Tag: YouTube

TV5 to spawn business news channel TV5 Money

MUMBAI: Telugu news channel TV5, promoted by Shreya Broadcasting, has around 290 reporters covering the states of Telangana and Andhra Pradesh,and delivering hourly news bulletins and 30 special bulletins. It has, however, gained a reputation for its incisive business reportage and programming.

Now the management led by MD B Ravindranath is spawning a digital baby exploiting TV5’s business specialisation USP. Called TV5 Money, it will make its debut as a channel on Youtube, as an app, a website and on IPTV platforms on 3 August and it will be focused on business and lifestyle news.

The new service is being steered by TV5 business head Vasanth Kumar and a separate editorial team – from that employed by the mother news channel – has been put in place. TV5 Money will deliver real time financial market coverage, business news, commodities trends and life style content, says Kumar. The management claims that it will provide unbiased, in-depth investment analysis and assist investors on mutual funds, insurance products, derivatives and commodities trading.

The test signal was started in an informal programme on 29 July by Ravindranath.

Kumar points out that it was the success of TV5’s business news programming voices that encouraged the company to consider launching a separate business news channel. But the management decided to take dainty steps initially in the digital domain. He, however, is sanguine that channel’s market research expertise will make viewers’ journey into the complex financial markets easy.

Ravindranath too is confident that TV5 Money will gain traction quickly with viewers. “TV5 commenced operations in 2007,” he says. “But it very quickly positioned itself on top of the ladder in the regional broadcast news industry. It is known for its unique regional content, unbiased attitude and exceptional coverage of state, national and international news, making it Telangana and Andhra’s leading Telugu news and current affairs channel.”

Shreya Broadcasting chairman BR Naidu believes that its track record and team which will stream out non-stop coverage are sure to contribute significantly to the overall rise of regional broadcast news. “Telugu viewers from the smallest part of India nationally will be attracted to it,” he says.

A view that is echoed by a media analyst. Says she: “First of all Andhra and Telangana are very broadband friendly thanks to the strong IT focus the government has set out. Because of this, it should find a online audiences tuning in, especially in offices where broadband pipes are pretty thick. Then, the Telugu speaking populace is very industrious and they have seen an upgradation of their lifestyles over the years as the economy there has progressed. They want to know where to invest their money, and TV5 Money could help give them perspectives and opinions. By launching as a live streaming service, the company is cutting short its time to market and also keeping distribution and other costs low. But it will have to give it an extensive social media and digital marketing push to capture eyeballs quickly.”

July 30, 2016
TV5 to spawn business news channel TV5 Money

MUMBAI: Telugu news channel TV5, promoted by Shreya Broadcasting, has around 290 reporters covering the states of Telangana and Andhra Pradesh,and delivering hourly news bulletins and 30 special bulletins. It has, however, gained a reputation for its incisive business reportage and programming.

Now the management led by MD B Ravindranath is spawning a digital baby exploiting TV5’s business specialisation USP. Called TV5 Money, it will make its debut as a channel on Youtube, as an app, a website and on IPTV platforms on 3 August and it will be focused on business and lifestyle news.

The new service is being steered by TV5 business head Vasanth Kumar and a separate editorial team – from that employed by the mother news channel – has been put in place. TV5 Money will deliver real time financial market coverage, business news, commodities trends and life style content, says Kumar. The management claims that it will provide unbiased, in-depth investment analysis and assist investors on mutual funds, insurance products, derivatives and commodities trading.

The test signal was started in an informal programme on 29 July by Ravindranath.

Kumar points out that it was the success of TV5’s business news programming voices that encouraged the company to consider launching a separate business news channel. But the management decided to take dainty steps initially in the digital domain. He, however, is sanguine that channel’s market research expertise will make viewers’ journey into the complex financial markets easy.

Ravindranath too is confident that TV5 Money will gain traction quickly with viewers. “TV5 commenced operations in 2007,” he says. “But it very quickly positioned itself on top of the ladder in the regional broadcast news industry. It is known for its unique regional content, unbiased attitude and exceptional coverage of state, national and international news, making it Telangana and Andhra’s leading Telugu news and current affairs channel.”

Shreya Broadcasting chairman BR Naidu believes that its track record and team which will stream out non-stop coverage are sure to contribute significantly to the overall rise of regional broadcast news. “Telugu viewers from the smallest part of India nationally will be attracted to it,” he says.

A view that is echoed by a media analyst. Says she: “First of all Andhra and Telangana are very broadband friendly thanks to the strong IT focus the government has set out. Because of this, it should find a online audiences tuning in, especially in offices where broadband pipes are pretty thick. Then, the Telugu speaking populace is very industrious and they have seen an upgradation of their lifestyles over the years as the economy there has progressed. They want to know where to invest their money, and TV5 Money could help give them perspectives and opinions. By launching as a live streaming service, the company is cutting short its time to market and also keeping distribution and other costs low. But it will have to give it an extensive social media and digital marketing push to capture eyeballs quickly.”

July 30, 2016
Rajshri Entertainment MD & CEO Rajjat Barjatya no more

Mumbai: Rajjat Barjatya, the affable, soft-spoken managing director & CEO of Rajshri Entertainment, passed away Friday evening in Mumbai’s Jaslok Hospital. Rajjat had been battling a blood cancer relapse since end-March this year. He was 41 years old.

He was first detected with lymphoblastic leukemia in 2010. But he fought and conquered the life-threatening disease and had started aggressively expanding Rajshri in the digital space over the past couple of years. The dreaded disease resurfaced earlier this year.

He is survived by his wife Neha and two daughters, aged 11 and six.

Rajjat was a big votary of digital and online video and Rajshri Entertainment had emerged as amongst YouTube’s most preferred partners in India under his guidance.

Confirming the news, Jaslok Hospital CEO Dr Taran Gianchandani said that the death occurred at around 6:30 pm and refused to comment further.

According to sources, Rajat was supposed to travel to London next week for a bone marrow transplant. “He had been in and out of hospital over the past three weeks. In the ICU and out. On Thursday, he became quite serious and was put on the ventilator,” says a source close to family. “His body gave up the fight on Friday evening.”

His last rites will be performed on Saturday at Mumbai’s Worli Crematorium at 1 pm.

A cousin of renowned film maker Sooraj Barijatya and the son of Ajit Kumar Barjatya, Rajjat was also the founder & managing trustee of Rajshri Foundation, the non profit social enterprise of the Rajshri Group. He was actively involved in the Barjatya family’s Rajshri Productions, which has been behind family based movies such as Maine Pyar Kiya, Hum Apke Hain Kaun and the recent 2015 Salman Khan starrer Prem Ratan Dhan Payo.

May his soul rest in peace.

(Updated on 1 August 2016, 12:54 pm)

July 29, 2016
Rajshri Entertainment MD & CEO Rajjat Barjatya no more

Mumbai: Rajjat Barjatya, the affable, soft-spoken managing director & CEO of Rajshri Entertainment, passed away Friday evening in Mumbai’s Jaslok Hospital. Rajjat had been battling a blood cancer relapse since end-March this year. He was 41 years old.

He was first detected with lymphoblastic leukemia in 2010. But he fought and conquered the life-threatening disease and had started aggressively expanding Rajshri in the digital space over the past couple of years. The dreaded disease resurfaced earlier this year.

He is survived by his wife Neha and two daughters, aged 11 and six.

Rajjat was a big votary of digital and online video and Rajshri Entertainment had emerged as amongst YouTube’s most preferred partners in India under his guidance.

Confirming the news, Jaslok Hospital CEO Dr Taran Gianchandani said that the death occurred at around 6:30 pm and refused to comment further.

According to sources, Rajat was supposed to travel to London next week for a bone marrow transplant. “He had been in and out of hospital over the past three weeks. In the ICU and out. On Thursday, he became quite serious and was put on the ventilator,” says a source close to family. “His body gave up the fight on Friday evening.”

His last rites will be performed on Saturday at Mumbai’s Worli Crematorium at 1 pm.

A cousin of renowned film maker Sooraj Barijatya and the son of Ajit Kumar Barjatya, Rajjat was also the founder & managing trustee of Rajshri Foundation, the non profit social enterprise of the Rajshri Group. He was actively involved in the Barjatya family’s Rajshri Productions, which has been behind family based movies such as Maine Pyar Kiya, Hum Apke Hain Kaun and the recent 2015 Salman Khan starrer Prem Ratan Dhan Payo.

May his soul rest in peace.

(Updated on 1 August 2016, 12:54 pm)

July 29, 2016
Leo Burnett’s Bajaj V ad tops YouTube Ads Leaderboard

MUMBAI: Apart from the frequency of ad spots on television, their viewership on social media speaks tons about the mileage of a brand’s campaign. In today’s digital era, if an ad hasn’t been shared a few thousand times on Facebook and Twitter with hashtags to boot, chances are the brand’s spraying and praying on television didn’t work much. Thus a brand’s Youtube channel is a key touch of its marketing initiatives.

Google has come out with a list of ads and promoted videos that the Indian audiences have liked the most in the first six months of the year. Calling it YouTube Ads Leaderboard, the list features the most engaging ads that people chose to watch, the ten ads clocked an astounding four lakh hours of watchtime, with over 60 percent happening on mobile devices.

The first one the list is really a no-brainer considering its general reception by netizens and media at the time of release. Bajaj V, conceptualised and executed by Leo Burnett India for Bajaj’s flagship motorbike ‘V’ for Vikrant. The ad film as well as the subsequent Bajaj sponsored documentary ‘Sons of Vikrant’ took Indian social media by a storm by touching everyone with a nationalistic pride. The Bajaj V film also won the agency a Bronze Lion in the Promo & Activation category under Cars & Automotive Product & Services category. Talking about the campaign, Soumya Das, DGM (Marketing), Bajaj Auto said, “The genesis of Bajaj V came from our passion to keep alive the legacy of the invincible INS Vikrant in the form of a bike that lakhs of Indians can ride with pride. We’re extremely happy to know that the entire nation appreciates what we did. Youtube as a platform, with its targeting capabilities has helped us to connect with our TG more efficiently and made this campaign a bigger success.”

The other ad on the YouTube Leaderboard that has been recognised at Cannes this year is the tenth on the list Ariel ad for which BBDO India was awarded a Bronze Lion in the Creative Effectiveness category.

Amazon India’s ‘Apni Dukan’ created by the same agency is featured second on the list, followed by BefikarBookkar by Make My Trip. Among all the ten featured advertisements enlisted by Google, the common thread is the storytelling element. Six of the ten ads infact were released in the long format structure running far longer than the typical 60-second television commercial. Further, based on the average watchtime per ad, it is clear that customers are willing to invest their time and attention on advertising that is narrative-driven and takes audiences along on a journey. Bajaj, Hitachi, Royal Challenge Sports Drink and Ariel have taken this approach, and captured people’s attention.

Here is the list in full:

July 28, 2016
Leo Burnett’s Bajaj V ad tops YouTube Ads Leaderboard

MUMBAI: Apart from the frequency of ad spots on television, their viewership on social media speaks tons about the mileage of a brand’s campaign. In today’s digital era, if an ad hasn’t been shared a few thousand times on Facebook and Twitter with hashtags to boot, chances are the brand’s spraying and praying on television didn’t work much. Thus a brand’s Youtube channel is a key touch of its marketing initiatives.

Google has come out with a list of ads and promoted videos that the Indian audiences have liked the most in the first six months of the year. Calling it YouTube Ads Leaderboard, the list features the most engaging ads that people chose to watch, the ten ads clocked an astounding four lakh hours of watchtime, with over 60 percent happening on mobile devices.

The first one the list is really a no-brainer considering its general reception by netizens and media at the time of release. Bajaj V, conceptualised and executed by Leo Burnett India for Bajaj’s flagship motorbike ‘V’ for Vikrant. The ad film as well as the subsequent Bajaj sponsored documentary ‘Sons of Vikrant’ took Indian social media by a storm by touching everyone with a nationalistic pride. The Bajaj V film also won the agency a Bronze Lion in the Promo & Activation category under Cars & Automotive Product & Services category. Talking about the campaign, Soumya Das, DGM (Marketing), Bajaj Auto said, “The genesis of Bajaj V came from our passion to keep alive the legacy of the invincible INS Vikrant in the form of a bike that lakhs of Indians can ride with pride. We’re extremely happy to know that the entire nation appreciates what we did. Youtube as a platform, with its targeting capabilities has helped us to connect with our TG more efficiently and made this campaign a bigger success.”

The other ad on the YouTube Leaderboard that has been recognised at Cannes this year is the tenth on the list Ariel ad for which BBDO India was awarded a Bronze Lion in the Creative Effectiveness category.

Amazon India’s ‘Apni Dukan’ created by the same agency is featured second on the list, followed by BefikarBookkar by Make My Trip. Among all the ten featured advertisements enlisted by Google, the common thread is the storytelling element. Six of the ten ads infact were released in the long format structure running far longer than the typical 60-second television commercial. Further, based on the average watchtime per ad, it is clear that customers are willing to invest their time and attention on advertising that is narrative-driven and takes audiences along on a journey. Bajaj, Hitachi, Royal Challenge Sports Drink and Ariel have taken this approach, and captured people’s attention.

Here is the list in full:

July 28, 2016
‘Superwoman’ Lily Singh and Aziz Ansari feature in Adweek’s Creative 100

MUMBAI: As the world comes closer and closer as a global village, the critical role played by content becomes even more evident. From funny jokes and memes around the internet to videos of war crime and police injustice, content has shown how mighty it can be — and the recent headlines on several international dailies is evidence of that.

While its dissemination through multiple channels has made content easy going; it has also become more elusive, especially when it comes to the advertising world. No longer boxed by conventional labels its loose definition has given several creatives sleepless night to crack the content code; while giving wing to a new breed of creators with brilliant ideas.

Adweek’s recently released Creative 100 is proof that the commercial world of creativity has come to terms with this fact, and has accepted these new age creators. The list honours 100 unique and fascinating problem solvers from the worlds of advertising, media, technology, branding, pop culture and more and this year the publication has segregated the list as – 50 Agency Creatives, 20 Content Creators, 20 Creative Celebrities and 10 Visual Artists.

It must be noted that the list is limited to U.S.-based creatives, and is not meant to be a definitive ranking of the absolute most creative people in these industries. Rather, it is an evolving mix of senior and junior talent whose work has shone brightly over the previous year. Also, everyone is honored equally on the individual lists within the Creative 100—the order of appearance does not indicate a ranking.

When it comes to the agency creatives, though not listed according to rank, the first creative directors that find their name in the list are Y&R’s veteran executive creative director John Matejczyk, who is responsible for breakthrough content for Google, Netflix, Audi and AAA; creative duo Rohan Cooke and Laura Petruccelli from Goodby Silverstein & Partners who devised the ingenious Sonic’s exquisite ‘Square Shakes’; and FCB’s global chief creative officer who came up with Secret deodorant’s ‘Mean Stinks’ anti-bullying work and Allstate’s Mayhem campaign. Double Grand Prix winners at Cannes, Alexander Nowak and Felix Richter from droga5 also found their mention on the list.

India’s very own Youtube sensation Lily Singh AKA Superwoman is amongst the top content creators on the list. With 9.2 million subscribers and 1.3 billion video views, she truly rules Youtube. “She’s worked with Coca-Cola to create buzzy content and starred in YouTube’s ongoing advertising campaign, which pitches the site’s most popular homegrown creators. In May, she even hosted the video giant’s annual Brandcast event to pitch brands on why they should shift significant television ad budgets to digital,” reads on of her accolades in the list. Apart from her, writer actor and producer Quinta Brunson of BuzzFeed’s viral video fame, Scott Bradlee from Postmodern Jukebox, and creative director Kai Hasson who founded content studio Portal A are a few names from the list of 20.

The list also honoured 20 creative celebrities in which wrestling world’s star John Cena, pop star Beyonce, actor Lupita Nyong’o of the 12 Year’s of Slave fame, comedian and TV host Louis C.K. and netflix star Aziz Ansari were mentioned.

Last but on the least were ten visual artists whose pathbreaking works compelled the industry to acknowledge their genius. Award winning costume designer of Star Wars: The Force Awakens opened the list, followed by Interaction Designer Ekene Ijeoma, punjabi boy and fashion designer Waris Ahluwalia from ‘House of Waris’, photojournalist Lynsey Addario and more.

Here is the entire Creative 100 list- http://www.adweek.com/news/advertising-branding/adweeks-creative-100-2016-list-alphabetical-order-172650

July 27, 2016
‘Superwoman’ Lily Singh and Aziz Ansari feature in Adweek’s Creative 100

MUMBAI: As the world comes closer and closer as a global village, the critical role played by content becomes even more evident. From funny jokes and memes around the internet to videos of war crime and police injustice, content has shown how mighty it can be — and the recent headlines on several international dailies is evidence of that.

While its dissemination through multiple channels has made content easy going; it has also become more elusive, especially when it comes to the advertising world. No longer boxed by conventional labels its loose definition has given several creatives sleepless night to crack the content code; while giving wing to a new breed of creators with brilliant ideas.

Adweek’s recently released Creative 100 is proof that the commercial world of creativity has come to terms with this fact, and has accepted these new age creators. The list honours 100 unique and fascinating problem solvers from the worlds of advertising, media, technology, branding, pop culture and more and this year the publication has segregated the list as – 50 Agency Creatives, 20 Content Creators, 20 Creative Celebrities and 10 Visual Artists.

It must be noted that the list is limited to U.S.-based creatives, and is not meant to be a definitive ranking of the absolute most creative people in these industries. Rather, it is an evolving mix of senior and junior talent whose work has shone brightly over the previous year. Also, everyone is honored equally on the individual lists within the Creative 100—the order of appearance does not indicate a ranking.

When it comes to the agency creatives, though not listed according to rank, the first creative directors that find their name in the list are Y&R’s veteran executive creative director John Matejczyk, who is responsible for breakthrough content for Google, Netflix, Audi and AAA; creative duo Rohan Cooke and Laura Petruccelli from Goodby Silverstein & Partners who devised the ingenious Sonic’s exquisite ‘Square Shakes’; and FCB’s global chief creative officer who came up with Secret deodorant’s ‘Mean Stinks’ anti-bullying work and Allstate’s Mayhem campaign. Double Grand Prix winners at Cannes, Alexander Nowak and Felix Richter from droga5 also found their mention on the list.

India’s very own Youtube sensation Lily Singh AKA Superwoman is amongst the top content creators on the list. With 9.2 million subscribers and 1.3 billion video views, she truly rules Youtube. “She’s worked with Coca-Cola to create buzzy content and starred in YouTube’s ongoing advertising campaign, which pitches the site’s most popular homegrown creators. In May, she even hosted the video giant’s annual Brandcast event to pitch brands on why they should shift significant television ad budgets to digital,” reads on of her accolades in the list. Apart from her, writer actor and producer Quinta Brunson of BuzzFeed’s viral video fame, Scott Bradlee from Postmodern Jukebox, and creative director Kai Hasson who founded content studio Portal A are a few names from the list of 20.

The list also honoured 20 creative celebrities in which wrestling world’s star John Cena, pop star Beyonce, actor Lupita Nyong’o of the 12 Year’s of Slave fame, comedian and TV host Louis C.K. and netflix star Aziz Ansari were mentioned.

Last but on the least were ten visual artists whose pathbreaking works compelled the industry to acknowledge their genius. Award winning costume designer of Star Wars: The Force Awakens opened the list, followed by Interaction Designer Ekene Ijeoma, punjabi boy and fashion designer Waris Ahluwalia from ‘House of Waris’, photojournalist Lynsey Addario and more.

Here is the entire Creative 100 list- http://www.adweek.com/news/advertising-branding/adweeks-creative-100-2016-list-alphabetical-order-172650

July 27, 2016
What’s driving the APAC broadcasting equipment market’s growth

MUMBAI: Here’s another research report, which echoes what everyone has been saying about the growth of OTT services in the Asia Pacific region. But it is from the perspective of the equipment that is used to produce, and transmit and distribute content.

Persistence Market Research’s latest report predicts that the overall broadcast equipment market in Asia Pacific is expected to grow healthily, along with traditional TV broadcast equipment, even as the IP converged broadcasting equipment segment shows the maximum growth.

Consumers, especially in APAC, prefer access to audio-visual content over multiple devices such as tablets, smartphones and desktops. OTT players such as YouTube, Netflix, and Amazon Prime offer multimedia content that can be accessed across various platforms. This is a major factor driving growth of the market, says the report.

Another peculiarity of the region is that various countries have low electricity penetration that is creating significant challenges for broadcasters. Infrastructure challenges such as lack of electricity and mismatch cabling can negatively affect growth of APAC broadcasting equipment market.

Most key players in the APAC broadcasting equipment market are focused on carrying out promotional activities via industrial exhibitions to advertise their products and form strategic alliances with other broadcasting service providers to expand the reach of their business.

For the report, Persistence Market Research has classified the sector into traditional TV broadcast, traditional radio broadcast, IP converged broadcasting and asset management systems. And the APAC region has been broken down as follows: China, Japan, India, ASEAN, Australia and New Zealand and the rest of APAC.

The report has concluded that the overall APAC broadcast equipment market was valued at $2.49 billion in APAC in 2015. It predicts that it will grow at an 8.1 per cent CAGR to touch $5.10 billion by 2024.

And this is primarily being driven by the convergence of high definition (HD) technologies such as 4K with IP. As per the report, 4K services are expected to be available on IP networks over the next four to five years via satellite launching and cable platforms.

Traditional TV broadcast equipment

The traditional TV broadcast segment accounted for 45.1 per cent share in terms of value of the total APAC broadcasting equipment market in 2015. Consumption of HD content in the region is increasing at a rapid clip, supported by rising sales of HD ready TVs. Valued at US 1.123 billion in 2015, it is expected to grow at a CAGR of 8.1 per cent between 2016 and 20124.

The traditional TV broadcast equipment market is further segmented into cameras, monitors, routers, switchers, cable, transmitter, receiver and other accessories. The routers sub-segment is projected to expand at the highest CAGR of 9.2 per cent during the forecast period.
Content creators across the region are shifting towards 4K cameras in order to capture high definition video. This is being supported by sales of 4K UHD televisions that has gained momentum due to rising disposable income in the region.

IP converged broadcast equipment

The IP converged broadcasting is projected to be the fastest growing segment in the APAC broadcasting equipment market, exhibiting a CAGR of 10 per cent during the forecast period. IP converged broadcasting is the emerging segment in broadcasting equipment market, where the IP network is used for the content delivery by broadcasters. The convergence of IP with broadcasting has enabled broadcasters to deliver content in real time in a more secure and reliable manner. It was valued at $453.3 million in 2015 and is expected to hit $1.06 billion by 2024.

The Persistence Market Research report has further sub-segmented this category into media over IP, media contribution over IP and IP in studios and campuses.

The traditional radio broadcast segment was valued at US$ 544 Mn in 2015 and is anticipated to register a CAGR of 7.5% during the forecast period.

The key players in the APAC broadcasting equipment market include Media Excel Inc.(US), ChyronHego Corporation (US), TVU Networks Corporation (US), XOR Media Inc.(US), FOR-A Company (Japan), ORACLE Corporation (US), Unlimi-Tech Software Inc. (US), Grass Valley (Canada) and General Dynamics Mediaware (Australia).

July 22, 2016
What’s driving the APAC broadcasting equipment market’s growth

MUMBAI: Here’s another research report, which echoes what everyone has been saying about the growth of OTT services in the Asia Pacific region. But it is from the perspective of the equipment that is used to produce, and transmit and distribute content.

Persistence Market Research’s latest report predicts that the overall broadcast equipment market in Asia Pacific is expected to grow healthily, along with traditional TV broadcast equipment, even as the IP converged broadcasting equipment segment shows the maximum growth.

Consumers, especially in APAC, prefer access to audio-visual content over multiple devices such as tablets, smartphones and desktops. OTT players such as YouTube, Netflix, and Amazon Prime offer multimedia content that can be accessed across various platforms. This is a major factor driving growth of the market, says the report.

Another peculiarity of the region is that various countries have low electricity penetration that is creating significant challenges for broadcasters. Infrastructure challenges such as lack of electricity and mismatch cabling can negatively affect growth of APAC broadcasting equipment market.

Most key players in the APAC broadcasting equipment market are focused on carrying out promotional activities via industrial exhibitions to advertise their products and form strategic alliances with other broadcasting service providers to expand the reach of their business.

For the report, Persistence Market Research has classified the sector into traditional TV broadcast, traditional radio broadcast, IP converged broadcasting and asset management systems. And the APAC region has been broken down as follows: China, Japan, India, ASEAN, Australia and New Zealand and the rest of APAC.

The report has concluded that the overall APAC broadcast equipment market was valued at $2.49 billion in APAC in 2015. It predicts that it will grow at an 8.1 per cent CAGR to touch $5.10 billion by 2024.

And this is primarily being driven by the convergence of high definition (HD) technologies such as 4K with IP. As per the report, 4K services are expected to be available on IP networks over the next four to five years via satellite launching and cable platforms.

Traditional TV broadcast equipment

The traditional TV broadcast segment accounted for 45.1 per cent share in terms of value of the total APAC broadcasting equipment market in 2015. Consumption of HD content in the region is increasing at a rapid clip, supported by rising sales of HD ready TVs. Valued at US 1.123 billion in 2015, it is expected to grow at a CAGR of 8.1 per cent between 2016 and 20124.

The traditional TV broadcast equipment market is further segmented into cameras, monitors, routers, switchers, cable, transmitter, receiver and other accessories. The routers sub-segment is projected to expand at the highest CAGR of 9.2 per cent during the forecast period.
Content creators across the region are shifting towards 4K cameras in order to capture high definition video. This is being supported by sales of 4K UHD televisions that has gained momentum due to rising disposable income in the region.

IP converged broadcast equipment

The IP converged broadcasting is projected to be the fastest growing segment in the APAC broadcasting equipment market, exhibiting a CAGR of 10 per cent during the forecast period. IP converged broadcasting is the emerging segment in broadcasting equipment market, where the IP network is used for the content delivery by broadcasters. The convergence of IP with broadcasting has enabled broadcasters to deliver content in real time in a more secure and reliable manner. It was valued at $453.3 million in 2015 and is expected to hit $1.06 billion by 2024.

The Persistence Market Research report has further sub-segmented this category into media over IP, media contribution over IP and IP in studios and campuses.

The traditional radio broadcast segment was valued at US$ 544 Mn in 2015 and is anticipated to register a CAGR of 7.5% during the forecast period.

The key players in the APAC broadcasting equipment market include Media Excel Inc.(US), ChyronHego Corporation (US), TVU Networks Corporation (US), XOR Media Inc.(US), FOR-A Company (Japan), ORACLE Corporation (US), Unlimi-Tech Software Inc. (US), Grass Valley (Canada) and General Dynamics Mediaware (Australia).

July 22, 2016