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Thread: Daily Satellite TV News

Brazil's Globo takes kids’ content to the big screen Juan Fernandez Gonzalez | 21 March 2016 Grupo Globo's channels Gloob

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    Brazil's Globo takes kids’ content to the big screen

    Juan Fernandez Gonzalez | 21 March 2016

    Grupo Globo's channels Gloob and Globosat and Globo Filmes have joined forces to take Brazilian children's content beyond TV screens.

    gloobThe three companies are working together to develop children’s films for cinemas and other public spaces, from creation to launch.

    “As the group's main kids’ content producer, Gloob's goal is to work with products that exalt childhood and entertain the audience, transmitting important values,” said Paulo Marinho, Gloob's director. “With this partnership we are able to increase the experience of children with our brands, through a yet to be explored window, the big screen. We’re very happy and motivated with this step taken with Globo Filmes, certain that it will be an opportunity to increase our projects based on relevant national content.”

    Edson Pimentel, from Globo Filmes, also emphasised the importance of Gloob’s ability to draw younger audiences to the cinema. “Bringing children and families to theatres is the same as strengthening their link with national cinema, giving value to Brazilian content and helping build the future cinema audience.”

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    Peru's watchdog halts Telefonica’s triple-play price rise

    Juan Fernandez Gonzalez | 21 March 2016


    Peru's Organismo Supervisor de Inversión Privada en Telecomunicaciones (OSIPTEL) has told Telefónica's Movistar to immediately stop the price increase of its convergent offer, due to a lack of information for the subscribers.

    telefonica peruAccording to the telecoms authority, Telefónica hasn't made clear which services within the triple-play package – including pay-TV, broadband and phone – will be affected by the increase.

    In addition, there is not enough information about the customers' right to cancel their subscription or change their package if they are not happy with the price changes.

    “According to the current regulation, right to information must be guaranteed so subscribers are able to made a proper decision regarding the price increase, which is why OSIPTEL has requested the operator to do so,” the watchdog said.

    The halt to the price rise is only temporary, until Telefónica shows there has been adequate communication of the price increase.

    The Spanish telco is a dominant player in Peru, where it has its largest Latin American pay-TV operation. During 2015, Movistar's subscribers grew by 27% in Peru to reach 1.2 million households, over 65% of the market, according to official figures.

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    JCSAT-14 ready for launch at Cape Canaveral

    Rebecca Hawkes | 21 March 2016


    Satellite manufacturer Space Systems Loral (SSL) has delivered SKY Perfect’s JCSAT-14 to Cape Canaveral Air Force Station in Florida ready for launch next month.

    The satellite will provide Sky Perfect JSAT with broadcast, data networks and mobility services in Asia, Russia, Oceania and the Pacific Islands after its expected launch aboard a SpaceX Falcon 9 vehicle in April.

    JCSAT-14 will replace and expand on the capacity of JCSAT-2A in the 154° East orbital slot.

    “It has been an honour to work together with SKY Perfect JSAT in building the JCSAT-14 satellite,” said John Celli, president of SSL. “We are very pleased that the satellite is now at launch base and look forward to a successful launch campaign.”

    SSL is also building Sky Perfect’s JCSAT-15 and JCSAT-16, both of which are scheduled to launch in 2016.

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    Econet secures FTA Premier League rights for Africa

    Rebecca Hawkes | 21 March 2016


    Econet Media will air one Premier League match a week free-to-air (FTA) across sub-Saharan Africa, following a rights deal with the English football organisation.

    The deal, which spans three seasons beginning 2016-17, will see Econet’s Kwese Sports platform have rights to one game each Saturday – along with weekly preview and review shows – in 50 countries across the continent.

    “We are very pleased that Econet Media has chosen to invest in the package of free-to-air broadcasting rights that we have made available in sub-Saharan Africa,” said Richard Scudamore, executive chairman, Premier League.

    “Premier League clubs enjoy passionate support across sub-Saharan Africa and these rights are important to ensuring that as many fans as possible can follow and enjoy our competition.”

    Kwese will assume the role of an agent for the rights, making them available to Africa’s FTA broadcasters. It is unclear yet whether Econet’s video-on-demand (VOD) service ipidiTV will also deliver the Premier League games.

    Econet Media CEO Joseph Hundah added: “England’s Premier League is a globally prestigious sporting competition, one that is deeply loved by millions of African sports fans. As such we are very committed to obtaining these rights and have invested significantly to acquire them.

    “We want to make this League available to fans across sub-Saharan Africa and so, through Kwese Sports FTA partners and other platforms, we hope to widen access to this property.”

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    Astro launches Indonesian OTT service

    Rebecca Hawkes | 21 March 2016

    Malaysian pay-TV giant Astro is rolling out an over-the-top (OTT) video service across south east Asia, in conjunction with regional partners.

    The service, named Tribe, has been launched initially in Indonesia in partnership with Axiata Digital Services’ XL, with further markets to be announced later this year.

    “It remains our commitment to build on our vernacular capabilities, and signature IPs, as Astro, as well as in collaboration with key partners regionally and internationally. Understanding there is no one-size-fits-all go to market strategy, Tribe will seek complementary win-win partnerships with local telecommunications and media companies in each market, to jointly build on customer reach, and relationships, whilst leveraging on combined invested platforms and technologies, to deliver a greater customer experience,” said Rohana Rozhan, Group CEO, Astro.

    In Indonesia, Tribe will offer both live TV and on-demand content, including sport, Korean drama, and Asian films. The OTT service will provide Fox Sports 1, 2 and 3; Turner’s Oh!K; and soon, K-pop from Channel M.

    “Tribe will be mobile-first, allowing consumption anytime, anywhere. It will deliver highly tailored content, combining both live and on demand, and its aim will be to provide the most compelling content that will resonate with consumers in each target market. Through user feedback, we will dynamically tailor the content slate to suit their preferences,” added Iskandar Samad, CEO of Tribe.

    Personalised discovery and recommendation, along with features such as download to go and integrated social media engagement, will all be added in the coming months, he added.

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    Lifestyle Network debuts Spice to Life food show

    Michelle Clancy | 21 March 2016


    Lifestyle Network has premiered its first original food and travel series, Spice to Life, which follows celebrated and awarded chefs and restaurateurs as they share their secrets to success.

    “Behind everything remarkable is a story: the best bourride perfected with practice, the ensemada made contemporary through the mastery of basic techniques, the human transcendence into artist,” the network said. “Beyond the Michelin stars and competition trophies are artists that have not only discovered the soul behind food, but have also traversed unique journeys.”

    Lifestyle Network, which expanded distribution to Charter in February, has crafted Spice to Life as a series where chefs and restaurateurs share their passion for food, culture, people, and their communities. It reveals their remarkable journeys and secret ingredients to their success, highlights their favourite local food spots that are hidden from the average tourist, and demonstrates their signature dishes. Distinct palates, authenticity to flavour and a commitment to philanthropy allow them to bring their cuisine to the forefront of the food revolution.

    The season debuts with New York entrepreneur Nicole Ponseca, restaurateur and owner of Maharlika and Jeepney. Best known for revolutionising Filipino cuisine for the mainstream eater, Ponseca removed the fear factor elements behind the cuisine, focusing on unique combinations of Asian flavours, and condiments like banana ketchup, fish sauce and shrimp paste. The former advertising executive said: “I hired myself to re-brand and re-market Filipino food and it became my new client.” In a decade, she would catch the attention of The New York Times, The Washington Post, Zagat, Thrillist, Vice, the James Beard Foundation and Food Network’s Bobby Flay.

    “Spice to Life, in itself, is the recipe to top-notch entertainment,” said Lifestyle Network channel head Aileen Paredes. “It is adventurous, satisfying and moving, all at once. More and more, we are finding ourselves in an era where audiences are asking for amazing role models that are reflections of this generation. Spice to Life brings scores of inspirational achievers and their delicious stories to your Sunday night television.”

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    Anton/Bauer brings CINE battery to North America

    Michelle Clancy | 21 March 2016


    Anton/Bauer has announced the North American debut of the CINE battery series for broadcast environments.

    The CINE battery series is a lightweight and compact mobile power solution using next generation Li-Ion cell technology specifically designed to provide optimal performance for high power consumption digital cinema style cameras. It also has an easy to read LCD display which reports run time in hours and minutes when attached to a device or displays percentage of full charge when not attached. The CINE battery series delivers 12 amps of continuous power, a higher current than other batteries, and includes a PowerTap to power auxiliary accessories such as monitors, lights, wireless receivers and any other 14V accessory.

    “In mission critical situations, I trust Anton/Bauer batteries to power my cameras,” said Tom Guilmette, a director of photography who has worked with the Boston Red Sox and the Winter Olympics. “They are reliable, long lasting and have technology to keep the battery safe, which is super important. This allows me to concentrate on getting the shot whether it’s chasing the ball at Fenway Park or getting promotional shots for the upcoming Summer Games.”

    The CINE series is small, lightweight and acts as a natural extension of the camera while also incorporating Fuse Link technology, a connection technology that vendors developed as a result of Tesla Motor research efforts. Fuse Link technology provides an added protection circuit which – in the case of a cell anomaly – provides protection to surrounding battery cells, preventing catastrophic damage if a single cell is affected by severe impact, puncture or thermal runaway. The battery line also features multiple sensors to detect temperature and over-current states, ensuring optimal battery performance during regular use.

    “The CINE battery series is the culmination of Anton/Bauer’s commitment to producing the world’s most reliable power systems for professional cinematographers,” said Treena Dixon, product manager for Anton/Bauer. “We listened to our customers and integrated their feedback into the new CINE series design. The result is a ground-breaking battery series that can easily power the next breed of digital cinema style cameras as well as the monitors, lights and accessories filmmakers rely on for the perfect shot. It’s a tailored solution built just for today’s cinematographers.”

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    Yahlive claims Farsi satellite leadership

    Editor | 21 March 2016


    Ipsos Connect research has revealed Yahlive to be the most popular satellite broadcast provider across the key Farsi-speaking viewing segment in the Middle East and South West Asia.

    The survey was based on a sample consisting of people aged 15 years and older, who are free-to-air TV, pay-TV and online TV viewers, and watch TV at least three days a week.

    The top-line figure found that the number of Farsi direct-to-home (DTH) viewers had risen across the sample region by 75% from 16 million in 2014 to 28 million in 2015.

    Yahlive’s share of this market increased from 20% to 34% between 2014 and 2015 amongst the wider Farsi-speaking communities in multiple markets including Tajikistan, Afghanistan, Kurdistan and the UAE. With respect to satellite users, Yahlive’s share increased from 27% to 49% during the year within the Farsi-speaking community. The total number of viewers of Farsi content over DTH terrestrial networks grew by approximately 45% between 2014 and 2015 from just over 26 million to 37 million.

    Yahlive also saw a retention rate of 88% across Farsi-speaking communities, which, claimed the company, reflected ‘wide-spread loyalty and delight’ with programming. The research found that 54% of respondents who were asked why they had chosen Yahlive as their satellite broadcast provider within the Farsi community answered that it was because of programme content.

    “The show of loyalty for Yahlive programming is the highest in the industry, and this remarkable performance is directly linked to our efforts to deliver premium content that people want to watch time and again,” said Yahlive chief operating officer Ammar Baranbo commenting on the research. “The reliability of our broadcast also works in our favour with respect to winning followers as does our customer focus. For a community limited by the relatively small number of terrestrial Farsi language channels, satellite broadcasters pick up much of the responsibility for providing truly differentiated and compelling viewing content.”

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    Latin American pay-TV set for sluggish growth

    Joseph O'Halloran | 21 March 2016


    Pay-TV revenues in Latin America, including those from subscriptions and pay-per-view, are set to grow by only 9% between 2015 and 2021, according to a study from Digital TV Research.

    Dig TV researach LATAM 21 March 2016Even though this, said the fifth edition of the Digital TV Latin America Forecasts report, would represent a rise of $1.6 billion, the research firm believes that general economic woes and market maturity are providing a break on growth.

    The research found that pay-TV penetration in the region will reach 50.6% by 2021, up from 45% at the end of 2015, meaning that there will be 14 million more pay-TV homes between 2015 and 2021, taking the total to 82 million. This compares with more than 27 million pay-TV subscriber additions between 2010 and 2015.

    The data also showed that digital cable TV revenues overtook analogue cable in 2014 and that IPTV will pass analogue cable by 2020. The number of digital pay-TV subscribers is set to soar from 52.3 million in 2015 (34.6%) to 80.9 million in 2021 (49.8%). IPTV revenues will likely grow by the same amount as satellite TV and cable TV over this period.

    Looking at platform performance, Digital TV Research found that satellite TV will continue to be the largest pay-TV platform, with revenues reaching $13.1 billion in 2021, up from $12.6 billion in 2015. By contrast, cable TV revenues will grow a lot more sluggishly to $5.6 billion in 2021, up from $5.1 billion in 2015.

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    Russia has over 2,300 TV channels

    The Russian TV market tops over 2300 operating TV channels at end of 2015. Gazprom Media, VGTRK and National Media Group are the largest media holdings.

    A total of 2,370 TV channels were identified as operating and accessible in Russia and/or having licences to broadcast in the country, according to a new report of the European Audiovisual Observatory. Of these, at least 520 are regional representatives of national networks, the largest of which (with over 50 regional partners each) are REN TV, TNT, Rossiya 1, CTC, and Rossiya 24.

    Over 80% of Russian channels are in the hands of private companies, 13% are state-owned, and 5% have combined ownership (some of their shares are held by national or regional authorities). At the start of 2016, the major media holdings, owning the largest number of channels, were Gazprom Media (owning a total of more than 50 channels including the Red Media and ProfMedia holdings), VGTRK (30 channels owned partially or outright, plus regional television and radio companies), and National Media Group (25 channels, including Discovery Communications and Turner Broadcasting Systems).

    RussiaTVchannels

    A third of TV channels operating in Russia at the end of 2015 were general regional channels (broadcasting local news and their own entertainment programmes, as well as independently purchased content). Channels devoted to music and entertainment and lifestyle programming make up 21% of the currently operating Russian TV channels. The third most popular group of channels is those broadcasting films and series. It is worth noting that national channels broadcasting generalist content, such as Channel One, Rossiya 1, NTV, Peterburg – 5 kanal, REN TV, and TV Centre account for only 3% of the range available to audiences.

    A small proportion of the channels studied (60 – 8% of the total) are HD versions of both free terrestrial and pay-cable channels available to digital TV users. Meanwhile, there is a total of 121 HD channels in the Observatory’s MAVISE database, meaning half of them do not have standard versions accessible to viewers of analogue TV. The vast majority of HD (97 out of 121) and 3D channels (5 out of 6) are pay channels.

    Overall, more than half of all the channels available in Russia are pay channels, and a large proportion of free-to-air channels are provided by regional terrestrial television and radio companies. Hence, in every single region of the country viewers must pay to access the majority of TV channels.

    Pay-TV as the cornerstone of Russian TV market: over 2/3 of Russian TV households subscribed to pay-TV in 2014 with digital segment and IPTV as main future drivers

    The report states that 68% of households subscribed to pay-TV in 2014, 8% more than the year before. The highest saturation of pay-TV was seen in the Central and Northwestern districts (80% and 77%, respectively). Meanwhile, the fastest growth rates were observed in Siberia (+15%), Central Russia and the Southern Federal District (+14%), and in Russia’s Far East (+13%). The first and latter in this list are also the ones with the most potential for further development (due to their relatively low saturation level).

    RussiaPayTVby_federal_disctrict

    The total number of pay-TV subscribers in Russia reached 37.7 million in 2014, according to report figures. However, this data does not account for the fact that one family may have several subscriptions. The size of the pay-TV market in 2014 is estimated at RUB 61.2 billion.

    Market growth by subscriber numbers is gradually slowing down (due to market saturation): in 2014, the market grew by 7–8%, whereas this indicator had previously been in double figures. Satellite television is the growth leader in absolute terms but there has been a notable stagnation in the cable pay-TV segment in Russia.

    The main trend in pay-TV over the next few years will be a growing subscriber base in the digital segment and in IPTV. Growth will be moderate, though rates of growth could vary significantly between individual operators. The significant network modernisation observed over the past two to three years is not expected to continue, due to financial and economic difficulties in the market.

    Rapid growth in Russian VoD market: more than 40 VoD services available at the end of 2015 and dominance of transaction and subscription business models

    Since 2011, the Russian VoD market has experienced rapid growth which is characterised by an increase in the number of services and the size of their catalogues, as well as the platforms via which VoD can be accessed. At the same time, from a business-model point of view a ‘backwards movement’ began: from the dominant ad-based model towards transaction and subscription models.

    RussiaVODservices

    According to an analysis of the European Audiovisual Observatory’s updated MAVISE database, by the end of 2015 there were more than 40 VoD services available in Russia, specialising in professional feature-film and television content (this does not include catch-up versions of TV channels, news portals, and specialist children’s services such as deti.ivi.ru, Internet music channels, and network versions of popular television programmes such as Dom-2 and KVN, or sites exclusively featuring user-generated content (UGC) and unlicensed content).

    The leader in terms of user numbers is ivi.ru (around 38 million viewers); this service receives up to 200,000 views per month on average (using the ad-based, subscription, and transactional models), which is ten times more than its closest competitors. Meanwhile, Okko, which bases its business on paid services, takes the lead in terms of revenue, with earnings of RUB 630 million in the first half of 2015.

    RussiaOTTplayers

    The arrival of global VoD players on the Russian market has not led to significant changes: at the end of 2012, iTunes and Google Play launched in Russia, followed in 2013 by Amediateka, the official distributor of content from HBO, and the launch of a range of other leading international producers; the international giant Netflix entered the Russian market in January 2016 (Russian audiences are initially being offered a limited content library and an English-language interface). However, it is not expected that the domestic leaders (ivi.ru, Megogo.net, Okko, and Tvigle.ru) will be forced out of their positions by these foreign competitors.

    VOD is still growing, and it is doing so faster than other segments of the audiovisual industry. In the future, one can expect to see subscriber services strengthen their position and further growth through mergers and acquisitions.

    The report is available as a free download from the European Audiovisual Observatory. A Russian version is also available.


 

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