are aimed at developing relevant local content. TV MIDDLE EAST & AFRICA: How important has it been for you to invest in local content? BELL: Investing in local content and talent is an absolutely critical part of our strategy so far, and is of paramount importance to our development moving forward. TV MIDDLE EAST & AFRICA: How has your experience build-
ing ISPs in Africa benefited you as you roll out a pay-TV service? BELL: The challenges of building an infrastructure are simi-
lar regardless of the content going down the pipe. I built my first African network in 1994, so the experience to date in building, financing and selling several companies over the intervening period has been invaluable.
BELL: We are positioning ourselves for the mass market. Incum-
bent platforms have focused on the elite, but as we have seen with mobile phones, if consumers get a quality product at a price they can afford, they are every bit as eager as other markets. TV MIDDLE EAST & AFRICA: What are your expansion plans for your satellite-TV service? BELL: We have just moved satellite from NSS12, which had a footprint over ten countries in East Africa, to SES 5 with a footprint over the more than 30 countries across the whole of 520 World Screen 10/13
TV MIDDLE EAST & AFRICA: What are the major challenges
facing the pay-TV business in the African markets, and what do you see as your greatest opportunities over the next year or so? BELL: Our biggest challenge is the need to educate regulators and policy makers on the dynamics of an industry that they are not familiar with, and which has far more complicated issues to deal with than the mobile-phone industry had. Our biggest opportunity is building our services to a vast untapped market in the quickest time possible.
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