Category: Software

MUMBAI: Subhash Chandra‘s Dishtv has expressed serious intent to increase its channel offerings on the direct-to-home (DTH) platform. The company has selected Scopus Video Networks, a provider of digital video networking products, to support this expansion.

The technology will help Dishtv pack up 28 channels per transponder, eight more than its current capacity. “We will be implementing this technology within a month. It is a better compression system without sacrificing the quality,” Essel Group director technology Amitabh Kumar tells Indiantelevision.com.

Dishtv has seven transponders on NSS-6, offering a total of 130 channels. “We are building up the capability to offer more channels on our DTH platform,” Kumar says.

Dishtv will use Scopus products to enhance its transponders‘ utilization and expand its already fast growing DTH market share throughout the Indian subcontinent. The decision to tie up with Scopus comes ahead of Tata Sky‘s DTH launch expected in July.

The deal brings to Dishtv‘s headend Scopus‘ full line of products including E-1200 encoders, IRD-2900 decoders, IVG-7100 intelligent video gateway (IVG) platforms and network management system software. Scopus is a Nasdaq-listed company.

Scopus‘ IVG platform will provide advanced video processing capabilities including joint transrating, grooming and bit rate shaping.

India is beginning its transition to digital TV in which the number of digital subscribers is expected to grow ten-fold within the next five years.

Says Kumar commented, “We operate in a complex web of multiple satellites and multiple carriers and the unique capabilities offered by Scopus‘ product line such as the Intelligent Video Gateway will help us optimize operations while minimizing cost and enhancing reliability in our operations. Scopus has also helped Dish TV achieve very high satellite utilization and bring down costs on a per channel basis.”

Scopus VP sales Eitan Koter stated, “We are honoured and delighted to continue doing business with the Essel Group, India‘s leading media conglomerate. This achievement is a testimony to our on-going commitment to our customers‘ success. Scopus is the only vendor that offers a full product portfolio under one roof, enabling us to provide simple solutions to complex requirements such as the ones posed by Dishtv.”

MUMBAI: The telecom sector is attracting investments not only in the global market but also in India. Citigroup Inc. has acquired a 6.3 per cent stake in telecom service provider Videsh Sanchar Nigam Ltd (VSNL).

Disclosing this in a filing with the Securities and Exchange Commission, Citigroup has said that it now owns 18.61 million shares of VSNL. The The stake was bought through American Depositary Receipts listed on the New York Stock Exchange.

VSNL expects to see volume growth in voice and data business. The company recently bought out the internet assets of 7 Star, a Mumbai-based cable operator. VSNL also acquired for Rs 750 million Direct Internet Ltd and its wholly owned subsidiary Primus Telecommunications India Ltd to strengthen its broadband presence in the Small and Medium Enterprises (SME) segment.

The phone market is expanding rapidly in India. This has attracted global giants like Vodafone Group which bought a 10 per cent stake in Bharti Tele-Ventures.

SINGAPORE: So what if IPTV is still taking baby steps in India? Come 2015 and India is going to be the third most happening market for IPTV in the Asia Pacific region in terms of the number of households that will have the service, just behind China and Japan, according to projections by Kagan Research.

What‘s more, the total pay-TV revenues forecast are expected to grow from $13.1 billion in 2004 in the Asia Pacific region to an estimated $38.0 billion in 2015. On the other hand, IPTV revenue share will rise from 0.7 per cent in 2004 to 12.9 per cent in 2015. With this, telcos will capture a significant portion of Asia Pacific total pay-TV revenues.

At present, IPTV has been launched or is in the trial stages in the following countries in the Asia Pacific region: China (trial), Hong Kong, India (trial), Indonesia, Japan, Korea (trial), Malaysia, New Zealand, the Philippines, Singapore (trial), Taiwan and Thailand (trial). In the countries, where IPTV is on a trial basis, operators are either running a trial in selected markets or lobbying respective regulators to lift their grip on pay TV licensing.

Some of the key considerations when planning a ‘Pay TV Service‘ are: ‘Pay‘ factor – who, how much, subsidies; ‘TV‘ factor- programs, user experience, positioning, potential revenue stream; ‘Service‘ factor- look and feel of service and customer service.

In terms of the content strategy, some of the trends in IPTV that can be followed in Asia are:

• Start with satellite turnaround signals which already have an Asian footprint as these require little inhouse programming expertise.

• Invest in brand-name channels to build critical mass and position as a ‘complementary‘ and not ‘substitute‘ service to traditional PayTV.

• In-house content department and capabilities give operators the edge, e.g. self-programmed channels, marketing, licensing and legal expertise.

• Local content/ self-programming are essential for competing with traditional Pay TV operators.

• PVR/ TiVo has started in Taiwan and Australia on traditional Pay TV platform

SINGAPORE: With more than 150 million Digital TV homes across the world, the debate has fast moved on from ‘whether internet will do to TV, what TV did to radio years back!

The morning session on the changing face of television at Broadcast Asia 2006, brought home the fact that from the first launches of MPEG -2DVB broadcast platforms, the industry is seeing a new wave in TV delivery, which is being driven by intense competition amongst platform operators across the world.

Speaking on the occasion, Tandberg Television Asia Pacific president Graham Cradock said, “Research indicates that by 2010, more than 50 per cent of TV viewing is going to be on -demand basis. Consumers are already reacting favourably and adopting the new technological changes. There are 10 million High-definition (HDTV) subscribers in the US and The desire to watch the recent World Cup Fever has added on to the HDTV households across the globe including countries like Korea and Japan.”

Quoting from a study conducted by Ernst and Young in the US, Cradock added that in this digital decade, it takes very little time for people to adopt to newer technologies. So, it took almost 16 years for mobile to catch on, nine years for the internet, DVDs took six years to bust the video business; but for digital TV, it will probably take just very little time. He added, “Across the world more than ten per cent of the digital TV homes have shifted to on-demand basis. By 2010, we predict more than 50 the per cent of TV viewing is going to be on demand basis.”

The key message here is that the consumer has fast changed in the last five years. The availability of increasingly sophisticated personal media services has created a new generation of digital savvy consumers. With devices such as digital camera and video phones, MP3 players, personal video players and gaming consoles the use of WiFi to connect to the internet, the consumer is becoming a more and more accustomed to living in a world where he or she can access content anywhere.

So, what does this mean for the consumer and for broadcasters? Well, in the on-demand economy, obviously content remains king and consumer the real winner. Television will not offer more customized content supported by technology to go with the new multi media solutions like internet protocol television (IPTV) and high-definition technology. To add on it will be features like personal video recording, digital audio broadcasting (DAB) and conditional access control.

Cradock stressed the fact that there was not much customised content for television, “Television content, will have to be repurposed to suit the delivery platforms. And there is a growing cohabitative relationship between television, the Internet and to some extent mobile too. The challenge in the future is to make them complimentary to each other,” he said.

So, how are broadcasters gearing up to the challenges of Digital TV and the emergence of convergence?

Said Cradock, “The changing face of television is giving sleepless nights to many broadcasters, as the order will question the fundamental parameters of TV viewing. From the commercial perspective, fragmented content will obviously reduce advertising revenue. Also, they have to make sure that consumers have the screens which support the newer technologies. The complex TV world will also bring about legislative issues in the wake of digital switchover, access rights, franchising fees, etc.”

Graham listed out the survival strategy in the changing scenario:

Don‘t get anxious. Instead, get enthusiastic about the changes and adapt to them. Like, New Zealand is already talking about the digital switchover and opening up the bandwidth to cater to interactive television.

In IPTV, see an opportunity for delivery for interactive TV

Fragmentad and customized content will mean a drop in revenues but there is a positive side to it. Look at branded content, which will deliver more return on investment (RoI) for the advertisers.

For advertisers, it will be a win-win situation; at least now they‘ll get to know what works best for them.

Remember, earlier it was content to the consumer, and now it is content for the consumer.

MUMBAI: Disney‘s distribution arm Buena Vista International Television (BVITV) along with Walt Disney Internet Group, Disney Channel, ESPN, ESPN Star Sports, and its US television network ABC hosted its first New Media Showcase in the Asia Pacific region in Singapore.

Broadcasters, mobile operators, content aggregators, ISPs, and triple-play providers from around the region attended the event at which executives from across the Company showcased how Disney is combining cutting-edge technology with great content to create unique entertainment experiences for audiences allowing them to enjoy content whenever and wherever they want it.

Buena Vista International Television (Asia Pacific) senior VP and MD Steve Macallister said, “This is an extremely exciting time to be in the media industry and it‘s a particularly exciting time for The Walt Disney Company. We‘re buoyed by the rapid developments and change facing the industry and are pleased to be the first US studio to undertake an event of this scale in the region.

“Disney‘s ‘road map to the future‘ lay in combining the riches of our entertainment properties with new forms of distribution. Asian consumers have a voracious appetite for both technology and content, and across our businesses we are embracing this sea of change. There really is no other entertainment company better equipped to navigate the changes in our industry than The Walt Disney Company.

“The New Media Showcase has been a marvellous opportunity for our current and potential clients to view for the first time in one place, the new media content offerings from our many businesses.”

BVITV-AP showcased Desperate Housewives and Lost available for new media platforms such as for mobile, internet and video-on-demand. BVITV-AP says that it was the first studio to launch wireless content in South Korea in October 2005. In this mobile content deal with TU Media, the first-ever with a US studio, over 250 hours of programming including Desperate Housewives and Alias went to air via its linear channel “Blue”.

In the US Disney-ABC signed a deal with Apple to offer Disney and ABC content on iTunes and ad-supported, full-length episodes of four ABC primetime series on abc.com. Disney is looking after sports fans too. The World Cup soccer tournament currently gripping sports fans everywhere has underscored the international opportunity available in the wireless space.

ESPN Star Sports‘ latest mobile service offering in Asia, includes video, data and WAP services in addition to java games, wallpapers and ringtones. Keeping fans up to date with the action on the pitch is ESPN Here We Go.

This has the latest match insights, previews, predictions and analysis from the World Cup, and SportsCenter Mobile News, providing the latest in coverage of the top sports stories. Using SMS and Wap services, ESPN Football Live is keeping audiences abreast of the latest breaking news, injury reports, fixtures listings, and half-time and full-time scores.

ESPN Insider sends fans first hand match development and predictions with expert commentary. ESS recently launched Mobile ESPN. This mobile service brings the best of video, SMS, WAP, games and downloads for sports fans.

Younger audiences also have new platforms on which to enjoy and interact with content. Disney Channel‘s programming, digital media and marketing teams are working seamlessly to create an engaging experience empowering viewers to connect with the brand across multiple platforms, ultimately reinforcing and supporting the linear Disney Channel.

Disney Channel‘s strategy for creating compelling content for new media channels focuses on providing constant and personalised entertainment at the viewers‘ convenience. In June, Disney‘s shows That‘s So Raven and The Suite Life of Zack & Cody will be available in six different languages, on the re-launched broadband site, DisneyChannel.com. The local language tracks include English, Mandarin Chinese and Hindi.

The musical movie High School Musical is doing well among kids, tweens and families in the US. It recently premiered on Disney Channel Australia and New Zealand, followed by international roll-out across over 100 countries this year, and had 1.2 million unique visitors to DisneyChannel.com – the most ever for the site. Distributed by Walt Disney Records, the music album was number one on iTunes Music Store for three weeks and 1.3 million single tracks have been purchased digitally.

MUMBAI: comScore Media Metrix, which provides insight into American consumer behaviour and attitudes has released its monthly analysis of consumer activity at top online properties and categories.

The social networking phenomenon continued its stratospheric ascent, as MySpace.com reached new heights with 50 million visitors in May and YouTube.com nearly doubled its traffic from April, reaching 12.6 million visitors.

In addition to shopping for moms and grads, checking out job sites, and staying on top of personal finance and politics in May, Americans also flocked to their favourite TV show and sports sites, including those focused on the World Cup and NBA playoff games.

comScore Media Metrix president and CEO Peter Daboll says, “The popularity of social networking is not expected to wane in the near future. This is a phenomenon we‘re seeing not only in the U.S., but also around the world. The challenge for social networking sites will now be monetisation and how advertisers will respond to the global marketing potential of these sites.”

Americans demonstrated their interest in the World Cup soccer tournament and NBA Playoffs in the weeks preceeding the June tournaments. The NBA Internet Network attracted 6.3 million visitors in May which represents a 24 per cent increase versus April. fifaworldcup.yahoo.com — the official World Cup site — doubled its traffic, reaching more than 788,000 visitors.

Even more impressive was the worldwide traffic to the official World Cup site during the opening days of the tournament, with more than five million unique visitors from around the globe visiting the site on 9 June. Traffic to the site remained strong throughout the opening weekend, with average daily visitors through 11 June surpassing 4.4 million visitors.

Television fans headed to TV web sites in numbers to check out details for the season finales of their favourite shows. ABC, which aggressively promoted streamed versions of Lost and Desperate Housewives was rewarded with a 39 per cent increase in visitors to ABC.com, surging to 6.9 million visitors.

Traffic to the Lost site increased 71 per cent to 1.2 million visitors in May. Meanwhile, the Desperate Housewives site attracted 528,000 visitors, up 36 per cent from the prior month, and the Extreme Makeover: Home Edition
site saw a 41 per cent uptick in traffic to 286,000 visitors. The season finale of NBC‘s long running ER drove traffic to the show‘s site, with 236,000 visitors in May, up 49 per cent compared to April.

SINGAPORE: The second session at the Asian D-Cinema Summit, at the Broadcast Asia summit 2006, was all about taking stock of the Asian scenario in the digital age. In some ways, the conference did touch upon interactive possibilities, along with new ways of storytelling in the digital age.

However, the main focus was to critically take stock of Digital Cinema, in terms of investment, content and technology; apart from offering a brief update on the regional scenario.

Starting of the discussion on the Asian scenario, Mediacorp Technologies CEO Mock Pak said, “It looks like a rather positive scenario in the Asian region, with most of the countries racing ahead in the digital race. Korea, China and India, with its vibrant Bollywood industry, will definitely lead the way further. In percentage terms, more than 44 per cent of the digital films are from Asia.”

Quoting from her presentation on the Thailand Update, Golden Duck International Thailand‘s Yupayong Liewluck said, “Thailand has moved from 29 digital screens to more than 500 screens. In the future, the audience will have to pay more to enjoy the hi-end movie watching experience and from the exhibitors point of view it‘s going to be a more high investment proposition.”

Liewluck was of the opinion that though going digital is a high investment proposition, it‘s still not known what the business model will be like in the days to come. Also, what‘s the reliability of the final product and what will justify the cost of the digital cinema.

So, the moot question is how digital cinema will justify the high investment though in terms of distribution it provides an excellent platform to keep the films running.

Moving on to the Japan update, the presentation took off from the example of Narnia which featured 2k digital cinema projectors. Media Networking Laboratory executive manager Tetsuro Fujii said, “In Japan, more than 50 screens have gone digital and more than 30 screens are DCI complaint with 2K digital cinema.

The country is going at a very high speed to comply with Digital Cinema Initiative, while maintaining the highest standards of 4k digital cinema which has been a rule in the country. Now, the second phase has seen the likes of 4k cinema as the country is almost ready with its broadband network technologies.”

The Chinese film industry, on its part, continues to grow by leaps and bounds but steps are yet to be taken for a speedier development of digital cinema. Offering a slightly different perspective to the entire scenario, China Film Group chief engineer Chen Fei said the effort is really to maintain a cultural identity in the race to go digital. “After all, technology can sometimes destroy what culture has brought in.”

Shaw Organisation Singapore senior manager Mark Shaw said, “More than 26 screens here have digital screens.” What came across from the discussion was that Singapore is soon emerging as a hub in providing the support system for many Asian countries in going digital.” Said Shaw, “The Infocomm Development Authority of Singapore (IDA) and the Media Development Authority of Singapore (MDA) are collaborating to develop the digital cinema industry in Singapore, riding on the combined strengths of both agencies. The IDA‘s efforts are also in the direction of helping out other countries to comply with the digital norms.”

SINGAPORE: Is the whole world soon going to be divided into the Digital and the Non Digital? Well, looks like. And not just that, but understanding the digital world seems like the only way to remain relevant in the rapidly converging media & entertainment industry.

Broadcast Asia 2006, aptly embodies a theme, titled Digital – The Journey Forward. And to go with the theme, the mega event which is made up of exhibitions, conferences and meetings, started off bang on with ‘The Asian D-Cinema Summit.‘

The summit focused on the rollout of digital cinema, which has revolutionised the cinematic experience for moviegoers around the world. Setting the agenda for a day-long discussion, Mike Connors, chairman Connors & Associates, Singapore, began the session by shedding light on the overall scenario.

He said, “The coming days are going to pose newer challenges for people in the movie business. Cause: digital cinema is more than just perfect images and sounds, but it impacts on how a movie is actually made (production), distribution and projection in the theatres. So, it‘s not just about digital capture but also about digital delivery and projection. So, going the digital way is all about setting up systems that ensures a uniform and high level of technical performance along with quality control.”

So, how does the movie industry flourish as well as move towards a smooth transition to a digital future? What came across was that one has to move towards one digital distribution and exhibition format. And that format is clearly complying with the Digital Cinema Specifications (DCI which came across in 2002).

Taking the discussion further, Thomas Lim, Director, Education, Learning, Digital Media & entertainment, IDA Singapore, said, “The film fraternity across the Asian region seems to grappling with issues of complying with the Digital Cinema initiatives, to ensure great quality control. In fact, Singapore is fast emerging a great hub by playing a strong support to the industry in terms of helping comply and convert content to the norms of DCI.”

Some of the other questions which were raised during the opening session were what are the technical developments that will help enhance the conversion to digital screens? In the future, who will bear the technology cost? How will distributors and exhibitors work out their new equations? Will we have to create fresh content as the theatres go digital? Or will moviegoers have to pay more to enjoy digital cinema.

“Though, the answers to these queries will emerge in the time to come, it looks like we are getting there,” said Al Barton VP, Sony Pictures Entertainment, USA. He added, “Last year we were here speculating the specifications laid down to go digital but this time for people involved in the film business, we are here really to discuss how more countries have start adopting to digital screens. The systems which have worked in the US can also be applied in other parts of the world, in spite of the fact that the scenario does is differ from region to region. Like, France has independent producers and Germany is a country where most of the prints are used twice in the country. So, we‘ll have to come to a flexible solution for digital films being distributed across the world.”

The opening session also looked at the various technological challenges that the digital world will pose for the industry. Equipment manufacturers will have to invest in compatible equipment so as to help theatrical projectors to create a uniform and compatible digital cinema. But hopefully, as the market gets more competitive, the price of the equipment and its installation which were previously thought to be a major barrier to digital cinema will become increasingly affordable.