Asia-Pacific Broadcasting+ 2023

FROM THE EDITORS

What a pleasure it is to work with someone you admire, and an honour it is to take over the reins of the institution that is Asia-Pacific Broadcasting, a publication stewarded by my industry peer, Andrew Yeo, for much of its 40 plus years in existence.

This is my first print issue of Asia-Pacific Broadcasting and as I take on the role of publisher I hope to continue its long-standing reputation as a trusted news source for the region’s broadcasters, whether they be traditional broadcasters or streaming, and these days both.

Early on in my career I had the opportunity to work at Star TV, a nascent satellite TV broadcaster in Hong Kong that had just 5 channels and was making the bold move to broadcast simultaneous Mandarin Chinese sports commentary! It has now been 30 years since those days but my love for broadcasting has not diminished.

With the multiplicity of broadcast channels, platforms and audience, Asia is undoubtedly at the forefront of broadcasting and many new innovations are coming out of the region. This is why we will recognise excellence and innovation at the inaugural Asia-Pacific Broadcasting+ Awards, and I hope to see many of you there.

And so to this issue, which is just a snapshot of some of the many recent stories we have published online and brings into focus articles including the metaverse, AI-powered newsrooms, satellite advancements, and the rise of short-form content such as has been seen with TikTok’s explosive rise in popularity.

As always, I look forward to meeting many of you in person and wish you, and Asia-Pacific Broadcasting, the very best in the years ahead. Read on and enjoy!

PUBLISHER & EDITOR-IN-CHIEF Tim Charlton

EDITOR EMERITUS Andrew Yeo

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Alive, Ablaze & Active … indeed, within a few short months of embracing APB+ into his fold of B2B publications, Tim Charlton of Charlton Media is certainly taking APB+ to the next level. In the highly visual world of shortform content like Facebook, TikTok and other social media platforms pulling eyeballs away from the TV industry, APB+ at NAB 2023 conducted 61 short video interviews and published them on its website and social platforms. This is just an indication of how Tim and his ‘Triple A’s team’ are fine-tuning the publication to meet the challenges of New Media.

The next big step by Charlton Media, in conjunction with BroadcastAsia 2023, is the launching of the Asia-Pacific Broadcasting+ Awards on 8 June 2023 at the Crowne Plaza @ Singapore Changi Airport. This is something that gladdens my heart as it’s time we recognise the sterling work of TV professionals in Asia-Pacific who were able to leverage technologies to survive and thrive despite limited budgets, Covid-19 restrictions and other disruptions.

We salute them and their providers of innovative software-defined broadcast solutions that enable the media industry in Asia to leverage affordable open-source equipment to come up with practical practices and excellent projects in TV production.

Looking forward to meeting you at the Crowne Plaza on the evening of June 8.

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Broadcasting+

Can the broadcast industry operate

online-only by 2030?

The broadcast industry has been discussing and building an ecosystem that predominantly streams video and audio for television and radio services, respectively. Technology companies, research institutions and consortia have been improving streaming performance to optimise quality of experience (QoE), resource requirements, scalability, and other factors compared to overthe-air (OTA) broadcasting services.

As we commence 2023, this article discusses the specific future challenges for the media and broadcast (M&B) industry as we navigate towards 2030. As mentioned in my previous articles for this column, the M&B industry has to plan its operations and future with sustainability at its core, which will influence the business or operations of the industry. It also aims to present a question to all stakeholders in the M&B industry: Will media and broadcast delivery be online-only by the end of the decade? This is a question that was triggered by The Guardian, which reported that “the BBC is preparing to go online-only over the next decade according to its Director-General.” According to ITU, digital broadcasting started in the 1990s for both TV and radio. Although we saw the first digital switchover of TV around the year 2000 and an increase in digital radio

transmissions, there are still a considerable number of countries that are yet to switch off analogue TV. The switchover of radio to digital platforms is also still in progress in many countries. At the same time, broadcasters and the media industry have embraced streaming for distribution. TVNZ, a public television broadcaster in New Zealand, recently introduced simultaneous streaming of its OTA programme content. This bears similarity to analogue television broadcasting (ATV), which we will continue for some time while introducing digital terrestrial television (DTT) broadcasting services. This simulcast service may last until most of the population has access to DTT with wider coverage and access to a digital decoder as a builtin decoder or set-top-box (STB). When OTA signals via DTT are not available, direct-to-home (DTH) satellite distribution has been and will be offered as an alternative.

The COVID-19 pandemic highlighted the value of OTA broadcasting services, mainly terrestrial services such as DTT or even ATV, which is still

prevalent in some countries, especially in the AsiaPacific region (APAC). It is not economically viable to continue terrestrial broadcast in both analogue and digital forms simultaneously.

Having observed the changes in consumption patterns, devices and access methods, the question arises around what the distribution mechanism will be for the future. Over the last decade, I have been advocating and demonstrating that the distribution of television (also radio) is a mixture of DTT (or ATV), DTH, cable TV, over-the-top (OTT) and Internet Protocol-based TV.

Except for OTT, other services are qualityassured TV services. OTT does not assure quality as it operates on the principle of “Best Effort” and the network (the Internet).

All-OTT distribution

As discussed earlier, the BBC will reportedly shut down its DTT transmission in 2030 to move to an all-OTT distribution. BBC had already switched the BBC Three terrestrial channel to OTT pre-pandemic but had to revert back during the pandemic period as they could not reach its audience adequately.

With most of the broadcast revenue coming from OTA ads, what the BBC is doing is a huge aspiration in the broadcast space. This is especially true for a public service media organisation that does not have advertisements to subsidise the Content Distribution Network traffic and receives government subsidies.

Based on ITU reports, the rapid advancement of technology and ageing population are two mega trends noted globally. Many advanced and developed countries have ageing societies, including the UK, New Zealand, Japan, and several APAC countries. As we approach 2030 and with the acceleration of digitalisation, a lower number of people will want a DTT reception. However, if we switch off DTT, older, poorer, and marginalised populations may suffer as the average audience age increases.

During the recent WorldDAB Summit 2022 that took place in London, the UK invited all terrestrial broadcast stakeholders to work towards protecting OTA terrestrial services. With ageing and marginalised populations needing access to information without any barrier or gatekeeper, some terrestrial services that were switched off in the last two years have been reinstated.

As we move towards an increasingly digital future, critical questions loom large. Can countries and their governments formulate policies that will ensure a smooth transition away from DTT without widening the digital divide?

As spectrum prices decrease, could the potential savings be redirected to build infrastructure and create robust support systems for online-only distribution? These are some of the pressing issues that demand attention from the M&B industry. It is imperative that we actively seek answers to these questions, as our responses will shape the future of broadcasting in the digital age.

If we switch off DTT, older, poorer, and marginalised populations may suffer as the average audience age increases

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FAST STREAMING NEEDS TO PAUSE AND NOTE WHAT CONSUMERS WANT

In recent years, free ad-supported streaming TV (FAST) has gained significant traction and established itself as a major disruptor in the online streaming market. However, FAST streaming may have to hit ‘pause’ to take note of what consumers want in 2023.

Video technology platform Fast Channels TV has predicted user experience as a key factor in what is to come, with quality content at its core. Instead of endless scrolling, consumers are now looking for a seamless TV-live experience that provides a curated selection of original content and exclusive channels that are easily and efficiently accessible. As a result of this, the industry is working towards creating a better connected experience for all, said Fast Channels TV. Content will fuel the FAST channel business, and by prioritising useful, relevant, and consistent content, content providers will be able to build stronger relationships with their audiences, Fast Channels TV added.

One of the biggest challenges of FAST, however, is the lack of standardisation, where the absence of measurement has hampered an industry eager to share its growth. In time, Fast Channels TV foresees standardisation coming to the FAST space, if it is to capture the many digital advertising opportunities before it.

Russell Foy, CEO of Fast Channels TV, added, “2022 saw a surge in newly launched services and channels, as early adopters rushed to join the FAST explosion. And while we can expect a continued stream of video service providers and operators entering the FAST space, this year we’re likely to see a new phase as the market trends back towards quality. As viewers crave constantly improved content, content owners are taking note and driving growth by adapting quickly to consumer behaviour, delivering not only vault content, but originals and exclusives, as well as live content.”

AI and ML to revolutionise

sportscasting

From tennis to basketball, from cricket to baseball, from badminton to football — Artificial Intelligence (AI) is being used in almost every branch of sports broadcasting. It is becoming an integral part of sportscasting, increasingly impacting the way sports is covered.

Petter Ole Jakobsen, Co-Founder & Chief Innovation Officer at Vizrt (short form for Visualization in Real-Time), a provider of innovative storytelling tools for media content creators in broadcast, affirmed, “AI affects everything from the level of audience engagement, and how games are covered, to the way the sports are played and analysed.”

He maintained, “In addition to revolutionising sports for the players and sports managers, AI can also revolutionise live broadcasting and impact the way the audience experiences sports. In fact, if a broadcaster is not using AI to make the most of the media content and data gathered by him, his sports coverage may struggle to keep up with competitors in the years to come.”

Already, AI solutions are allowing automated match reports, robotic cameras and edited video highlights. The challenge for public service broadcasters is to navigate all the different AI applications and apply them in a way that serves the audience more efficiently

and effectively, offering them a richer experience. There is no shortage of conversations, research, insight and cases surfacing about the benefits of integrating AI and machine learning (ML) — it is clear to see why they have not only grown to be a hot topic of discussion, but have also been widely adopted and integrated into workflows. For sports broadcasters, AI and ML are a window to the future of fan experience; for suppliers, providing easy access to these powerful tools will become essential.

“AI and ML provide increased live and intuitive data, stats, and predictions for production teams,” said Mark Egan, Faculty Member at the European Broadcasting Union (EBU). The increase in data creates more opportunities for broadcasters to utilise the information within intelligent automation — translating into better quality visual content for audiences.”

Jakobsen added, “AI is also set to change the way broadcasters monetise sporting events. Based on the events on the field, AI systems can be used for automatically choosing the right camera angle to display on the viewers’ screens. It can automatically provide subtitles for live events in different languages based on the viewer’s location and language preferences. AI systems can also be used to identify the right opportunities to present ads based on crowd excitement levels in sporting arenas, enabling broadcasters to effectively utilise monetisation opportunities through ad sales.”

The content delivered to fans must be relevant, targeted, and add value — the more relevant and targeted the content is, the more engaging the experience to the viewer.

During the recent pandemic, broadcasters adopted AI and augmented reality technology to enhance the viewing experience of sports when fans were not allowed in the stadiums. Canned audience audio and virtual fans were also used alongside realtime visual data and stats on the feed throughout the pandemic. Take the Spanish football league, LaLiga, for example. The football league implemented artificial stadium audio into broadcasts to engage fans when their only option was to tune in from home. The AI layered audio recreates a familiar environment for remote viewers to feel as though the teams are not simply playing to an empty — or reduced capacity — stadium, bringing the traditional game atmosphere to life. From visualisation to assisted coaching, AI and ML are changing the world of sports as we know it.

If a broadcaster is not using AI, his sports coverage may struggle to keep up with competitors

Rapid rising of streaming content fuels fiercer competition

WHY MORE VIEWERS IN ASIA WILL TURN TO SVOD STREAMING SERVICES

Although global streaming continued to grow in 2022, the sheer number of content options meant that individual services on average captured a smaller share of users’ daily watching time.

According to the 2022 Video Streaming Industry report by NPAW, providers around the global saw a year-on-year increase in the total number of video plays for a second consecutive year. This, however, was offset by daily consumption per user and service dropping for both video-on-demand (VoD) and linear TV, at -12% and -23% respectively.

While daily linear TV playtime per user and service dipped, global linear TV quality improved. This, said NPAW, demonstrated how highly broadcasters and operators continue to prioritise linear TV QoE … and this uptrend is likely to continue. More content is also being consumed

on big screens, with lesser viewers choosing to consume content on small-screen devices. As for what content viewers favour, sports proved to be the big winner, with providers that had streaming rights to the Qatar World Cup enjoying an increase of 80% in the total number of plays and 83% higher total playtime when compared with the previous six months.

Ferran G. Vilaró, CEO & Co-Founder of NPAW, said, “With competition growing fiercer by the minute, it’s business-critical for streaming services to provide the right content and a superior streaming experience if they want to attract and retain users and maintain growth.

“To do so, they need to leverage their platforms’ data to the fullest extent, implementing advanced analytics solutions that combine technical performance monitoring and user journey insights.”

Apple joins the sports livestreaming landscape

Apple is reportedly considering bidding for the streaming rights of a range of English football games, including the globally popular English Premier League (EPL).

If Apple goes ahead with the bid, it will be the next significant acquisition to the sports content stable for the Apple TV+ streaming service, after deals were secured to stream both Major League Baseball and Major League Soccer (MLS), the latter for US$14.99 monthly or US$99 per season. All matches from the MLS, the professional league in the US and Canada, will be streamed on Apple TV+ for the next decade.

Apple’s foray into live sports streaming comes as traditional pay-TV continues to lose its position as the destination for sports viewing. According to Grabyo, a browser-based live video production suite that works with sports and social media entities to distribute over-the-top (OTT) and digital content, 79% of global sports fans would choose online streaming to watch their favourite sporting events, if given a choice.

Since the commencement of the 2019/20 EPL season, Amazon Prime Video has been live streaming

selected matches to global audiences, and Amazon is also reportedly working on a standalone app for watching sports content.

Besides the EPL, Amazon also owns the rights to stream games from the National Football League (NFL), the professional American football league.

Driven by high penetration in both fixed and mobile broadband, as well as low subscription prices, more viewers in Asia are consuming content from subscription video-ondemand (SVoD) services.

Of the 698 million SVoD subscriptions that will be recorded in the region by 2026, 354 million subscriptions will come from China, with India providing 157 million subscribers, predicts Digital TV Research. Simon Murray, Principal Analyst at Digital TV Research, told APB+, “In China, SVoD platforms can screen more liberal content than their state-owned linear channel counterparts, although the government is beginning to clamp down on this.”

“SVoD also allows content owners to monetise their vast libraries online, and this is especially true in India. The rise in SVoD subscriptions, however, may not necessarily have a detrimental effect on traditional linear TV services in the region. Digital TV Research does not foresee a high degree of cord-cutting in Asia, except in China, where the government is pushing for IPTV and fibre broadband over cable TV.”

Cord-nevers, on the other hand, will continue to bypass all alternatives and go straight to over-thetop (OTT) or SVoD services.

Murray added, “To ensure success, each platform needs to provide something that its competitors do not offer, such as live sports, exclusive rights to a reality show, or original programming. These platforms must also refresh their content regularly.”

TV will still be relevant for next gen viewers

With short-form content platforms continuing to gain popularity among young consumers, it would appear that traditional TV is beginning to lose its relevance among younger viewers. Or, is it?

While Gen Z viewers aged between 13-17 are spending a slightly greater proportion of their viewing time with non-TV content, those aged between 18-24 are more likely to devote a greater proportion of their viewing time to professional TV content, according to the FOCUS Generation Next 2002 report from Horowitz Research.

This, the research firm said, can be partially explained by the fact that older Gen Z viewers are accessing content through multiple platforms, including subscription streaming services, free streaming services, as well as traditional cable and satellite services. These viewers are able to make independent decisions about the services they want to subscribe to, and have access to a wider range of streaming options to enjoy. However, Horowitz Research believes that as younger viewers age, they will begin to consume more TV content.

REPORT: CONSUMER ENGAGEMENT

Asia’s streaming services struggle to capture viewer attention

From traditional linear TV programming to streaming services such as Netflix and Disney+, not to mention short-form content platforms such as TikTok and YouTube, the deluge of content options available to viewers today are all fighting for that most valuable of commodity – time, and it would appear that many are falling short.

Particularly in Asia, user engagement per streaming service was the lowest in 2022, when compared to other regions in the world. Till Sudworth, CMO, NPAW, described, “Consumers in Asia watched on average 30 minutes of video-ondemand (VoD) content and 23 minutes of linear TV on each streaming platform per day. This is considerably less than the global average of 48 minutes for VoD and 37 minutes for linear TV.

“The average number of titles the average consumer in Asia watched on each streaming service per day was also the lowest of all regions – 2.08 VoD titles versus a global average of 2.76 and 1.3 linear TV titles versus a global average of 1.6.”

NPAW, a video analytics company, had earlier this year, released its 2022 Video Streaming Industry Report, which highlighted how user engagement per streaming service globally continues to decline as content options multiply.

While it would appear that the appetite for content remains strong, the saturation of content choices has apparently left viewers struggling to catch up.

Speaking with Asia-Pacific Broadcasting+, Sudworth said, “As is the case for the rest of the world, daily consumption per user and service decreased in 2022 compared with 2021. In Asia, the time each consumer spent watching content on each streaming service decreased year-over-year by 11% for VoD and 22% for Linear TV. Meanwhile, the average number of daily titles dropped by 6% for VoD and 5% for linear.”

“These drops show the effects of increased market saturation and content options. With more options available, consumers are spending less and less time on each platform,” Sudworth added.

Yet, there is one genre of content that is beginning to draw more viewers to the screen, with NPAW’s report identifying an increase in the average watching time for regional-specific streaming services.

Sudworth noted, “Our cross-regional customers in Asia don’t perform as well as country-specific customers, mainly due to the localised video content. This shows the high value of local content.

“We are seeing increased interest in country-specific programming, as with services featuring such content escaping

the downward trend.” He also disagreed that viewer fatigue is potentially driving the industry to hit a plateau when it comes to consumption of content. On the contrary, the total amount of plays and playtime across streaming services increased in 2022, demonstrating a continued demand for online video content.

What operators need to concern themselves with, is the decreasing amount of time viewers are spending on online video entertainment everyday as more content platforms and options emerge.

Sudworth maintained, “That doesn’t necessarily mean that services are losing users as a result of market saturation. But they are certainly losing valuable daily engagement, which can affect advertising revenues and eventually lead to users losing interest in the platform and churn.”

AVoD key to linear TV content streaming

According to the NPAW report, the quality of linear TV content has continued to improve on streaming services, with providers implementing longer time lags to allow for higher-quality video to load in order to avoid mid-stream buffering.

Yet, daily linear TV playtime per user and service declined by 23% year-on-year, while users watched 11% fewer titles per day. However, Sudworth was quick to emphasise that the total number of plays and playtime across services for linear TV content is increasing year after year.

“It is not an issue of a decrease in demand for linear TV content streaming, but of the increasing amount of services resulting in less daily engagement per user and service.”

For broadcasters looking to introduce new over-the-top (OTT) services, he recommended them to design a superior navigation and streaming experience that, paired with top-quality content, can retain users, and maximise user engagement.

Besides localised content, sports and news have proven to be high-engagement programming that can attract eyeballs, according to Sudworth.

Next, broadcasters need to think of strategies to monetise their content and they might do well to take a leaf out of the book of both Netflix and Disney+.

A recent NPAW survey revealed that 76% of subscription video-on-demand (SVoD) services are planning to introduce ads by 2025, driven by the need to increase monetisation in the face of falling engagement numbers.

Sudworth said, “With the over abundance of services and the current economic situation, consumers are reaching a plateau when it comes to the monthly spending they can devote to streaming. Broadcasters will need to decide if they want to include ads to maintain and increase revenues and, if so, implement a data-driven ad strategy that maximises value while not impacting the viewing experience.”

NAB 2023 features a record 1,200+ exhibitors

APB+ News Editor Shirish Nadkarni talked to the behemoths of the broadcasting industry as they unveil their latest innovations.

Weigner Managing Director , Cinegey

Cinegy, a leading provider of software solutions for the broadcast and media industry, has launched new features at NAB 2023. According to Jan Weigner, Managing Director of Cinegy, the company’s key products on display include the Cinegy Air, a playout solution, the Cinegy Multiviewer, and the Cinegy Capture.

“We have a new subtitling engine, we have finally the ability to encode 8k and 60 fps (frames per second) in HEVC. And that is finally an accomplishment that was for me a milestone,” said Weigner. Cinegy’s new 8k encoding capability is a significant development for the industry, as it allows broadcasters to deliver ultra-high-definition content to viewers with greater clarity and detail. While there may not be many practical applications for 8k broadcasting at the moment, the technology is expected to become more widely used in the future.

“Not necessarily that there are too many practices out there that want to do 8k right now. But you also know it’ll happen — and, yeah, it will happen; it also means if I can do 8k, that means I can do the 16 channels of HD at 60 fps, or 32 channels if you just want 30 fps … and that is actually something I can give you even off a laptop,” said Weigner.

Cinegy’s software-based approach is another key selling point for the company. “We are hardware agnostic. And because it’s software it will always be up to date,” said Weigner.

Micheal Accardi President, CueScript

CueScript President Michael

Accardi revealed at NAB2023 that the company’s FR7 prompter has been designed to suit Sony’s new full-size imager with a removable lens PTZ camera, with a cloud option allowing users to access the software from anywhere without the need of a VPN.

Accardi believes the FR7 prompter will be a gamechanger for the industry. “We’re expecting great things to happen with it,” he said. The FR7’s unique design allows for full wide-angle usage and increased pan-and-tilt range.

Both the FR7 prompter and the cloud option are brand-new products and CueScript is counting on an outstanding response, especially with the amount of field work being done in the industry today.

The new FR7 prompter enables the lens to be in exactly the right position for the prompter, allowing it to go close to the glass, providing a full wide angle and a bit of ‘panic range’. Accardi explained, “It’s getting more usage out of the pan-and-tilt that you have.” The cloud option is also an exciting development, particularly for the industry’s fieldwork. It allows users to access CueScript’s software from anywhere without the need for a VPN, providing flexibility and convenience for users on the go. “One of the things that really separate us from others is not only the product range, but the team we have put together,” Accardi said.

Pebble, a leading provider of broadcast automation and channel-in-a-box solutions, unveiled its hybrid cloud messaging and IP connection management tools at NAB 2023.

Alison Pavitt, Director of Sales & Marketing at Pebble, shared the company’s vision of building relationships and understanding customer priorities at the event. Although Pebble had some demo equipment on display, its primary goal was to communicate face-to-face with loyal customers and convention attendees who were keen to view Pebble’s products and understand the direction the company had taken. The broadcast automation provider showcased two key products at the show — its hybrid cloud messaging tool and an IP connection management tool, Pebble Control.

Pebble’s hybrid cloud messaging tool offers cloud functionality on the ground and in the cloud to match the changing requirements of broadcasters. The IP connection management tool, Pebble Control, democratises the transition to IP for customers who seek to simplify their connection management in new environments.

Pavitt explained Pebble Control’s unique focus on open standards and interoperability, which is achieved by complying with emerging standards and even helping write them.

Dejero, a Canadian company that provides bonded cellular devices for video transmission, launched its new 5G product line at NAB 2023 in Las Vegas from April 15 to 19. Jeremy Miller, Director of Global Technical Account Management at Dejero, explained that the company provides bonded cellular devices that can seamlessly integrate with any landlines, other internet sources or any sources of IP to provide people with seamless connectivity wherever they go — to transmit video or obtain Internet connections. Dejero’s new product line includes the Dejero EnGo 3 family series, which features the Engo 3 with a single end that does HD video, the just-announced 3s that is a 4K-capable single input, and the 3x multicamera unit that was unveiled last year, and does up to four simultaneous HD feeds or a single 4K feed. Miller explained that the need for more bandwidth in the field is increasing and Dejero’s products can help provide a solution. He said, “The company’s gateway product line provides a blended internet connection, so you can do more in the field, like for example mobile connections, so you can have VoIP phones and all sorts of different connections in order to increase connectivity in the field.

“When you need to get that live transmission out, that’s when we really shine; and that’s the most important thing,” said Miller.

Perifery, a division of DataCore with 25 years of experience in the content delivery and archive market, has introduced new content archive, preservation and delivery products at the NAB 2023.

The company’s premier product, Swarm Software, is software-only installed on customer hardware, allowing them to build large or small archives that are S3 and cloud-based style.

Perifery also recently acquired Object Matrix, which built an appliance product for content archive and content preservation.

For 2023, Perifery is showcasing a transportable product called Perifery Transporter, which is shipped in a flight case and provides over 100 terabytes of encrypted storage and processing solutions. With built-in applications such as BB asset managers and archive tools, Perifery Transporter supports Perifery’s new product, AI Plus, which allows AI-style apps and services to be brought down to the edge and remote locations.

“The hardware key of Perifery Transporter provides secure encryption for the data stored; once you take the encryption key out, no one can read the storage,” said Alex Grossman, Perifery’s Vice President of Marketing. Perifery Transporter has many applications, such as closed captioning and object recognition.

At NAB 2023, James Eddershaw, Managing Director of Shotoku Broadcast Systems (UK), highlighted the company’s latest elevator pedestal, the TI-11x. He declared, “The pedestal allows users to take the camera very low and also very high in the studio, with exceptional range and speed; while the pedestal is fixed in position, it offers smooth and fast on-air performance, making it an ideal choice for broadcasters. “This is not a pedestal that moves around on the floor; we have other products that do that. The TI-11x has robotic control, but can also be used manually, if needed.”

Eddershaw noted that while the company has plenty of competition, its focus on providing an overall package gives Shotoku an edge. He said, “It is the overall customer experience that marks us out — it includes customer service, flexibility of the system, and the ability to expand and upgrade in the future. “We pride ourselves on being able to give all of that to our customers.” The company has been providing robotics solutions to broadcasters worldwide, and is a regular at NAB shows. Eddershaw mentioned that the company’s products are some of the best on the market, offering broadcasters a combination of performance and longevity, including the TG-18, a pan and tilt head for a studio that offers robotic control and can be used manually.

Simen Frostad, Chairman of Bridge Technologies, announced at the NAB 2023 that the company has upgraded its analytics and monitoring system for media signals, which has been in the market since the company’s inception in 2004.

The system allows users to log into their IPTV network to monitor and measure the flow of the video going over an IP network. The device has 100 megabits of interfacing, and can be accessed using a web browser, allowing users to conduct real-time analytics from any location.

Frostad noted that the company had made significant changes since it was launched. “We still do the same things that we did 19 years ago,” he smiled, “but some things have changed.

“Technology has evolved, and now it offers HTML5 protemps; and the backend has gone from 100 megabits to 100 gigabits, which is a huge bandwidth increase. We have gone from compressed media to uncompressed media, all the way up to 8k.”

The company excels in monitoring and analysing any type of signal, whether it is satellite, terrestrial cable, OTT, IPTV or any form of compressed media in JPEG XS or JPEG 2000.

“When you carry any kind of media over Legacy interfaces or over IP, you need to know what’s actually going on, or else you’re kind of flying blind,” said Frostad. “So, that’s our kind of market base.”

He stated that the company’s USP of the system is its helpfulness in remote access.

AJA, a leading manufacturer of video and audio interface technologies, unveiled a new product at NAB 2023 that promises to be a gamechanger for the video and audio industry. The Dante AV solution combines high-quality, ultralow latency video with a Dante audio network, which makes it possible to send video signals to any device on the network. Barry Goch, the Product Marketing Manager of AJA, shared that the company has expanded beyond its mini converters and now offers digital recorders and various other products in the marketplace.

The Dante AV solution is a new addition that builds on the company’s expertise in audio and video technologies. “Dante is a well-established audio networking protocol,” Goch explained.

“And what we’ve done is we’re adding high quality, ultra-low latency video to your Dante audio network. It takes in 12 G-SDI or HDMI and converts that signal into the Dante network.”

AJA’s Dante AV solution is expected to be a popular choice for video professionals, especially given the ongoing shift towards remote workflows due to the COVID pandemic. In response to this trend, AJA has created a remote workflow solution on its website, aja.com, which includes highlighted products like the Io, Io x3, and IO 4k Plus, that are designed to operate in remote environments.

“We have a number of highlighted products that are designed to work in a remote environment.”

Atika Boulgaz EVP Global Communication, Viaccess-ORCA

Viaccess-ORCA, a FrenchIsraeli technology vendor for the content video industry, has showcased its end-to-end data-driven solutions at the show in Las Vegas. The subsidiary of the Orange Group specialises in content protection and anti-piracy solutions, service delivery platforms, data treatment solutions, UI targeted advertising, and AI and machine learningbased solutions. Atika Boulgaz, EVP Global Communication, Viaccess-ORCA, explained that the company’s products and solutions portfolio covers most of the value chain, from DRM and conditional access to service delivery platforms and added value features, such as monetisation-based solutions and targeted advertising. The end-to-end solutions also include working with key partners, providing customers with the necessary tools to monetise their services and engage their end-users.

Boulgaz added, “We experienced a real challenge in communicating with distant communication, virtual events, webinars, and so on. And when we came back last year, we realised that face-to-face meeting, there is nothing else that can replace it. So we are finding a new way of communicating, and being on-site is very important.”

Viaccess-ORCA’s cybersecurity suite of antipiracy services and end-to-end data-driven solutions were also showcased at the event.

Harjinder Sandhu

Director of Marketing, Zixi

Zixi, a global video delivering platform, showcased its SDVP (Software Defined Video Platform) in Las Vegas. Zixi has been in the industry for 15 years and has more than 1,000 customers in the media industry using its software-defined solutions to distribute their content.

The platform comprises of several components including Zixi Zen Master, which is the cloud control plane and orchestration, and the 60 Broadcaster, central to Zixi’s SDVP.

Harjinder Sandhu, Zixi’s Director of Marketing, said, “Our focus is on two things. One is just highlighting the sheer scale of Zixi and Zixi-enabled network, while showcasing its SDVP.”

Sandhu added, “The most important one is Zixi Zen Master, which is the cloud control plane and orchestration as well as the 60 Broadcaster which is the heart of the Zixi’s SDVP that is being used for cloud video gateway, content processing, normalisation transcoding – and everything else that is required for getting your content from A to B reliably, keeping quality of service, quality of experience in mind and getting that content in a costeffective manner from one place to another.”

Zixi’s SDVP is said to be an essential tool for the media industry as it allows for reliable and costeffective delivery of content.

The company’s focus on showcasing the sheer scale of its network and SDVP software highlighted its commitment to provide effective and affordable solutions for the media industry.

CEO and Head of Telstra Broadcast Services, Telstra

Telstra Broadcast Services, a leading managed service provider for the global broadcasting and media industry, has been attending the NAB shows for many years. This year, the company brought to Las Vegas its latest solutions that can meet the industry’s changing needs. Andreas Eriksson, CEO & Head of Telstra Broadcast Services, shared that the company has been active in the media industry for 25 years. Seven years ago Telstra decided to establish an endto-end business — Telstra Broadcast Services — to address the global broadcasting industry’s needs.

Telstra Broadcast Services has two portfolios: the Media Networks portfolio and the Managed Services portfolio. The Media Networks portfolio includes different platforms such as the Global Media Network, the Internet Delivery Network (IDN), bespoke solutions, satellite provider, and a hybrid solution for media network use case.

The Managed Services portfolio includes the Media Production Platform, a remote production platform, and the virtual advertisement service.

Eriksson shared that Telstra Broadcast Services has a unique selling point compared to its competitors. Being owned by a telco, Telstra Broadcast Services can provide hybrid solutions that are truly end-to-end, unlike other companies that can only provide fibre or satellite propositions.

Lawo

According to Andreas Hilmer, Chief Marketing Officer of Lawo, their approach to infrastructure optimisation and elasticity means unused gear and processing can be utilised for many applications, attached to different productions and, in turn, maximising the investment. Lawo’s IP native technology futureproofs investments and offers options for the future.

“Our approach is to future-proof that to optimise this investment that needs to be taken in a way that it’s introducing elasticity, which means that the processing can be utilised for many applications that it can be attached to different productions that you basically utilise in a better way the investment that you’ve taken,” said Andreas.

Lawo’s video processing technology uses a high-density secret conversion tool with up to 192 BNC connectors for SDI signals to get those signals on the network, with the aim of optimising broadcast infrastructures. “The future, I mean, he’s about optimising infrastructure, and enabling elasticity, which means if you look at a broadcast infrastructure today, there’s a lot of unused gear and a lot of unused processing,” Andreas said.

Lawo’s new technology is aimed at optimising investments for broadcasters and ensuring that investments are future-proof. As the industry continues to move towards IP native technology, Lawo is looking to offer broadcasters the option of flexibility and optimisation with their new tech.

ANALYSIS: AI

How AI-driven journalism can enhance fast, accurate, and engaging news

Technology in the newsroom is continually evolving. From mobile phone journalism, social media reporting to artificial intelligence (AI) news discovery, the current newsroom is not only leveraging the latest technologies to improve productivity, but also to produce fast, accurate, and engaging news.

Bloomberg’s Cyborg, for instance, has aided the news agency by analysing and creating draft content based on the latest financial reports of companies, diminishing errors in financial news reporting, and allowing journalists to focus on more important tasks such as analytical writing. This is an example of how AI can efficiently support the newsroom production for data-driven news and trend analysis. Hence, the use of AI is gaining steep momentum in the technology, media & entertainment, and telecommunications industry (TMT), due to its ability to support fast and accurate content discovery, creation and archiving. This is evidently so, as up to 72% of TMT firms surveyed still strongly agree that AI is very important to their ability to stay

There can be

competitive over the next five years — 12% higher than any other industry — according to insights from Deloitte’s State of AI in the Enterprise, 5th Edition Survey (2022).

While the findings may come as a surprise, the survey attributes the high AI adoption rate to the industry’s razorsharp focus on operational efficiency and customer acquisition as well as retention.

The survey also uncovered that TMT stands out slightly in its AI adoption with use cases such as video content analysis, audio and video mining, and automation of production operations.

Further accelerated by external factors like the migration to cloud and streaming, AI is seeing more adoption in the TMT sector.

The growth factors, as forecast by Deloitte’s survey, are in continuing to monetise such digital-first enablers and TMT companies will still derive the most value from use cases related to back-end operations that tend to enable standard business practices such as business-asusual (BAU) workflows. That said, how should TMT organisations adapt and

tap on AI and other similar solutions and technologies to create fast, accurate, and engaging content?

Optimising AI in the newsroom

A common use of AI in the newsroom is to transcribe interviews and adapt them into various content formats. Compared to 2021, AI transcription company Limecraft processed 448% more materials in 2022. Otter.ai, an AI-enabled transcription application, records speech in real-time and transforms it into written dialogue. It can even recognise different speakers and can learn special terminology that specific industries might use. The long hours of transcribing can now be reduced to minutes. With AI being an optimal tool for replacing time-consuming tasks, journalists can focus on stories that require multi-faceted analysis and ethical judgments. Apart from relieving tedious tasks, AI can also create content to meet market demands. Mittmedia, a Swedish news publisher, uncovered that real-estate articles are of great interest to their readers, but it is impossible for their workforce to

TMT firms see AI as an important tool for staying competitive over the next five years.

faster, more accurate, and detailed news updates within minutes, and broader views with less bias

cover every property sale in the country. Thus, they developed the Homeowners Bot, which can produce quick descriptions of recently sold properties, resulting in 1,000 more subscribers, while increasing productivity at the workplace.

AI can have a positive impact in the newsroom, Mei Lee Quah, Director, ICT Research, Frost & Sullivan, told APB+. She explained, “There can be faster, more accurate and detailed news updates within minutes. There will also be broader views with less bias in global news and more insights as journalists will have more time to focus on data analysis and formation or seeking of opinions on updates and facts obtained.”

Fighting misinformation

With the flood of misinformation seeping through every social media channel, accurate news reporting has become increasingly important, but it is challenging to manually monitor every channel 24/7. To overcome this challenge, Chequedo, an Argentinabased and Google-funded company, developed an AI tool that allows the selection and monitoring of media on a 24-hour basis. The AI tool is also equipped with an automated factchecker that can filter those sentences by the claimer and the subject.

In another instance, Logically, a UK start-up, combined AI and human intelligence to verify the veracity of news. By comparing with more than 100,000 sources, the AI is able to analyse and label the credibility of the content from low to high. During India’s last election, Logically’s AI found more than 50,000 articles to be fake. The AI, then, proceeds to block out the content to stop the spread of fake news. Indeed, AI is efficient in amplifying the works of journalism, and this can also be seen in the accelerated investment in AI by TMT organisations. According to the Deloitte’s survey in 2022, 42% of TMT’s AI investments is in personalisation of user

ANALYSIS: AI

receive the same feed, and producers can take viewer experiences to the next level.”

AI can also be used to help viewers understand the scene through live analytics and graphics. Torsvik explained, “As machines become better at recognising shifting factors and understanding context, training AI through Human Assisted and machine learning (ML) to recognise complex shifting behavioural and environmental factors within a live sports match allows for quick setup time and continuous, realtime adjustment of the keying — a task no human operator could achieve effectively.

experience and 43% of it is in back-end and production operations automation.

In an interview with APB+ in late 2021, Stan Moote, Chief Technology Officer of IABM (International Trade Association for Broadcast & Media Technology), believes that in the long-term, drivers such as demanding content pipelines will continue to drive increased spending on AI and analytics solutions in the media industry, even if current investment in AI and analytics could bring initial pressure on stretched budgets.

AI-powered production tools

As content engagement rates become the hallmark of quality content, it is not surprising that more media firms and newsrooms have moved towards the deployment of AI-powered production tools. Furthermore, Deloitte Global predicts that the market for virtual production tools will grow to US$2.2 billion in 2023, up 20% from an estimated US$1.8 billion in 2022.

For instance, Mirriad, an AI-powered advertising firm, uses AI to identify objects during the post-production stage to insert brand assets into the video. This, in turn, resulted in a wider reach for virtual advertising, fan engagement and innovative graphics.

Sports reporting is also increasingly benefiting from the AI capabilities offered by many solutions today, noted Andre Torsvik, Vice-President of Marketing Strategy at Vizrt Group.

Writing on the Vizrt blog, he said, “For broadcasters, these powerful capabilities inherent in numerous software production tool sets mean virtual ads will grow swiftly in importance and potential. Not only can producers replace on-thefield and perimeter board ads with the content chosen, but modern AR and branded graphics now have much better flexibility – for advertising and to enrich what the viewers at home see.

“Furthermore, different streams of onfield advertising for multiple regions can

“In turn, automatic keying enables a director to have confidence that when AR assets are inserted or overlaid into the action, it will not compromise the quality of the output for viewers.”

“The quality of an AI-driven keyer is unprecedented with precise adjustments made in real-time!”

With AI as a powerful tool for creating fast, accurate and engaging content, TMT organisations are better equipped with next-generation tools to monetise their content and widen their audience reach.

Speaking about the potential opportunities AI can offer the media industry, Frost & Sullivan’s Quah added, “The future role of AI in journalism needs to be carefully assessed. AI is best positioned to add value and support an uplift in revenue from the newsroom.

“For example, there can be greater potential for monetisation of the business segment with more widespread availability of the global trends, analysis and implications reported by newsrooms.

“The fact that people derive a living from analysing the news only goes to show that the information uncovered through active journalism can be put to better use.”

ANALYSIS: METAVERSE

How the broadcast and media industry can innovate content with metaverse

Broadcasters can leverage the metaverse’s success to deepen engagement with their audience.

In a utopian future, billions of people inhabit immersive digital environments, spending most of their time working, socialising, and playing games inside virtual and augmented worlds. If you were thinking of an imagined world out of a fictional novel, think again. Instead, the above describes the metaverse vision of Mark Zuckerberg, CEO of Meta, who declared in 2021, “Metaverse isn’t a thing a company builds. It’s the next chapter of the internet overall.”

Since that proclamation however, the story has made for grim reading for Zuckerberg, with Meta continuing to lose billions of dollars on metaverse investments. Yet, it may not be all doom and gloom for the metaverse, which could be a US$800 billion-dollar industry by 2024, research by Bloomberg in 2021 predicted.

Citing this figure in a new white paper, Access Partnership, a public policy firm dedicated to opening markets for technology, wrote, “The metaverse has the potential to facilitate accessibility from the comfort of people’s homes,

breaking down boundaries and democratising access to key goods, services, knowledge, and experiences.”

Bondee, a new social networking app created by Singapore-based company Metadream Tech, for instance, is taking Asia by storm. In a metaverse setting, users can create 3D avatars to stimulate living and interacting in a digital community with friends.

Can the broadcast and media industry emulate the success of platforms like Bondee to introduce new content and strengthen relationships with their audience?

Metaverse ROI & interactivity

While the white paper by Access Partnership looked at the possible use cases the metaverse can offer — primarily from a virtual reality (VR) perspective — in the areas of healthcare, enterprise, and education, it is clear that the jury is still out on the metaverse from a broadcast and media perspective. While not dismissing the potential offered by metaverse offhand,

Mohd Salleh, Director of Technical Operations, Media Prima, asked, “Can the metaverse improve my ROI?”

Examining the application of the metaverse through the lenses of augmented reality (AR) and VR, Dr Zaki told APB+, “From a cost perspective, AR and VR will reduce basic production costs for building sets and props. The turnaround time for studio usage will also improve because if studios are all based on green screens and virtual sets, back-to-back production can be carried out, improving studio utilisation and shortening production time.

“AR and VR will also bring new opportunities for sponsorships because sponsors can now advertise their products without facing the difficulty of actually bringing in the products. For example, car manufacturers can advertise their vehicles in virtual studios and property agents can conduct virtual tours of their real estate.” On the other end of the scale, Dr Zaki highlighted the cost of procuring the hardware and software required to produce AR and VR elements in studios, while

Metaverse has the potential to democratise access to key goods, services, knowledge, and experiences

reminding broadcasters that technology is only as good or bad as the people using it.

He continued, “Any implementation of new technology must come with new skills and understanding. It will not be advantageous for anyone to acquire new technologies without providing the skills training and development for producers and artists. “Investing in new technologies must be done with a clear and rational consideration and the ROI needs to be well understood.”

Operating in the metaverse

To fully harness the power of the metaverse, interactivity will be key as broadcasters take advantage of metaverse technologies to build relationships, particularly with younger viewers, said Stan Moote, CTO of IABM.

Speaking with Asia-Pacific Broadcasting+, he explained, “The potential for more viewership is strong and there are several revenue streams related to the metaverse. To better appreciate this, the key is to understand the drivers behind potential younger viewers.”

“It isn’t about the metaverse specifically. Instead, it’s about wanting to be in a group or community with their friends. Pandemic lockdowns were actually a stronger driver that took hanging out together online to a much higher level beyond gaming,” he added.

Operating in the metaverse will also require broadcasters to think of more interactive ways of telling stories, as Moote described, “Broadcasting is typically made for passive watching, so a new type of storytelling is needed in the 3D space.”

He was quick to distance this “3D space” from the brief sojourn 3DTV enjoyed in the consciousness of

ANALYSIS: METAVERSE

gaming community’s book and focus on creating interactivity, Moote emphasised.

“Broadcasters must pay attention to the current issues of network speeds and latency. Learning how to understand and respect the gaming world will also help to gain the trust of younger viewers and provide the all-important brand recognition required to keep these viewers,” he said.

While 3DTV ultimately proved to be more hype than reality, broadcasters will continue to explore new technologies that can drive down operating costs and potentially give them an advantage in the race for eyeballs.

broadcasters in 2010, when a slew of 3DTV screens hit the market, driven largely by the popularity of Avatar.

While that 3D experience proved to be a short-lived one, the 3D space Moote refers to is about creating a world filled with interactivities. To build this world, broadcasters need to seek assistance with newer production styles and move away from just making TV programmes.

“When developing a new programme — not necessarily just a TV show — broadcasters must plan from day one, how the content will live across the metaverse, social platforms and TV. During the planning process, they should also have technology people in the room to provide assistance and guidance as to what is possible and practical,” said Moote.

With the wearing of 3D glasses contributing to many viewers’ refusal to accept 3DTV as a companion platform to consume content, it is also worth noting that the metaverse is not restricted to VR and what may amount to cumbersome headsets for some viewers.

As Access Partnerships noted in its white paper, the possibility remains that the metaverse will prompt the creation of completely new forms of technology. For instance, Disney has filed a patent with the US patent office for a virtual world simulator, which will incorporate 3D projections to create a virtual environment around multiple visitors without the need for headsets.

Bondee, the social media app, is another example of how broadcasters can create a community of viewers and fans, starting with an element of gaming that does not require headsets to be used. Hardware aside, broadcasters will do well to take a leaf out of the

Therefore, while questions will continue to be asked about the feasibility of metaverse in the broadcast and media space, broadcasters are likely to continue to explore the possibilities offered by the metaverse, as Parminder Singh, Chief Commercial Officer and Digital Officer, Mediacorp, told APB+, “Mediacorp has taken deep strides in exploring new digital technologies and assets across our multiple platforms, keeping pace with the vast and exciting potential that these may hold for our industry.

“We are currently in the midst of developing innovative solutions and strategies to harness the power of the metaverse and other emerging platforms and technologies for our clients, and will share them in due course.”

Unlocking the ‘superpower’ of personalisation is key to OTT success in 2023

Trusty remote control in one hand, bucket of delectable popcorn in the other, the avid TV viewer settles comfortably into his favourite armchair and begins scrolling through the multitude of channels available for his viewing. Meet the Couch Potato, one of the most culturally-defining symbols of “television watching” as we knew it in the halcyon days of pay-TV.

Today, while viewers continue to be drawn to compelling content, it is increasingly unlikely they are doing so from the faux perpetuity of their couch. Nor are they likely to be drawn in by a scattergun approach that succeeded with the couch potato.

With the latter, content owners offered a wide range of content to the same audience group. After all, with so many channels to choose from, surely there is something for everyone, right?

Today, content is proliferating at an exponential rate and is being consumed on significantly more platforms and devices, in turn creating increasingly

personalised streaming experiences. Personalisation will grow in 2023 as data analytics tools get more sophisticated and over-the-top (OTT) service providers learn what motivates their viewers, says Applicaster in a new report that examines the top OTT trends to watch in 2023. According to Applicaster, successful platforms will provide targeted recommendations and curated content to customers, maximise omnichannel engagement campaigns, and offer personalised onboarding.

Before they can do so however, they will need to gain a ‘super power’ to gain business success in 2023.

OTT 2023 buzzword

While content census was already available during the age of the Couch Potato, and was significantly improved when the digital set-up box was introduced, those efforts to understand viewers are arguably rudimentary, compared to what is available today. According to Applicaster, advancements

in AI, blockchain technology, as well as data storage and computing capabilities, have made OTT data analytics the key for operators to guide the most effective marketing strategies and business decisions in 2023. In essence, data will be a game changer, as Ido Hadari, CEO of Applicaster, described, “Data is more than a trend. It’s an industry evolution.”

“In an increasingly crowded and competitive OTT environment, clever data collection and analysis capabilities are a ‘super power’ — insights into how users are interacting with platforms and content are becoming critical for OTT providers to effectively drive engagement, market share, and monetisation.”

Besides content, data will also allow operators to create hybrid monetisation models, including pushing more personalised ad strategies through the increasingly popular advertising videoon-demand (AVoD) model. As AsiaPacific Broadcasting+’s Loewe Tan recently highlighted, more streaming services are considering the AVoD model as a

The rise of OTT services has paved the way for tailored recommendations and curated content.

viable and meaningful source of revenue, including Netflix. In fact, the streaming platform’s CFO, Spencer Neumann, expects ad business to represent 10% of Netflix’s revenues, or US$3 billion, in the not-too-distant future.

Neumann said, “It’s a multi-year path. We’re not going to be larger than Hulu in year one, but hopefully over the next several years, we can be at least as large.

“We wouldn’t be getting into this [ad] business… if it couldn’t be a meaningful portion of our business.”

Neumann’s optimism stems from the fact that Hulu, which only operates in the US, is operating a multi-billion $$$ ad business where half of their subscribers are on an ad-supported tier. Netflix’s AVoD offerings, on the other hand, is selling ads in multiple markets around the globe.

Another trend Applicaster identified is the increasing popularity of live sports streaming, which has proved to be a major disruptor in the pay-TV ecosystem.

In Singapore for example, pay-TV operator StarHub, having secured exclusive broadcast rights to the English Premier League (EPL) for the first time in 12 years in 2022, decided to make the EPL available to football fans to watch live matches on the StarHub TV+ OTT service. Speaking to APB+, Johan Buse, Chief, Consumer Business Group, StarHub, explained, “A trend we identified a few years back was timeand place-shifting, whereby customers want to playback shows they missed and stream content seamlessly from one device to another. “To meet this change in viewing habits, we embarked on our TV transformation journey in 2020 and became the first in Singapore to integrate OTT and linear into a single entertainment platform.”

With increasingly sophisticated devices

and 5G creating an immersive viewing experience for sports fans on devices beyond the traditional TV set, sports streaming will continue to grow. The caveat, however, is creating viewer loyalty, which may prove to be a double-edged sword for operators.

Laura Tapias, VP, Americas & Iberia, Applicaster, highlighted, “Sports fans are loyal to teams, not broadcasters – they’ll alternate streaming services to watch live games. This makes sports content perfect for bringing in new users and finding ways to make them stay.”

Evolving content strategies

With the sheer number of content available to consumers today, it might not come as a surprise if many are suffering from content fatigue. On the contrary, media research company WARC Media predicts Gen Zs consuming 13 hours of media daily in 2023, spending at least 40 minutes on each channel. This includes not only OTT services, but also podcasts, music streaming platforms, and more.

WARC Media also noted that 16-24 Gen Zs globally consume more audio content per day than all forms of TV viewing combined.

To address these new viewing habits, Applicaster advised OTT platforms to meet Gen Z where they are to keep them engaged. This includes plugging into social media trends, adopting cross device strategies, and recommending more personalised content and advertising.

When it comes to content and Gen Zs, the short-form video hosting platform TikTok comes readily to mind. Besides the fact that TikTok has 1.2 billion monthly active users (as of March 2022), approximately 43% of its global audience is between 18 and 24 years old, fed on a daily diet of short-form content specially curated to suit the preferences of individual users.

If Gen Zs are spending more than half of their waking time consuming content, short-form content could offer a key path to reach target audiences, as many content platforms are beginning to acknowledge.

In 2021, YouTube introduced YouTube Shorts, which hosts vertical videos at a maximum length of 60 seconds while Netflix introduced Fast Laughs in 2022, a short-form video feature.

Besides using short-form content to appeal to viewers, Applicaster also expects more OTT bundling announcements to be made in 2023. Mergers such as that of HBO Max and Discovery+, says Applicaster, will help to combat churn by offering consumers options that match their budgets and reduce subscription fatigue. Tapias added, “Streaming users face two big challenges: the amount of apps their devices can host, and the amount they spend per month. The solution to the first is aggregation, the solution to the second is bundling. Both are equipped to fight streaming’s worst enemy — churn.” Clearly, operators today are facing more challenges than their counterparts or themselves did in bringing content to the passive viewer that was the Couch Potato. However, despite the evolution in viewing habits, viewers are still likely to levitate towards compelling content – if only operators can deliver the right content at the right time to the right devices, and at an acceptable price point.

TikTok’s expansion transforms short-form viewing beyond small screens

The social media giant has grown to fill a niche where consumers are demanding quick, engaging, and digestible content.

Even though time is becoming an increasingly precious commodity for many people, the appetite for more content continues to grow exponentially. With ever-busy schedules and limited attention spans, it is perhaps unsurprising that shortform content, led by platforms such as TikTok, has surged in popularity in recent years.

With a myriad of content offerings limited to a bite-sized 10 minutes or less, TikTok has grown to fill a niche where consumers are demanding quick, engaging, and digestible content. Released in 2016, the short-form video hosting service has now set its sights on a grander mission of becoming a full-fledged entertainment platform catering to audiences across all types of screens.

Whether it is on a mobile device, cinema screen or TV screen, TikTok aims to provide users with an immersive and personalised experience that is engrossing as well as fostering user engagement and loyalty.

In an exclusive interview with Asia-Pacific Broadcasting+, Dan Page, Head of Global Distribution for TikTok, emphasised the video platform’s desire to extend its reach into the living room.

He said, “Extending TikTok into the living room and onto bigger screens will offer people a new way to experience the entertainment, joy and creativity of TikTok.”

“Whether it’s watching a movie review, learning a new recipe, or laughing at a funny skit, TikTok TV puts the right video in front of the right user at just the right moment,” he added.

Revolutionising the viewing experience

With TV being a less interactive medium than mobile, TikTok has had to think outside the box to revolutionise the viewing experience. Page revealed that TikTok is actively collaborating with partners to replicate the same captivating viewing experience that has propelled it to become one of the fastest-growing entertainment platforms.

For instance, the continued drive to innovate new strategies to elevate the community’s experience with TikTok onto the TV screen led to the launch of the TikTok TV app.

Now available in countries such as Singapore, Indonesia, Malaysia, Vietnam, and the Philippines, the TikTok TV app is built for a home TV viewing experience, making it easy to watch content from the ‘For You’ and ‘Following’ feeds on the big screen. The app can be accessed on a range of devices, including Google TV and other Android TV OS devices, including Samsung smart TVs and LG devices. For an even more personalised experience, users can log in to the TikTok TV app with their existing TikTok account.

TikTok TV’s content strategy is centred around creating a curated lean-back experience that is family-friendly. Users can also opt for a more personalised experience by scanning their details via a QR code, which will then prompt TikTok to serve up content personalised for the user. Its TV app also offers the option to swipe videos similar to the TikTok native app, using a TV remote.

In terms of formatting, most videos seen on TikTok TV will be vertically formatted, but Page anticipates a shift towards more videos being made in the traditional horizontal format, specifically for TV. He also envisions a future where viewers increasingly favour TV as a medium, resulting in the norm being full-screen video on TV and vertical video on mobile devices.

He also advised creators and brands looking to post content on TikTok to “stick to what you’ve always done”.

He explained, “This means being authentic to the platform. It’s what works, it’s what our users like and it feels more organic.

“Pay attention to what the trends are. Pay attention to who the

TikTok TV puts the right video in front of the right user at just the right moment

creators are. Don’t try to crop your existing creative for TikTok. Instead, make a TikTok.” The aspirations of the social media giant are also extending beyond the living room, as evidenced by its participation with organisations such as Cineplex in Canada, where the latter showcases curated TikTok videos ahead of theatrical screenings.

TikTok has also collaborated with Loop TV, a music video, business TV, and digital signage service, to stream content into diverse outlets in the US, including restaurants, hospitality venues, and dental clinics. To expand its reach even further, the platform intends to utilise digital billboards as a medium for displaying content, thereby reinforcing its presence in the advertising landscape. With over one billion monthly active users around the world, it would appear that TikTok is looking to consolidate its position as one of the fastest-growing entertainment platforms in the world by accelerating onto larger screens to gain more eyeballs.

According to a report from global research company Omdia released in October 2022, TikTok has surpassed Netflix to become the second most popular video service in the US, with only YouTube remaining the top platform for under-35 viewership.

Omdia also found that time spent on viewing video content on social media platforms increased by nine minutes in 2021, with Facebook being the leading platform for social media video viewing time, followed closely by TikTok, which recorded the fastest growth rate among social media platforms.

It is unlikely that the TikTok bandwagon will be derailing anytime soon. Driven by factors such as enhanced creator and viewer participation, personalised and relatable content, and the availability of universally accessible and free content, TikTok will, in all likelihood, continue to grow in popularity and be the go-to platform for consumers looking for a quick content fix.