Category: News Headline

  • HD and IPTV: Taking television to the next level

    HD and IPTV: Taking television to the next level

    SINGAPORE: High Definition Television (HDTV) has garnered a great deal of interest from early adopters largely because of the dramatic increase in picture quality, which supports the consumers’ demand for ever larger screen sizes. In order to appeal to the wider consumer audience HDTV will need to demonstrate considerable additional value over that of the standard definition incumbent.

    On the other hand, Internet Protocol Television (IPTV) offers a foundation for the delivery of such value as it provides the capability to offer truly tailored television services in either a lone viewer or community viewer based environment. The additional resolution afforded by HDTV, enables the compelling visual presentation of the information and controls, which will form a vital part in the translation of HDTV demand from the early adopters to the high value mass market.

    ANT Software Ltd (UK) executive vice president sales and marketing Stephen Reeder said, “For most people, TV today still consists of a small number of channels with little or no information about the programming, which is on offer. Over the past 25 years, the introduction of cable, satellite and digital terrestrial television delivery has seen the addition of many more channels, increased programme information, Electronic Programme Guides (EPGs), and most recently, interactive services. Consumer acceptance of the increase in programming has been positive, with some regions, like the UK, experiencing extremely high take up rates.”

    What HDTV alone can’t provide is the transformation of TV from a singular experience where programming is broadcast to the consumer, to a truly tailored service where customers can see what they want, when they want to see it. Here’s where IPTV steps in.

    What can IPTV deliver that other delivery systems can’t?

    IPTV offers a one-to-one relationship between the viewer and the content they are viewing. It means that the viewer has the capability to pause, rewind or skip through a programme under their direct control without affecting other viewers in different locations. “The flexibility afforded by this one-to-one relationship extends far beyond the control of broadcast programming. Most basic IPTV systems offer on-demand movies, special interest channels and compelling interactive services ranging from gambling and Karaoke on demand to simple gaming for the children. In other words, customers can watch what they want to watch, when they want to watch it,” said Reeder.

    On the other hand, HD is important to IPTV because the latter offers immense flexibility and considerable potential customer value. “HD provides a dramatic increase in screen resolution, which in turn provides the potential for more information to be displayed in a clear and easy to understand form,” Reeder added.

    In conclusion, he said, “HDTV has made an impressive impact amongst the early adopter consumers. Although the value proposition of improved picture quality and the ability to support larger screen sizes is unlikely to be sufficient to ensure mass market success. IPTV and the HTML based technologies associated with it have much to offer in building the value necessary to underpin HDTV mass market adoption. The industry leaders are already putting in place the necessary foundation for a range of products and services, which will enhance the HDTV value proposition and create the required market pull to ensure success.”

  • Satellite interference affects broadcasters & consumers

    Satellite interference affects broadcasters & consumers

    SINGAPORE: We’ve recently seen it happening to Sony Entertainment Television (SET) India during the telecast of a popular film awards ceremony. Star India, too, has faced some minor problems due to this in the past. We’re talking about a growing menace called satellite interference, which affects both satellite operators and the end user.

    Whether deliberate or not, satellite interference means a huge revenue loss for broadcasters, which is eventually recovered from the consumers. 

    With an excess of 300 satellite channels in India and more than 200 in China, satellite interference is becoming an increasing problem as the technical uplinking requirements within these market places are not fully efficiently deployed.

    Satellite interference today are caused by: equipment (40 per cent), unknown (22 per cent), human error (15 per cent), crosspol (13 per cent), antenna (8 per cent), deliberate (1 per cent) and terrestrial (negligible). Apart from this, military interference is also one of the causes.

    “The different types of military interferences are: airborne and ship born radar, which generally affects downlinks; spread spectrum hidden use, which results in higher noise floor and is difficult to identify and transponder hopping. While the military are generally cooperative (except in war zones) as far as airborne and ship born radar is concerned, but in case of transponder hopping, they deny responsibility and hence it is difficult to ensure resolution,” said Satellite Users Interference Reduction Group (SUIRG) chair of the board R James Budden.

    ESPN Star Sports director of engineering Andy Rylance pondered over the economic losses caused by satellite interference. “The economic losses caused by satellite interference are very high and run into millions of dollars. At the end of the day, not just the broadcaster but even the consumer pays for it. The types of interference can be intentional (piracy or political), unintentional (faulty kit, misalignment), terrestrial and limited to channel, transponder or multi transponder,” he said. 

    So what are the costs? In terms of commercials, there is a loss of commercial breaks, which means huge revenue loss of the broadcaster. And if the interference is during prime time, the monies can run even deeper. Ratings is the other factor that are affected if the interference is extended. Apart from this, if the interference is extended, the broadcaster stands a chance of losing credibility in the eyes of the consumer, who will eventually switch to other channel, which have an uninterrupted broadcast. 

    “The broadcaster will also have to pay for extra protection and maybe have a diverse feed, which actually doubles the cost or they can use fibre. But, that needs huge care in engineering to ensure availability. Some of the indirect costs of satellite interference are that the unusable space costs satellite operators real money and locating rogue uplinks is not cheap. What’s more, the losses to satellite operators must ultimately be borne by users,” Rylance said. 

    While most interference is out of our hands, the fact is that it is draining cash from everyone’s pocket. “What ever we can do to reduce the risk, we must do. Operational and engineering best practices will help,” he concluded.

  • Animax Asia signs output deal with Japanese anime studio Gonzo

    Animax Asia signs output deal with Japanese anime studio Gonzo

    MUMBAI: Animax has sealed a new long term output deal with Japan’s leading animation studio Gonzo to bring the latest edgy animation to Asia.

    With this, Asian viewers will now get the chance to watch anime programmes from Gonzo soon after viewers in Japan. The deal commences immediately for Animax.

    Animax vice-president Programming and Production Betty Tsui says, “We are delighted to have a strong partner like Gonzo as the studio’s original creative direction is in sync with Animax’s overall strategy to provide world-class anime entertainment for the youth of today. With the recent launch of the Animax refresh campaign, the timing of this output deal is a fantastic opportunity for both Animax and Gonzo to showcase more unique anime that wows and inspires viewers.”

    Responsible for some of the most innovative and stylish animation using 2D and 3D computer graphic techniques, Gonzo has brought to viewers around the world extremely popular titles like Samurai 7, The Count of Monte Cristo, and Hellsing. The synergy of Gonzo and Animax is apparent as both partners strive to provide the youth and young adult market with varied and quality programme offerings that wow audiences.

    With a reach of over 25 million households across Asia 24 hours a days, the new partnership represents enormous potential for Gonzo to showcase its new titles and become a household name in the Asian region.

    Rolling out the output deal is the spectacular animation creation, Trinity Blood. Having premiered first and exclusively in Hong Kong on 1 June 2006, Trinity Blood is broadcast on Animax every Thursday at 10 pm.

  • ‘The Orange County’ Season II on Zee Cafe from 30 June

    ‘The Orange County’ Season II on Zee Cafe from 30 June

    MUMBAI: Zee Café will unveil the second season of The O.C. (Orange County) this month. The second season will premiere on 30 June at 10:00 pm.

    Announcing the launch, Zee Café business head Neil Chakravarti said, “The first season of The O.C. on Café was immensely popular. We received innumerable requests from loyal viewers across the country to air the second season and we are indeed happy to be able to respond to those requests, and to bring it exclusively on Zee Café.”

    The first season saw Ryan Atwood (Benjamin McKenzie) fall in love with the girl next door, Marissa Cooper (Mischa Barton) Their romance, however, is ill-fated, constantly tested by the young lovers’ inability to escape from their pasts. At the end of the season, Ryan returned to Chino to protect his pregnant ex-girlfriend, Theresa from her abusive ex-boyfriend.

    As the tumultuous summer comes to an end, both Seth (Adam Brody) and Ryan must make decisions on their futures in The O.C. and their futures with Summer (Rachel Bilson) and Marissa. And the adults in town face fresh challenges as well, with Caleb’s past coming back to haunt him causing big problems for Sandy, and Jimmy’s fortunes taking a turn. Meanwhile, Julie and Kirsten are thrown together in a surprising and contentious alliance.

  • The more or less challenge – the role of outsourcing

    The more or less challenge – the role of outsourcing

     SINGAPORE: With the broadcast industry rapidly going digital, broadcasters need to provide new services on their existing cost bases to achieve operational efficiencies to drive in business changes.

    So, besides other seminars on going digital, the third day’s afternoon session at Broadcast Asia focused on how broadcasters need to focus on their core competencies by outsourcing in other areas.

    Some of the important issues that were raised included – why outsourcing is relevant to the broadcast industry and what benefits it can bring. And most importantly what are some of the ways in which outsourcing can be delivered.

    Throwing light on the rapidly accelerating changes in the broadcast industry, Siemens Business Services Media head Saleha Williams said, “Broadcasters have to grow out of their traditional operating models which are no longer working, because of rapid technological changes and business models. Outsourcing can also save us from various revenue pressures which have come in with lots of competition with more platforms, audience fragmentation and increasing churn and new advertising models.”
    The seminar brought out five core elements to the technology change

    o Broadband

    o Mobile

    o PVR

    o HDTV

    o Increasing competition from gaming and other forms of non broadcast entertainment

    Some of the regulatory-led change are:

    o Digital broadcasting (analogue switch off)

    o Deregulation

    Willaims gave out some pointers on how outsourcing can help broadcasters

    o Outsourcing in broadcast markets as much about innovation as cost savings.

    o Solving new problems, such as distribution to emerging platforms.

    o Outsourcers act as a catalyst, enabling broadcasters to transform ways of working. At heart of every outsourcing relationship.

    o Economies of scale, improved operational effectiveness and off shoring.

    o Typically savings of 20-30%, but depends totally on the nature of the service.

    Williams also listed out some of the benefits achieved by outsourcing other parts of the world.

    o Outsourcing in broadcast markets as much about innovation as cost savings.

    o Solving new problems, such as distribution to emerging platforms.

    o Outsourcers act as a catalyst, enabling broadcasters to transform ways of working.

    · Significant technology investment needed to compete in changing broadcast market.

    o Outsourcers can help broadcasters smooth their investment profile.

    o Pay an annual charge i.e. from capex to opex.

    o Outsourcers and their partners provide greater specialisation.

    o Apply learning from working with other broadcast organisations.

    o Sometimes easier to measure and incentivise services provided externally.

    o At heart of every outsourcing relationship .Economies of scale, improved operational effectiveness and off shoring.

    o Typically savings of 20-30%, but depends totally on the nature of the service.

    o Allows broadcaster to concentrate more effectively on its business strategy.

    o Reduces the level of management attention required for non core activities.

    o Hands problem over to a third party.

    · Driven by cost savings and risk transfer / reduction.

    · Embeds outsource provider in broadcaster’s organisation.

    o Provides transformational change.

    o Driven by risk sharing / reduction and cost savings.

    o Flexibility

    Three Principal Issues

    o Not understood initial cost base or level of savings achievable in house

    o Not factored all costs into deal e.g. transition, management and termination

    o Maintain outsourced services in house (pay twice over)

    o Efficiencies change over time i.e. cost efficient process in 2006 may be an expensive one by 2010

    Reasons and Observations

    o Both actual falls and perception that service levels have fallen are important

    o Broadcaster culture – problems need solving at once even if not “on air”

    o Require realistic service levels to be agreed and communicated to all users

    o Broadcaster and outsourcer need to understand each other’s business drivers

    o Need to protect competitive strengths and strategic identity. For instance, a company outsourcing technology may decide to keep enough of its technology strategists in house to be in control of its technology vision.

  • Sony takes Dish TV basic tier pricing up by Rs 38

    Sony takes Dish TV basic tier pricing up by Rs 38

    NEW DELHI: Subhash Chandra’s Dish TV has increased the price of its basic tier of DTH service by Rs 38 after Sony-Discovery One Alliance came on board earlier this month.

    The basic tier would now cost a consumer Rs 180, plus taxes. Earlier it was priced at Rs 142, exclusive of taxes.

    The new pricing is a fair indicator as to the money that Dish TV is paying One Alliance for its channels per subscriber.

    However, AXN has been kept out of the basic tier, which includes all the other One Alliance fare and the likes of Zee TV, HBO and three sports channels (ESPN, Star Sports and Ten Sports).

    Dish TV’s other packages include Dish Plus package, which comes packed with a wide selection of national and international channels at Rs 125 per month and offers channels like Zee Studio, HBO, TCM, MCM, Reality TV; Dish Bioscope, which features Zee Premier, Zee Action, Zee Classic and Pakistani film channel Filmazia and costs Rs 55 per month. News is packaged in Dish News with Zee Business, Euro News, Euro Sports News, NDTV 24×7, CNBC TV18, Awaaz and CNN Headlines News. The cost: Rs 60 per month.

    Dish Pick is an a-la-carte package that allows subscribers to pick and choose extra regional channels. Two channels come for Rs 30 per month, five channels for Rs 50 per month and all regional channels come for Rs 100 per month. (All the prices listed here are exclusive of taxes.) Channels included in this package include Zee TV, Sahara One Zee Punjabi, ETV – Rajastan, ETV – UP, ETV – Bihar, Geo TV, Zee Telugu, Jaya TV, Jeevan TV, Akash Bangla, Zee Bangla, Zee Gujarati and Marathi, India TV and NDTV India.

  • Broadcast Bill: CAS law out, addressable systems in

    Broadcast Bill: CAS law out, addressable systems in

    MUMBAI: If the proposed Broadcast Bill 2006 does become law, it will not just be the requirement of a licence to operate that the cable fraternity will have to grapple with.

    The other worrying aspect of the Broadcasting Services Regulation Bill 2006, for the MSOs in particular, is the fact that conditional access systems (CAS) has no place in the Bill’s scheme of things. If the proposed Bill, which is presently being circulated among members of the Union Cabinet, does become law, it effectively means that there will be no rollout of CAS in India. At least as far as the way it was originally mandated (a timebound rollout first the metros and then further afield) is concerned.

    The cable industry is presently regulated by the Cable Television Networks (Regulation) Act 1995. This Act will automatically stand subsumed if (and that’s a BIG if) Parliament signs the Broadcast Bill into an Act of law. What this will mean also is that SEC 4A, the section through which CAS was introduced, would also get deleted.

    Interestingly, there is a “savings clause” provided in the proposed Bill that protects CAS where it has already been implemented. Since Chennai is the only metro that is CAS-delivered, it could well end up being the only CAS market in the country.

    The thinking of the information and broadcasting ministry mandarins on CAS comes through quite clearly in the wording that the draft Bill uses. It talks of the need to introduce a modified version of CAS that is “more consumer friendly” that it calls Addressable Systems.And the road map for addressability is through going digital. The Bill proposes to progressively introduce addressable systems from a specified date with a cut-off date to complete the changeover from analogue to digital. And rather than a mandated CAS rollout, the Bill sees addressability coming in as a natural fallout of the phasing out of analogue and the gradual switchover to digital – a process that is going on in many markets across the globe.

    An enabling clause in the Bill that eases the switchover to digital is also seen as allowing enough flexibility to make suitable changes or amendments where required.

    The draft Broadcast Bill, which calls for the setting up of a separate Broadcast Regulatory Authority of India (Brai), has covered four major areas in its ambit, which include content, cross media ownership, subscriptions and live sports feeds (which are already part of the downlink norms).

     

  • E&M industry globally to touch $1.8 trillion in 2010: PricewaterhouseCoopers report

    E&M industry globally to touch $1.8 trillion in 2010: PricewaterhouseCoopers report

    MUMBAI: The media and entertainment industry as a whole is on an upscale growth curve. The global entertainment and media (E&M) industry has entered a solid growth phase and will increase at a 6.6 per cent compound annual growth rate (CAGR) to $1.8 trillion in 2010, according to PricewaterhouseCoopers’ Global Entertainment and Media Outlook: 2006-2010, released today.Interestingly, the report indicates that the Asia Pacific will remain the fastest-growing region in this industry, led by explosive growth in the People’s Republic of China and India, while US remains the largest but growing at a slow pace.

    New revenue streams are growing rapidly, the growth of physical formats has slowed, and availability of licensed digital distribution now provides consumers alternatives to piracy, the report says.

    Digital technologies, chiefly broadband internet and mobile, are becoming established and increasingly lucrative distribution channels that are changing the way consumers acquire entertainment and media content. Global spending via online and wireless channels reached $19 billion in 2005 and will increase to $67 billion by 2010, the Outlook says. Digital technologies consist of five categories: online rental subscriptions and digital streaming in filmed entertainment, licensed digital downloads and mobile music in recorded music, online and wireless video games, electronic books, and online casino gaming.

    “Virtually every segment of the entertainment and media industry is shifting from physical distribution to digital distribution of content,” said PricewaterhouseCoopers’ Entertainment & Media Practice global leader Wayne Jackson. “As this shift continues, we see more revenue opportunities for entertainment and media companies. So while physical distribution of content is declining, that decline will be offset somewhat by digital distribution, which is driving and creating new growth opportunities.”

    “We expect that Asia Pacific will remain the fastest-growing region for the industry, reflecting both the underlying economic growth and local developments and initiatives. The growth will be led by double-digit increases in Internet, TV distribution, casino and other regulated gaming and video games,” said PricewaterhouseCoopers’ Entertainment & Media Practice Asia Pacific leader Marcel Fenez. “Significantly, we also expect that the People’s Republic of China will pass Japan in 2009 to become the largest market in Asia Pacific.”

    Key Drivers of Global E&M Industry
    Continued expansion in the broadband household universe will be a major growth driver, and wireless subscriber growth and rollout of next generation handsets and high-speed wireless networks will stimulate mobile markets. In 2005, the broadband universe totaled 187 million households, up from only 30 million in 2001. By 2010, there will be an additional 246 million broadband households, bringing the total to 433 million globally.

    The number of people with a wireless telephone subscription is also growing rapidly, with a total of 1.8 billion globally in 2005. That figure will rise to 2.8 billion by 2010, adding one billion potential customers to mobile content during the next five years.

    Although piracy still cannibalizes sales in many markets, its incremental impact on legitimate sales will lessen. Industry trade associations, greater government action, the advent of convenient licensed alternatives and improved economic conditions are working to limit piracy.

    In the TV distribution market in Asia Pacific, piracy remains a significant problem showing no signs of improvement. However, for the overall E&M industry, incremental losses to piracy are slowing, which will have a positive impact on the overall end-user market.

    Global Advertising -Olympic Games and Fifa World Cups to Create Growth Spikes
    Global advertising will increase at a 6.2 per cent CAGR during the forecast period, to $521 billion in 2010 from $385 billion in 2005. Growth improvement achieved during the past two years will be sustained through 2008, but more moderate increases are projected during 2009-10 as the current economic recovery in many countries begins to falter. The Internet will remain the fastest-growing advertising medium, at an 18.1 per cent CAGR to $52 billion in 2010. The Internet will constitute nearly 10 per cent of global advertising in 2010 compared with less than 3 per cent in 2002.

    Growth by Region – U.S. Remains Largest but Slowest-Growing “The U.S. remains the largest E&M market, growing at a 5.6 per cent compound annual growth rate reaching $726 billion in 2010,” said James O’Shaughnessy, U.S. Leader of PricewaterhouseCoopers Entertainment & Media practice. “Video games and the Internet will be the fastest-growing segments, with compound annual increases of 8.9 and 8.4 per cent, respectively. Video games will be propelled by next generation console games and rapid growth in online and wireless games, while increased broadband penetration will enhance Internet access spending and stimulate online advertising.”

    EMEA, the second largest market, will expand at a 6.1 per cent CAGR to reach $580 billion in 2010. Led by Russia, Central and Eastern Europe will again be the fastest-growing area in EMEA, rising by a 12 per cent CAGR with double-digit growth expected in Internet and access spending, radio and out- of-home advertising, TV distribution, TV networks and video games.

    “During the next five years, TV distribution, Internet advertising and access spending, and casino and other regulated gaming will continue to record double-digit increases, as will video games for the EMEA region,” said PricewaterhouseCoopers Entertainment & Media practice European Leader John Middelweerd. “The sports market will also see a further boost due to a revitalized TV rights market and by revenues from sponsorship and merchandising around the two FIFA World Cups (Germany in 2006 and South Africa in 2010) and other major sporting events taking part in the territory.”

    Asia Pacific remains the fastest-growing region, led by explosive growth in the People’s Republic of China and IndiaSpending in Asia Pacific will average 9.2 per cent compound annual growth-the highest of all of the regions- reaching $425 billion in 2010. Latin America’s E&M market, the fastest growing region in 2005, is projected to rise at an 8.5 per cent CAGR to $60 billion in 2010. Canada is projected to expand at a 5.9 per cent CAGR to $41 billion in 2010, with double-digit growth in video games and the return of the NHL boosting its sports market.

    Key Findings by Segment – Internet Advertising and Access and Video Games to be Fastest-Growing

    Internet Advertising and Access: Increased broadband access will be principal driver of future growth, but it will come at the expense of dial-up spending in the U.S., EMEA and Canada. Internet advertising is growing rapidly, stimulated by an expanding broadband subscriber base and ad formats geared to broadband, including keyword search and full-motion video. Triple- play service bundles that combine broadband Internet access with telephone service and television distribution are making broadband increasingly attractive. Globally, Internet advertising will grow to $51.6 billion at an 18.1 per cent CAGR and Internet access will increase to $214 billion at an 11.9 per cent CAGR.

    Video Games: The video game market was in a transition year in 2005, awaiting the introduction of the next-generation consoles. Growth slumped to 3.3 per cent , the slowest increase during the past five years. The next generation of consoles and recently introduced handheld games will spur the console/handheld market in the U.S., EMEA, Asia Pacific, and Canada, while PC games will continue to decline or see little growth in the U.S. and EMEA. The introduction of new wireless phones capable of downloading games will boost the wireless game market in the US, EMEA, Asia Pacific, and Canada. Overall, the video game market will expand at an 11.4 per cent CAGR to $46 billion in 2010 from $27 billion in 2005.

    Casino and Other Regulated Gaming: Casino and other regulated gaming rose by 10.9 per cent, the second fastest growing segment in 2005. Rapid growth in online gaming and new casinos will propel growth, with Asia Pacific expected to experience the largest increase because new casinos in Macao will make that portion of the People’s Republic of China a major casino gaming destination. Spending will increase from $82 billion in 2005 to $125 billion in 2010, an 8.8 per cent CAGR.

    Television Distribution: Saturated markets will continue to dampen growth in the U.S. and will hold down growth in Canada as well. Conversely, in EMEA, Asia Pacific, and Latin America, large increases in the number of subscription TV households will generate double-digit gains. Continued piracy problems in Asia Pacific, however, will limit market potential in that region. Video-on- demand will expand in all regions, contributing to overall market growth. The introduction of IPTV will contribute to subscriber growth, and the migration of subscribers to higher-priced digital services will increase revenue per subscriber. The market will reach $230.3 
    billion in 2010 from $154.4 billion in 2005, at an 8.3 per cent CAGR.

    Television Networks (Broadcast and Cable): Digital platforms will support new channels and fuel multi-channel advertising, which will be the principal driver during the next five years. New analog channels, digital broadcasting, and HDTV will increase the appeal of free-to-air channels.
    Distribution to mobile phones will further expand viewing and advertising. Public TV license fees in EMEA and Asia Pacific will continue to be slow-growing components of the market. Spending will increase at 6.6 per cent CAGR to reach $227 billion in 2010 from $164 billion in 2005.

    Filmed Entertainment: While filmed entertainment declined in 2005, we expect a rebound in box office spending and introduction of high-definition DVDs to boost home video. Decreases at the box office and a sharp slowdown in home video spending caused the downturn. Box office spending rebound will be triggered by the construction of modern theaters and more screens in Central and Eastern Europe, Asia Pacific and Latin America, and by digital cinemas in the United States, EMEA, and Asia Pacific. Spending will increase at a 5.3 per cent CAGR, rising to $104 billion in 2010.

    Recorded Music: Growth in digital distribution and mobile music will drive spending in each market, offsetting further declines in spending on physical formats. Rising broadband subscribership will continue to fuel digital distribution, while an expanding wireless universe and upgrades to next generation wireless networks will foster mobile music growth. Globally, recorded music spending will rise at a 5.2 per cent CAGR to $47.9 billion in 2010. Spending in the US will rise to $14.7 billion in 2010, at a 3.7 per cent CAGR. The Outlook also includes in-depth global analyses and five-year market forecasts for seven other industry segments, including: radio and out-of-home advertising, business information, magazine publishing, newspaper publishing, book publishing, theme parks and amusement parks, and sports.

  • Sandy Smith the new editor of BBC’s flagship current affairs show ‘Panorama’

    Sandy Smith the new editor of BBC’s flagship current affairs show ‘Panorama’

    MUMBAI: UK pubcaster the BBC has announced that Sandy Smith is the new editor of Panorama which is BBC One’s flagship current affairs series.

    He will take over the post in September. The appointment comes after the former Editor Mike Robinson announced in March this year that he was to step down and retire from the BBC.

    Sandy has worked at the BBC since 1988. The majority of that time has been spent producing and directing programmes for the corporation’s current affairs department but since August 2005, he has been editor of the BBC ONE programme Watchdog.

    BBC director of news Helen Boaden said, “Sandy has great flair in making creative television that delivers provocative, challenging and serious journalism to wide audiences. His energy and commitment will invigorate and refresh our most important current affairs programme.”

    BBC head of current affairs George Entwistle says, “Sandy is an exciting addition to Current Affairs’ strong senior editorial team. His commitment to original journalism and creative programme-making will ensure Panorama tells the biggest and most relevant stories of our time in an accessible and engaging way.”

    Smith said, “I am delighted to take over at Panorama which despite its long and illustrious career still has its best years ahead of it. I have enjoyed my time at Watchdog and will be very sad to part company with such a talented, young team but I am very much looking forward to the challenge ahead.”

  • FremantleMedia strengthens biz with promotions

    FremantleMedia strengthens biz with promotions

    MUMBAI: Format creator and owner FremantleMedia has announced a series of promotions in the UK as part of the continuing evolution of its international business.

    Dan Allen has been promoted to Fremantlemedia Enterprises (FME) COO from his current role of Fremantle International Distribution (FID) COO. In this newly created role, Allen will be responsible for all operational departments including marketing, finance, legal, HR and material.

    He will be based in London and will report to FME CEO David Ellender.

    Bob McCourt, currently FremantleMedia Licensing Worldwide (FLW) VP, finance joins FME as director of finance. In this capacity, McCourt will be responsible for the division’s finance function including management and financial reporting, commercial support, strategic development and management of the FME finance team. McCourt, who has been with the company for eight years, will be based in London and will report to Dan Allen.

    Lynne-Mei Lee has been appointed to FME head of publicity, from her current role as FremantleMedia PR manager. Lee, who will be based in London and will report to Ellender, will oversee publicity for the division worldwide, working closely with divisional and territory heads and with local and international press and marketing teams.

    Dawn McComish moves up to FME HR head from her role as HR Manager, FremantleMedia. In this new position, McComish will manage the division’s human resources function covering all FME’s global operations. She will be based in London and will report to Dan Allen. McComish joined FremantleMedia in 2005; prior to this, she was head of Human Resources at a private aviation company, Netjets Management and Human Resources manager at the British Chambers of Commerce.

    Ellender said, “This is an extremely exciting time for our international commercial team and these promotions are extremely well deserved. I am confident that, with the team’s great talent and wealth of experience, we will rapidly build upon FremantleMedia Enterprises’ existing reputation and strengthen our position even further as a leading player in the industry.”