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Thread: Daily Satellite TV News

Grudge Match plots Hispanic-focused Liga de Rivales DetailsGabriel Miramar-Garcia | 13 February 2015 Grudge Match Sports will be launching Liga

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    Grudge Match plots Hispanic-focused Liga de Rivales

    DetailsGabriel Miramar-Garcia | 13 February 2015


    Grudge Match Sports will be launching Liga de Rivales (League of Rivals), a Spanish-language eSport, which will include a mobile game, streaming platform and television shows.


    Liga de Rivales will complement the recently announced Grudge Match. Both Grudge Match and Liga de Rivales games will launch this summer. It allows two people who have a dispute with each other to settle their differences in a three-to-four-minute mobile game, and their game play will be streamed live. Players will be able to create personas or be themselves, dress their game players in heroic or outrageous costumes, pick their weapons and/or abilities, select one of the stylised play arenas, and head off to settle their dispute electronically.

    If players do not have a dispute or disagreement with anyone, the Liga de Rivales game -- which will troll social media – will instantly match them with someone with whom they disagree. A Rules Committee – officiated by players and Grudge Match Sports -- will govern the core game.

    "Hispanics and their entrepreneurial spirit are transforming the gaming community. We believe that Hispanic audiences -- and their growing engagement in gaming -- can help us set the standard for Grudge Match Sports' Liga de Rivales," said Rich Melcombe, CEO of Grudge Match Sports.

    Nielsen, Experian Marketing and Think Now Research have reported that, on average, Hispanics spend more time playing games per week than do non-Hispanics. An analysis of data generated by Nielsen, ESPN, Riot Games, SuperData and Think Now Research shows that Hispanic gamers closely match the same demographic breakdown of eSport enthusiasts globally, and that Hispanic males 18-34 play the most overall.

    "The research tells a compelling story for anyone interested in reaching the pulse of the Hispanic demographic," said Melcombe. "With over 30 years in entertainment and 18 years in the Spanish-language media space, producing television shows for Univision and Telemundo, and consulting on media strategies, we understand the value of the Hispanic audience."

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    Fifty Shades of Grey promises to break Valentine's Day records

    DetailsMichelle Clancy | 13 February 2015


    If pre-release tracking holds, the hotly anticipated film debut of Fifty Shades of Grey, a movie about the sexual proclivities of a certain fictional billionaire, is expected to rake in more in ticket sales during its first weekend than its entire production budget of about $40 million.


    SNL Kagan noted that the film, based on a bestselling romance novel by E.L. James, is the fastest-selling R-rated movie in Fandango's 15-year-history, with many early showings around the US already sold out. That success has led the studio behind the movie to green light two sequels, meaning James' full trilogy is slated for the big screen. But the dark nature of the R-rated movie marks a big departure from past top-grossing films released in time for Valentine's Day date night.

    An SNL Kagan analysis of films with romantic themes released near Valentine's Day during the past 10 years shows that many of the most successful were aimed at inspiring laughs. For instance, 2005's Hitch, starring Will Smith as a professional "date doctor," pulled in $43.1 million during its opening weekend and went on to record a total domestic gross of $177.6 million and a profit margin of 47.6%.

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    OTT streaming drives up mobile bandwidth requirements

    DetailsMichelle Clancy | 13 February 2015


    Increasing device penetration and an abundance of new entertainment services and video streaming are driving up mobile bandwidth requirements.


    According to a recent study conducted by ACG Research and sponsored by Ciena, the average bandwidth consumption per mobile user is expected to increase 52% CAGR through 2018. Smartphone penetration will rise from 55–67%, and the resulting usage of over-the-top (OTT) entertainment applications on smartphones will account for 59% of this; largely due to video - with high-bandwidth requirements, long session times and continuous streaming.

    Mobile peak usage times, those typically occurring between 9-10 pm, will increase by 71%, from seven minutes today to 12 minutes in 2018. Consumption will also be boosted by new initiatives as OTT providers sponsor data packages (such as those for streaming music). In addition, new 3G and 4G enabled tablets will contribute to the surge in traffic growth, increasing by 20%.

    The study further indicates that supporting backhaul capacity requirements will exceed 1 Gbps by 2018, and this will be further intensified by the latest wireless standards such as LTE-Advanced and the introduction of more small cells, which are expected to deliver faster wireless services with broader coverage to users. Service providers need to take steps to deploy a mobile backhaul solution that supports 10 Gbps to meet this projected bandwidth and ensure quality of experience.

    "Today's users no longer rank mobile services by price alone," said Michael Kennedy, principal analyst, ACG Research. "Now more than ever, the quality of experience for the latest OTT applications is paramount and a key driver of customer loyalty. In three short years, these networks must offer broader coverage and handle more people using more applications on more devices at the same time. As a result, the backhaul infrastructure must transform to enable a more dynamic experience."

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    CABSAT 2015: Iftah Ya Simsim to return to MENA TV screens in 2015

    DetailsRebecca Hawkes | 11 March 2015


    The return of Iftah Ya Simsim, an Arabic kids' TV show based on Sesame Street, has been highlighted for its role in enhancing Arabic literacy at the annual meeting of the Joint Program Production Institute (JPPI) of the Gulf States.


    The new Iftah Ya Simsim castThe new show, currently in production at Abu Dhabi's twofour 54 media zone by the specially created Bidaya Media, is set to launch later this year. It was a trailblazing localised Arabic children's television show when it first appeared across the Middle East and North Africa (MENA) at the end of the 1970s and ran throughout the 1980s.

    "We have always been committed to creating Arabic TV content that truly reflects the traditions and heritage of the GCC, including the first ever Iftah Ya Simsim back in 1979," said Dr Ali Al-Rayyes, director general of the GCC Joint Program Production Institute.

    "With the comeback of the show, we feel proud to be associated with the previous success of Iftah Ya Simsim and look forward to working hand in hand with Bidaya Media to bring to life the characters that impacted the elder and younger generations alike. With what we have seen, the new Iftah Ya Simsim is poised to captivate the hearts of Arab audiences once again as it is brought to life by local talent and experts," he added.

    The show will bring back the popular local characters of No'man and Melsoon, as well as introduce new characters such as Shams and Gargur.

    Dubai's Blink Studios leads on the production of Iftah Ya Simsim's studio segments from script to screen as well as post-production, JPPI is producing the show's live action films and dubbed materials, while Lammtara Art Production EST is responsible for producing the semi-animated book story segments.

    "It is an absolute pleasure for Bidaya Media and myself to be part of the efforts that brings back one of the most popular Arabic education TV series in the Arab world," said Dr Cairo Arafat, managing director of Bidaya Media, the new Arabic educational content development company overseeing the project

    "As a member of our Education Advisory Committee, JPPI persistently strives to provide us with guidance on how to enrich the programme's Arabic literacy and encourage positive social practices and values to support children's acquisition of healthy lifestyles," he added.

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    CABSAT 2015: MBC unveils X Factor 2015 jury, transmission date

    DetailsRebecca Hawkes | 11 March 2015


    Pan-Arab free-to-air (FTA) broadcaster MBC has announced that Lebanese stars Ragheb Alama and Elissa, and Egyptian singer Donia Samir Ghanem, will form the jury for the forthcoming localised version of the hit TV format The X Factor.


    The show, which will air on MBC 4 and MBC MASR from Saturday 14 March, follows the immensely successful formats Arabs Got Talent and Arab Idol onto MBC.

    The Arabic version of X Factor was acquired by MBC as part of a multi-format deal with FremantleMedia in October 2014, after being shown on Egyptian channel CBC in 2012.

    Mazen Hayek, official spokesman and group director of PR & commercial, said MBC was "delighted" to add The X Factor to the Dubai-based broadcaster's growing list of hit talent shows.

    "Viewers in the MENA region will be able to benchmark MBC The X Factor with the global version of the same show," said Hayek.

    Lebanese recording artist Elissa added: "The X Factor is one of the most popular Arab programmes, which is reflected through the masses that tune in each week to watch, as well as the thousands of hopefuls who attend casting calls across the Arab world – not to mention the professionalism of the MBC team and those in charge of the programme production."

    Lebanese singer, composer and TV personality Ragheb Alama said: "The programme doesn't resemble any of the other talent programmes on television, the way we select performers, the way the show builds each week, the anticipation, they're completely different to other shows". [The aim] is to find an Arab star that has The X Factor regardless of his identity or affiliation".

    The Arabic version of The X Factor originally premiered on Rotana and LBC in 2006 but was then taken off air until 2012. This will be the third season of the regional singing talent show.

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    SXSW taps Brightcove for streaming video

    DetailsMichelle Clancy | 11 March 2015


    The South by Southwest (SXSW) music festival will use Brightcove's suite of video technologies to deliver live and on-demand video for its 2015 event, which runs from 13-22 March in Austin.


    The annual SXSW Music, Film & Interactive Festival brings together tens of thousands of people for technology presentations, film premieres and, of course, the music festival, featuring nearly 2,000 acts.

    "We are very excited to have Brightcove as a technology partner for SXSW 2015," said SXSW director of technology, Scott Wilcox. "Brightcove Video Cloud and Brightcove Gallery will allow us to advance our online video delivery capabilities, and we look forward to utilising all the platforms have to offer."

    Video Cloud enables SXSW to deliver live and on-demand video across any device, and reduces the need for onsite encoding hardware. By utilising Brightcove Gallery, SXSW and its fans will have a go-to spot to watch presentations, performances and more, after the event.

    "We are thrilled to partner with SXSW to deliver a new dimension of online video to its thousands of fans and event attendees" said Anil Jain, SVP and GM of media at Brightcove. "SXSW has been an innovator from the start so it's no surprise that the organisation continues to evolve with its audience by prioritising high quality online video experiences. By investing in its online fan base, SXSW will not only tear down geographical barriers, but strengthen and secure its influence for the future."

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    ATSC to weigh next-gen TV audio standard

    DetailsMichelle Clancy | 11 March 2015


    The Advanced Television Systems Committee (ATSC) has begun its technical review of three detailed proposals for a comprehensive audio system for the ATSC 3.0 next-generation television broadcast standard.


    The idea is to bring a more immersive audio experience for living room and mobile viewers by significantly improving upon the capabilities of the current multi-channel broadcast digital television audio system. The proposals are from Dolby Laboratories, DTS, and an alliance of Fraunhaufer, Qualcomm and Technicolor.

    ATSC 3.0 audio is expected to "provide consumers with a more compelling, personalised and immersive experience," said ATSC president Mark Richer.

    The ATSC is in the process of developing a next-generation ATSC 3.0 terrestrial television broadcast standard with advanced performance and functionality made possible by new technologies and strategies. This next-generation standard must provide improvements in performance, functionality and efficiency that are significant enough to warrant the challenges of a transition to a new system.

    The three audio system proponents have submitted detailed technical proposals for the audio subsystem for ATSC 3.0.

    The Dolby Audio system runs on Dolby AC-4, the next-generation emission codec. Meanwhile, the DTS:X is the next-generation object-based codec technology from DTS, a successor to DTS-HD. And Fraunhofer, Qualcomm and Technicolor's MPEG-H Audio is a holistically designed suite of functionalities built around a highly efficient core audio codec.

    This summer, the three proposed systems will be tested discretely and in their entirety, as comprehensive, end-to-end systems for use as the audio layer for the ATSC 3.0 signal. The goal is to establish the ATSC 3.0 Audio System Candidate Standard this fall.

    "ATSC 3.0 audio testing is expected to be the first in the world to examine immersive audio for a next-generation broadcast television standard. Immersive audio functionality enables high spatial resolution in sound source localisation in azimuth, elevation and distance, and provides an increased sense of sound envelopment throughout the listening area," Richer explained.

    In addition, ATSC 3.0 audio "personalisation" will include enhancements to the control of dialogue, use of alternate audio tracks and mixing of assistive audio services, other-language dialogue, special commentary, and music and effects. The ATSC 3.0 audio system also will support both the normalisation of content loudness and contouring of dynamic range, based on the specific capabilities of a user's fixed or mobile devices and their unique sound environments.

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    Digital, TV integrated ad strategies suffer from budget disconnects

    DetailsMichelle Clancy | 11 March 2015


    More than half (54%) of CMOs in a recent survey say that they use digital video to supplement TV as an advertising strategy — but budgets aren't aligning.


    The survey from the CMO Club and Simulmedia has found that in the past three years, digital spend has gone from 10% of advertising budgets to 24%, and is forecasted to rise to 36% in the next three years.

    "For over a decade, marketers have attempted to find the most efficient balance between TV and digital video spend," said Pete Krainik, founder of the CMO Club. "Our report shows that it's not TV vs. digital video, it's about TV and digital video, both today and for the foreseeable future."

    That said, only 31% align their budgets for TV and digital advertising spend. This separation leads to a disconnect between the value of each medium, as just over half (52%) claim that they have different expectations across the two platforms. In addition, three quarters of CMOs say that they measure reach the same way for both TV and digital video and but only one-third see Nielsen as the ongoing foundation of their reach metrics.

    "CMOs say they want a holistic strategy, but neither plan, measure or budget for it as one thing," said David Cooperstein, CMO at Simulmedia and author of the report.

    The interest in digital video is just now gaining noticeable traction as budgets have started to grow. In the US, digital video advertising expenditures are exploding: figures from eMarketer show that digital video ad spending is estimated at $6 billion this year, growing around 42% annually.

    However, the actual dollars spent in TV still greatly trumps digital video. TV advertising dollars in the US were approximately $76 billion in 2014 and still growing just over 3% annually. While both will continue to grow, TV will continue to add more raw dollars of advertising than digital video will, particularly during pivotal political and Olympics years.

    "Digital depth cannot match TV's breadth. Nor should it. Conversely, TV has not historically been as measurable or personalised, so it cannot perform the magic that digital delivers. In that very unique way, TV and digital do not compete, they complement. The winning combination is the joint approach. TV's reach and digital's depth make them amazing partners in the marketing mix," said Cooperstein.

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    Bell Mobility chooses Rovi for mobile TV

    DetailsMichelle Clancy | 11 March 2015


    Canada's Bell Mobility plans to use Rovi's intellectual property for its mobile TV service in Canada.

    "Home entertainment is inevitably moving from the TV set in the living room to multiple screens and mobile devices," said Samir Armaly, executive vice president of intellectual property and licensing at Rovi. "Through its license agreement with Rovi, Bell Mobility is giving customers access to an integrated guide that enables them to see what's on now and later."

    The agreement with Bell Mobility builds on Rovi's ongoing licensing efforts for its patent portfolio for second screen products and services.

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    Popcornflix adds festival fare to streaming service

    DetailsMichelle Clancy | 11 March 2015


    Popcornflix has acquired a range of foreign films from Film Movement, a distributor of contemporary independent cinema from around the world.


    Film Movement's portfolio includes prize-winners from Cannes, Sundance, Tribeca, Toronto, Venice, Berlin and other prominent film festivals.

    The Popcornflix selection includes films from 30 countries and every continent. "We handpicked a diverse collection of films from various countries and cultures. We are very excited to offer these quality films to our audience," said David Fannon, EVP at Popcornflix.

    Popcornflix users can now stream Cannes Special Jury Prize winner A Screaming Man, Sundance Jury Prize Winner Manito, and The Way I Spent the End of the World, featuring Dorotheea Petre, winner of Best Actress at Cannes. The new titles include a host of perspectives, ranging from Brazilian dance culture (Only When I Dance), to four Iranian friends grappling with middle age (Men at Work).

    "The streaming revolution isn't just about providing greater access to mega box office hits and standard Hollywood fare," said Fannon. "Viewers are also looking for new ways to view outstanding international cinema – wherever and whenever they want to watch. Popcornflix meets that demand, providing free access to intelligent, compelling titles online, on mobile or via gaming consoles, streaming devices and smart TVs."


 

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