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The magazine for global video

spring 2025

CSI Awards
Scaling IP video
AI in media
Direct-to-Device (D2D)

The growing convergence of broadcast and pro AV

June 2016
• Also in this issue: How do broadcasters engage with younger viewers?
 CSI Awards Ceremony
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 19 The battle for consumer attention
with TiVo
Contents How streaming and AI-powered content
discovery are redefining media consumption
The magazine for global video

20 COVER STORY – Broadcast AV

www.csimagazine.com

spring 2025
The growing convergence of broadcast and
pro AV technologies, including market
analysis from Futuresource (on page 24)
CSI Awards

Editor
Scaling IP video

Goran Nastic
26 Executive interview
AI in media
Direct-to-Device (D2D)

CSI speaks with Cédric Dufour, CEO and Commercial

President of Rakuten TV about the Camilla Capece
The growing convergence of broadcast and pro AV company’s new FAST offering for telcos
June 2016
• Also in this issue: How do broadcasters engage with younger viewers?
Design and production
Magdalena Witecka
28 Localisation innovation
1_Cover.indd 1 20/03/2025 15:24:00

06 Analyst corner Balancing AI-driven translation efficiency

Regular contributors
Reaching the lost youth audience with human expertise to expand global Adrian Pennington, Philip Hunter,
reach David Adams, Stephen Cousins,
8 Engaging younger audiences Anna Tobin
What can broadcasters do to attract younger 30 New satellite regulation
audiences and keep them engaged? Helping businesses navigate today’s satellite Circulation
regulatory complexities, including Direct-to- Alina Susca
12 Live production with Appear Device (D2D)
How Appear is driving the democratisation Accounts
of live event production 32 Scaling live sports events Mohamed Saidani
What do the numbers tell us when it comes
14 AI in media entertainment to internet delivery? Editorial
tel +44(0)20 7562 2401
Transforming the value chain from creation
goran.nastic@csimagazine.com
to post-production 34 Service List Registry
Unified service platform simplifies television
Advertising
16 Cloud transformation with Amagi and video
tel +44(0)20 7562 2421
Cloud modernisation and how broadcasters camilla.capece@csimagazine.com
and other media companies can harness the 36 Satcom evolution
power of the cloud Can the satellite industry cope with the Subscriptions
transition to a new space environment in the tel +44 (0) 20 1635 588 861
18 NAB Show 2025 preview face of big changes and disruption? perspectivesubs@dynamail.co.uk
From AI to sports and more, a look at what Circulation manager: alina.susca@
visitors can expect to see and hear at this 38 CSI Awards 2025 - enter now! perspectivepublishing.com
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How do TV companies attract and engage with younger viewers? Will the viewing Circulation Department
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these are existential questions that broadcasters face the world over, which we look Managing Director
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broadcast AV as the two worlds of broadcast and pro AV collide and merge, and we look at
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 News

news in brief
Streaming revenue surpasses public
TV in Europe
YouTube’s TV pivot as
smart TVs dominate
YouTube has become a
TV-first platform in the For the first time, revenue 1% to €27.9 billion, the further among factors
US, with over 1 billion from paid streaming services research found. fuelling growth.
hours of content watched in Europe has overtaken that US streaming giants are Public broadcasters remain
daily on television of public service driving this shift, with influential, commissioning
screens, surpassing broadcasters funding, Netflix leading the way 43% of all TV content in
mobile. YouTube CEO according to research by through ad-supported tiers, a Europe and maintaining
Neal Mohan highlighted Ampere Analysis. crackdown on account strong VoD viewership
this shift in a blog, noting In 2023, streaming — sharing, and live event among local audiences. In
that today’s television including subscriptions and expansion. Disney+ and countries like the UK,
experience is no longer advertising — surpassed Amazon have also Denmark, and Finland, their
limited to traditional public broadcasters’ income introduced ad-supported streaming platforms are
programming. The “new” from taxes, licence fees, and plans, with advertising among the most popular.
television blends YouTube ads. Going forward the gap expected to contribute 8% of However, as streaming
Shorts, podcasts, live will widen; streaming their European revenue by dominance grows, public
streams, sports, and revenue is projected to grow 2029. Subscription price service broadcasters face an
scripted content into a by 37% to €38.4 billion by increases and new service uncertain future, requiring
single, interactive viewing 2029, while public TV launches, such as Max’s new strategies to sustain
experience. YouTube is revenue stagnates, rising just expansion into Europe, are their role in European media.
expanding its TV-focused

Prime Video tests AI dubbing

features, such as
multiview and the
platform is also
experimenting with a new Amazon Prime Video is been dubbed otherwise. By AI within the media
feature called Watch testing an AI dubbing pilot integrating AI into its entertainment industry.
With, which enables programme, introducing localisation processes, Prime “At Prime Video, we
creators to provide live AI-powered dubbing in Video aims to boost believe in improving
commentary and real time English and Latin American viewership and cater to an customers’ experience with
reactions to games and Spanish on select licensed increasingly diverse audience practical and useful AI
events. movies and series. eager to enjoy films and innovation,” said Raf
It comes as new research The new service will series regardless of their Soltanovich, VP of
by Ampere Analysis initially cover 12 titles that origin. technology at Prime Video
reveals that Smart TVs currently lack dubbing This initiative is part of a and Amazon MGM Studios.
have become the primary support, including El Cid: La broader industry trend where “AI-aided dubbing is only
viewing device for US Leyenda, Mi Mamá Lora, media companies are available on titles that do not
internet users aged 18-64. and Long Lost, helping to leveraging AI to enhance have dubbing support, and
Smart TVs now account overcome language barriers customer experience and we are eager to explore a new
for 31% of total viewing and expand content personalise content offerings. way to make series and
time, surpassing accessibility for its global Localisation is widely seen as movies more accessible and
traditional broadcast TV audience of over 200 million one of the main use case for enjoyable.”
in Q3 2022. A similar customers.
trend is observed in Amazon is taking a hybrid
Credit: Amazon

Europe, where 76% of approach that combines

internet users own a artificial intelligence with the
Smart TV. Users spend expertise of localisation
about an hour a day professionals to ensure
watching smart TV in quality control, making it
Europe, where broadcast possible to offer dubbing on
TV remains dominant. content that might not have

04 spring 2025 www.csimagazine.com

 News

Europe catches LEO and news in brief

the region. Vodafone’s
expertise will play a crucial

direct-to-device fever
role in managing these BT advances MAUD
operations as Vodafone trials
continues to make progress BT has completed the
with satellite-based first trial of its Multicast-
connectivity and its Assisted Unicast Delivery
investment in AST. (MAUD) technology. The
SES has, meanwhile, trial, conducted on BBC
invested in Lynk Global to Two content via EE’s set-
capitalise on the growing top box TV platform using
D2D market. The satellite Broadpeak and Qwilt
operator will introduce Open Edge technology,
integrated services like MEO- demonstrated MAUD’s
Relay, which allows D2D ability to convert over
providers to route traffic 60% of peak-time unicast
Not a week currently goes by owned European satellite between LEO and SES’s traffic to multicast
without some kind of service provider, which will MEO network. Adel Al-Saleh, delivery, easing network
announcement related to low deliver space-based cellular CEO of SES, said: “We congestion and enhancing
earth orbit constellations, broadband connectivity to recognise D2D as an exciting streaming reliability,
either for satellite broadband mobile network operators growth opportunity.” according to the telco.
or the direct-to-device sector across Europe. Elsewhere, Deutsche Moving to the next stage
(D2D), both of which are The new company will act Telekom and Google have of the trial, BT is looking
nascent and booming despite as the exclusive distributor of successfully tested SMS to broaden the scope to
questionable ROI, especially AST SpaceMobile’s satellite messaging via satellite on a include more channels,
where D2D is concerned. services to European MNOs Google Pixel 9, marking build out the full feature
Originally driven by the US under a unified framework, Europe’s first Direct-to- set, as well as to test the
and other areas with patchy supported by a dedicated Handset (D2H) SMS addition of dynamic ad
terrestrial coverage, such as network management and transmission over a GEO insertion, which would
India where Airtel has signed operations centre based in satellite. Conducted in Greece enable a seamless,
a partnership with SpaceX, Europe. The company will using Skylo’s service, the test personalised ad
Europe is now well and truly develop a network of ground demonstrated the capability experience for viewers.
caught up in the act. stations to facilitate backhaul of commercial smartphones
Vodafone and AST services, enhancing European to send and receive messages Dallas named global
SpaceMobile have signed an digital sovereignty by keeping in areas without terrestrial broadcast hub for FIFA
agreement to create a jointly core network functions within coverage. World Cup 26
Dallas has been officially

Adobe and Alibaba launch GenAI video

chosen as the
International Broadcast

models
Center for the 2026 FIFA
far, in under two years, Firefly generation models freely World Cup. The Kay
has been used to generate available. It is the first model Bailey Hutchison
Adobe has unveiled the over 18 billion assets globally, to support text effects in both Convention Center in
Firefly Video Model, a new according to Adobe. Chinese and English, the downtown Dallas will
AI-powered video generation Translate Audio and company said. By open- serve as the central hub
and translation/dubbing tool Translate Video tools have sourcing these models, for global media
designed to integrate also been released for the Alibaba Cloud aims to lower operations, hosting
seamlessly with its Creative translation of spoken dialogue barriers for AI adoption in around 2,000 broadcast
Cloud ecosystem. Now in into over 20 languages while video production. The representatives from
public beta, Firefly Video maintaining an authentic company claims that users January through July. The
aims to provide commercially voice. with standard laptops can centre will support TV,
safe, IP-friendly video content Alibaba Cloud has also generate a five-second 480p radio, and digital coverage
for creative professionals. So made its AI-powered video video in just four minutes. across 16 host cities.

www.csimagazine.com spring 2025 05

 Analyst corner

Chasing the dragon’s tail:

reaching the lost youth audience
By Guy Bisson, executive director, Ampere Analysis
consumer surveys for more than 10
years. That means 18 year-olds when we
started surveying are now approaching
their 30s. The data shows that the
youngest age groups still watch less TV
and more social video than the older,
but all age groups are converging on
streaming and watching more social and
less TV, suggesting there are two
concurrent trends: behavioral carry
forward and a general drift towards non-
linear forms of TV.
The solution is simple of course: go
where the audience is. Unfortunately, life
(and business) never is that simple. UK
broadcasters were quick to jump on the
streaming bandwagon, launching
streaming versions of their main
channels that have since evolved into
full-blown free streaming platforms in
their own right. They have been
rewarded with some of the highest levels
of audience for their broadcaster
streaming services seen anywhere in the
world.
But there is an elephant in the room,

T
not just in the UK, but around the world:
YouTube. And that goes double for
he world of at least 1/3 of age group). That younger audiences. In most countries,
entertainment gets fragmentation of attention is key YouTube comfortably hits the top slot as
ever more complex. It’s because it means, given viewing time single most-watched video service.
well understood that is finite, there is less time and less What’s important, though, is total
young audiences still engagement with any one form of audience. Again, UK broadcasters have
watch linear TV, but entertainment. something to celebrate. When the
they simply don’t watch That leaves broadcasters with a incremental reach of their streaming
as much as their older peers. problem because it has now become services are added to that of their linear
Perhaps more importantly, their clear from the data that the relationship channels, the ranking changes notably,
attention is divided among far more between age and behaviour is complex. with the BBC and iPlayer actually
online and streaming services than It wasn’t so long ago that received overtaking YouTube (when considering
the older generation. The under 25s wisdom said behaviour changes with all age groups) and ITV not far behind.
regularly watch nine different age. When viewers mature, they will Unfortunately, among the younger age
streaming or online video services watch less on social media and more on groups, even the streaming services are
compared to just five for the 45+ age broadcast and traditional pay TV, right? not making up for audience loss from
group (based on services watched by At Ampere we have been running the linear channels. Again, the solution

06 spring 2025 www.csimagazine.com

 Analyst corner

Editorial credit: T. Schneider / Shutterstock.com

access to full shows on YouTube.

Analysis shows that ITV is already a
prolific user of YouTube as a
promotional platform for short video
clips based on its entertainment
content. In fact, ITV has almost three
times the number of YouTube videos of
any of the UK broadcasters (excluding
news and other non-entertainment
content). Channel 4, though is the only
broadcaster to have so far embraced
provision of full length shows with
more than twice the number of videos
longer than 15 minutes of any other
broadcaster.
With its new deal and a new dedicated
ad sales team, it’s certain that ITV will
quickly ramp up its volume of full length
shows on YouTube. But there remains
one stumbling block to wholesale
adoption of YouTube as a distribution
platform for broadcasters: advertising.
Broadcasters have been keen to control
their own ad sales on YouTube but the
ad market still places different values on
linear TV spots vs streamed or YouTube
views. That will place a limit on the
degree to which broadcasters are willing
to risk cannibalising their ‘premium’ ad
outlets in favour of YouTube. In theory,
this imbalance will be solved by audience
is surely simple. Following the same but do watch the streaming service. migration if YouTube reaches the point
edict of going where the audience is, YouTube would add an additional 23% of where it delivers mass live audiences that
broadcasters should make use of the population who do not regularly some advertisers need then an
YouTube as a distribution platform to watch either ITV linear channels or ITVx. advertising premium should follow. In
reach the young audience. At first Such gains in incremental the interim, broadcasters will need to
glance the data is compelling. Taking unduplicated audience explain why manage their ad strategies carefully and
ITV as an example, the channel’s ITVx Channel 4 has already embraced use content scheduling and partial
streaming service adds an additional YouTube for distribution not just of season drops to pull audience gained on
13% of the viewing population who do clips, but of full length shows and why YouTube back to the more valuable
not regularly watch ITV linear channels ITV recently said it too would provide linear channels.

www.csimagazine.com spring 2025 07

 Youth viewing

Engaging younger
audiences
What can
broadcasters do
to attract younger
audiences and keep
them engaged in the
face of social media
and other digital
competition, asks
David Adams

T
hroughout the history of requirements of Generation Z (people 81 per cent in 2018.
television, broadcasters born between about 1997 and 2012) or The smartphone is, of course, a key
have often struggled to Generation Alpha (born since 2012). factor. A 2023 report commissioned by
create content that There are risks in generalisations Samba found that 92 per cent of US
appeals to younger about such a large group of viewers, but Generation Z members streamed video
adults. For example, here many do seem to share some viewing on mobile phones. In this respect they
is how presenter Pete Murray behaviours. First, they don’t spend may be similar to an ever-growing
introduced the first broadcast of the much time watching broadcast linear number of older viewers, but both
Six-Five Special, a BBC TV pop music TV. US consumers aged between 13 Generation Z and Generation Alpha
programme, in February 1957: and 24 spend 21 per cent of their live in a “mobile first” world when it
“Welcome aboard the Six-Five entertainment screen time watching comes to watching video, says Nikki
Special. We’ve got almost a hundred “non-premium” video, such as short Perugini, UX and design director at
cats jumping here, some real cool form YouTube or social media video, Accedo.
characters to give us the gas, so just get and only 16 per cent of that time They do watch bigger screens too.
with it and have a ball.” watching traditional TV, according to a “All the research I’ve seen shows that
To be fair to the BBC, this was January 2025 Hub Entertainment [younger viewers] love big TV screens –
delivered partly tongue-in-cheek, as an Research report. By contrast, viewers especially when they control them,” says
admission that the UK’s national aged 35 and over spend 39 per cent of Tom Price, director of content
broadcaster had no chance of appearing their screen time watching traditional distribution for Europe and Australia at
“cool”. But if it was difficult for the TV and only 14 per cent watching non- Roku. “If they can put content they
BBC to communicate with teenagers in premium video. In the UK, recent want on the big screen they will watch
1957, today, in the smartphone and research from Ofcom has found that it.” Of course, what they watch may not
social media era, it is arguably even only 48 per cent of today’s 16 to 24 be coming from a broadcaster: in
more difficult for broadcasters to year olds watch broadcast TV every February 2025, YouTube CEO Neal
understand and satisfy the viewing week, down from an equivalent figure of Mohan declared that TV screens are

08 spring 2025 www.csimagazine.com

 Youth viewing

now the “primary device for YouTube recommendations. “Because social user interfaces that are very interactive
viewing” in the US. media feeds are hyper-personalised and well-designed,” he says. “If your app
[younger viewers] put more faith in is not using the standard of UX you can
Understanding younger viewers these recommendations,” says Nursall. find on Instagram or TikTok you are
The second important point is that The other aspect of social media use not going to succeed.”
these viewers have high standards. that broadcasters ignore at their peril is Perugini believes younger viewers also
“There’s a tendency to think they’ll the opportunity it gives people to have a more “transactional view of their
watch anything, but actually they have interact with online communities of entertainment experience” than most
really high expectations,” says Price. viewers who enjoy the same content. older viewers. In part, she suggests, this
These are sophisticated digital natives “Broadcasters need to consider how to is because many are used to completing
who, in most markets, have grown up in offer the same level of interest and microtransactions while gaming. It may
a culture completely saturated by video engagement,” says Shirley. mean they welcome opportunities to
content and have absorbed a short Perugini says one Accedo client spent access broadcast or streaming services
lifetime’s worth of knowledge about some time trying to work out how to on a more flexible transactional VOD
how good video content works. build more social interactions and (TVOD) basis: paying to watch all the
They also “have fewer preconcep- experiences into its own app, to recreate episodes in a series, rather than buying
tions” than older viewers, so lack “lega-
cy brand attachments that older viewers
have,” Price suggests. This makes it
more likely that if they are not enjoying
what they are watching, “they will move
on and try something else”.
Contrary to another myth, this is
nothing to do with short attention
spans, says Benjamin Shirley, product
manager, broadcast, at MainConcept.
While many young people do spend
hours scrolling through TikTok videos
and Instagram Reels, “if you’ve got
something that interests them for two
hours they’ll watch it,” he points out.
But continuous social media
consumption is influencing the way Source: Ofcom
young people (and the rest of us) a social media-type environment within a full subscription, for example.
consume video. Ampere senior analyst its own platform, before concluding this Perugini says Accedo has talked to
Sam Nursall thinks the way that content was the wrong approach. some broadcasters about using TVOD
viewed on social media is driven “In the end, what this customer to drive engagement with younger
towards each viewer by algorithms that needed to do was build more of a social viewers.
respond to their personal preferences media presence, offering more A transactional attitude coupled with
has implications for the way snackable content,” Perugini explains. a liking for personalisation may also be
broadcasters design and deliver content This might involve use of short-form part of the reason why UK viewers aged
discovery and navigation processes. content such as an actor talking about 18 to 24 appear to more likely to be
“On TikTok, Instagram and YouTube their role in a series, or showing viewers receptive to targeted TV advertising,
Shorts, the algorithm recommendation reacting to a specific scene, for according to findings of the Yonder BT
means the user isn’t required to go and example. TV Content Survey, completed in
get the video, they’re just swiping to the Broadcasters hoping to retain younger August 2023. A quarter of 18 to 24 year
next one,” he explains. “That is hyper- viewers will also need an appealing, olds surveyed said they liked advertising
efficient at capturing attention, easy to use user experience, personalised in line with their lifestyle,
assigning viewers to content they like.” incorporating some interactivity, says habits and needs, and said they would
While viewers have got used to Pierre-Alexandre Bidard, executive vice- welcome more of it – a bigger
personalised recommendation by president, products and services, at percentage than in any other age group.
algorithm, social media has also Viaccess-Orca. Finally, gaming is also an important
become an important source of content “This generation are used to modern influence. Hub’s January 2025 research

www.csimagazine.com spring 2025 09

 Youth viewing

shows that 13 to 24 year olds spend 23

per cent of entertainment screen time
gaming; while 2024 research from
gaming marketing specialist Livewire
found that 74 per cent of 2,100 parents
in Australia, the UK and the US
regularly played video games with their
families, with 40 per cent of those
parents saying this meant they watched
less TV. Perugini highlights the way
Netflix is now promoting its gaming
services to subscribers more
aggressively, (with games often linked
to TV or movie content on the
platform), while working on technical
enhancements including lower latency
between gaming controllers and the big other in our transition to all-IP “Where they have a living room there
screen TV. delivery.” is still going to be that tendency to
Broadcasters seeking to incorporate switch the TV on, to find a show that
all these considerations in their Meeting new needs when they they can enjoy with their family,” she
strategies for reaching younger viewers grow up says.
will need to invest in excellent data Collaboration in general will be crucial For now, perhaps the most important
collection and analysis technologies, to to the success of any attempt to attract principle that should guide
develop a deep understanding of which and retain younger viewers. It is already broadcasters’ attempts to capture and
viewers are watching which pieces of visible in some recent agreements retain Generation Z and Generation
content and how they are accessing that between broadcasters and online Alpha audiences is to try to reach them
content. This can then inform social platforms, such as the deal announced proactively, giving them as many
media and broader marketing and in December 2024 for ITV to join opportunities as possible to find their
distribution activities. YouTube’s partner programme, making content.
They will also need to monitor the some ITV content available via “Availability of content so that it can
capacity and reliability of the YouTube, including full episodes, clips, become part of conversations and be
broadband infrastructures upon which compilations and fan content. recommended – that’s how growth
an increasing share of their services will Perugini suggests that Australian happens,” says Nursall. Of course, that
rely in the years ahead. Ian Parr, broadcaster Network Ten adding Pluto content will need to be good enough to
broadband engineering director at BT, FAST channels to its 10 Play OTT recommend, and supported by an
says that TV and video, including offering is another example. “They’re effective and engaging social media
streaming of on demand and live pushing that mobile-first, always-on presence.
content from broadcasters, and material content experience,” she explains. None of that is easy or cheap. But the
consumed via social media, now Price says using online platforms to investments broadcasters make to
accounts for more than 60 per cent of reach younger audiences requires a attract and retain these viewers could
traffic passing through BT’s IP comprehensive, multi-platform strategy. deliver very valuable returns in the
networks in the UK; and by the end of “You’ve got to experiment,” he says. longer term, says Price.
the 2030s, or earlier, it will account for “FAST channels are slightly retro, but “People in their teens and early 20s is
90 per cent. younger viewers do want to lean back that they are in their formative years,
That trend is being driven by viewers and watch content in that way when they form brand attachments,”
of all ages and by planned infrastructure sometimes.” he explains. “There’s a real opportunity
changes, but it will accelerate as It is also true that every generation of here, if you can form those brand
generations Z and Alpha grow up and the TV age has rediscovered the appeal attachments as a broadcaster or a
are succeeded by even more digitally- of the big screen at some stage, streamer.” One way or another,
aligned younger viewers. Parr stresses particularly after they start a family. broadcasters need to get with it (as it
the need for collaboration across the Perugini expects something similar will were), to connect with younger
telecommunications, technology and happen to many Generation Z and viewers, however cool or uncool they
broadcast industries, “to support each Alpha viewers. might be.

10 spring 2025 www.csimagazine.com

 Sponsored article

The democratisation of live production

Two new products – the X5 and VX Software Media Gateway -
represent a strategic move by Appear into driving the democratisation
of live event production. By Goran Nastic

T
hese are good times for
video production, which is
enjoying a boom period
thanks to a combination of
new technologies and
business models driving growth and
innovation.
Fresh from celebrating its 20 year-
anniversary in 2024, Norway-based
media processing and content delivery of the company’s flagship product, as especially when operating remotely, the
specialist Appear is not resting on its many broadcast professionals expressed timing between the acquisition site and
laurels, coming out of the blocks in 2025 a clear need for a smaller, more agile the production control room is crucial.
by spawning two brand new products solution that could deliver high-value Appear’s engineering team has focused
that will help drive even more excitement content at a lower scale per site. extensively on reducing latency across
for those working in the live production Customers with smaller channel the device’s data flow — achieving
space. counts have long sought a device that improvements that have met and even
The all-new X5 and VX Software offers the same quality and feature set in exceeded customer expectations. This
Media Gateway represent a strategic a smaller form factor. The X5 achieves latency reduction is essential for ensuring
move by Appear that taps into what the this by integrating advanced compression smooth, real-time control in remote
company’s CTO, Andy Rayner, calls “the and network interface tools such as production environments, where every
democratisation of live event ST2110 into a low-power unit, making it millisecond counts.
production”. Here, technologies like 5G ideal for smaller-scale live productions, Additionally, the X5 incorporates a
and LEO satellite connectivity are key remote bureaus, or events that require a highly optimised version of hardware-
enablers. These advances provide the minimal channel count. The X5’s dense accelerated SRT (Secure Reliable
necessary bandwidth to support high- integration of features and reduced size Transport), a protocol that significantly
quality live streaming over public not only cuts costs but also opens up the enhances performance over public
internet connections, allowing even possibility of multi-camera live coverage internet connections. By re-engineering
lower-tier sports events and remote for events that were once beyond reach. SRT from the ground up, Appear has
productions to benefit from multi-camera delivered a solution that offers high-
setups without massive infrastructure Open interoperability and standards- quality, secure transmission even when
investments. based design using lower-cost, non-dedicated networks.
By combining advanced features, low Unlike many competitors that rely on Media professionals working in live
latency, open interoperability, and cost proprietary solutions, the X5 adheres to production and remote contribution
efficiency in a compact form factor, the industry standards, ensuring it can won’t have to wait long to get their hands
X5 in particular is designed to extend the integrate seamlessly with existing on the X5. With orders beginning to
field-proven X-platform family (including workflows, including cloud-based flow after NAB and shipments sched-
the 1RU X10 and 2RU X20) into decoding and remote production uled for the autumn, Appear is poised
markets that demand compact, cost- systems. This compatibility is for a significant ramp-up in production
effective, and high-performance particularly important for broadcasters later in 2025 and beyond.
solutions. looking to merge traditional and cloud-
According to Rayner, the X5 was based production workflows. Appear will be demonstrating the X5 and
developed in response to strong A critical aspect of the X5 is its VX at NAB Show 2025 (booth W2042)
customer demand for a smaller version latency optimisation. In live production, and BroadcastAsia (booth 5C1-7).

12 spring 2025 www.csimagazine.com

 AI in media

AI in the media sector: cinematography are aiding filmmaking

and music production. For example,
Unreal Engine’s AI tools are enabling

Transforming the value real-time scene creation, reducing

reliance on physical sets for production
such as The Mandalorian, The Lion

chain from creation to King and The Last Wish, a 15 minute

short that was created entirely using
Unreal Engine.

post-production AI is now featuring in music

production, voice synthesis, and voice
cloning, from Paul McCartney utilising
By Maureen Kerr, Partner and Head of the Media AI to recreate a “final” Beatles track to
refining Adrien Brody’s Hungarian

T
& Entertainment Practice, UK, Arthur D. Little accent in dialogue delivery in The
Brutalist.
he media industry is AI in content creation The 2024 collaboration between
undergoing a AI is now playing a critical role in filmmaker Ellie Foumbi and OpenAI
transformation thanks automated storytelling, text generation, shows the possibilities of AI within
to the adoption of and synthetic media production. production – and also the ways that it
artificial intelligence AI-powered assistants are now transforms the creative process. The
(AI) across the entire co-writing articles and scripts, while project created the short film Black
value chain, from models such as OpenAI’s Sora and Amber using Sora, OpenAI’s
content creation to production, post- Google’s Veo are generating high-quality advanced video generation model, as
production, and distribution. video content from text prompts, part of the Sora Shorts program at
AI-powered tools are now embedded opening new possibilities for the Tribeca Festival. Foumbi’s
in workflows and are enhancing filmmaking and marketing. Agentic AI experience highlights the potential of
everything from newsroom analytics tools like AutoGPT and Meta’s AI tools in democratising filmmaking,
to film editing, virtual production, CICERO are being explored for particularly for independent creators.
and personalised content dynamic narrative development and Rather than following a traditional
recommendations. They are being character interactions, expanding AI’s linear process, AI enables post-
deployed in real use cases, delivering role in interactive storytelling. production, editing, and music to be
real commercial value as well as Lionsgate’s collaboration with involved much earlier in the project,
helping creatives reimagine how they Runway exemplifies how AI can be increasing collaboration as well as
work. deployed. Announced in September making it much easier for filmmakers
AI use is only going to grow. We are 2024, the partnership focuses on to present their concepts to potential
currently seeing the emergence and developing a custom AI model trained financiers and studios, thereby
testing of agentic AI systems—capable on Lionsgate’s extensive film and enhancing the likelihood of securing
of autonomously managing workflows television library, which will then be funding and commissions.
and making complex decisions, used to assist filmmakers and creative
alongside multimodal AI models, which teams in tasks such as storyboarding, AI in post-production
integrate text, video, and audio pre-production, and post-production Post-production workflows are
generation. All of these are enabling processes. While no results have yet benefiting from AI-driven automation in
faster, cheaper, and more scalable been released, the collaboration editing, colour grading, special effects,
content production. illustrates a smart approach – Runway and sound design. Runway’s AI tools
Given the pace of development and helps Lionsgate develop AI models and Adobe Firefly are streamlining
the growth of legal and regulatory based on its proprietary content, video editing, VFX generation, and
concerns, it can be difficult for helping the studio to innovate, while AI-assisted sound mixing. AI-enhanced
companies to understand where to boosting its own knowledge. CGI, such as Harrison Ford’s de-aging
focus, and what tools to adopt. Doing in “Indiana Jones and the Dial of
nothing is not an option, requiring a AI in production Destiny”, is becoming a standard
transparent, open approach that tests AI-driven virtual production, real-time practice in Hollywood, with filmmakers
and learns across the value chain. rendering, and automated now able to portray characters

14 spring 2025 www.csimagazine.com

 AI in media

as ChatGPT, and train it just as you

would any other member of the team.

2. Be transparent and seek consent.

The use of AI to refine spoken
Hungarian dialogue of the main
characters within The Brutalist created
some controversy in the media.
However, audiences were generally
understanding given it covered a very
small amount of speech, improved their
experience and did not change the
authentically across various time for protections against AI cloning, performances themselves. Being
periods by using AI. ensuring that actors receive royalties for transparent and disclosing AI use is
AI-generated appearances. therefore vital, as is asking for consent
Regulatory, copyright and ethical On the regulatory side, the UK when reusing existing content.
challenges to AI use government recently held a consultation
As AI becomes embedded in media on AI copyright & fair use, examining 3. Collaborate with technology
production, copyright and intellectual whether AI developers should pay providers.
property rights are facing new scrutiny. licensing fees for training models on As the likes of Lionsgate/Runway and
Who owns AI-generated content? Can existing media. This closed on 25 OpenAI/Sora Shorts demonstrate,
AI models train on copyrighted material February 2025 and sought views on collaboration between content creators
without permission? What are the different options, with varying degrees of and technology providers benefits both
ethical considerations – and how do permissions from copyright holders. sides. They create symbiotic
consumers view the use of AI within Additionally, AI-driven deepfake relationships that improve knowledge,
the content they watch and listen to? regulations are also tightening, with the increase creativity and foster new ways
In terms of copyright a number of EU AI Act and US FTC discussions of working. Therefore, work with AI
legal cases are now setting precedents seeking to regulate AI-generated providers, rather than assuming you can
about what is considered fair use of misinformation and unauthorised digital do it all yourself.
content when training AI models. In a clones.
February 2025 US ruling, a judge 4. Do commercial due diligence.
deemed ROSS Intelligence’s copying of Four key approaches to incorporate AI is a developing industry, meaning
Thomson Reuters’ Westlaw legal AI within the media sector that as well as concerns around
content to build a competing AI-based Whatever part of the media industry copyright, there are possibilities that
legal platform not fair use under the US you work in, AI brings opportunities your chosen partner might fold, be
Copyright Act. This could have broader but also potential challenges, whether acquired, or not respect the terms of
consequences for cases when large legal, ethical or around understanding any contract. These can be guarded
language models are trained on and deploying the technology in against through commercial due
copyrighted materials and/or are then specific areas. Focusing on four diligence and ensuring that you have
used to generate new content via approaches should help accelerate AI indemnified yourself in your contracts.
generative AI. use while overcoming pitfalls: However, don’t take too restrictive a
Turning to acting, the emergence of view and ensure that legal concerns
AI-generated actors and voice clones is 1. Experiment widely. don’t block all uses of AI.
changing talent representation. If you are not already, start AI is starting to redefine content
Agencies such as CAA and WME are experimenting by investigating a wide creation, production, and distribution,
negotiating AI licensing agreements for range of use cases in your organisation. enabling faster, smarter, and more
actors’ digital personas. While some Adopting a test and learn methodology scalable media workflows. While there
celebrities, such as Tom Hanks and will help build skills, even if not every are legal, ethical, and creative questions
Keanu Reeves, have raised concerns project delivers value. As AI to be addressed it is vital to balance
about AI replacements, others are deployments deepen, they move beyond responsible governance with AI’s
embracing AI-generated performances efficiency use cases to embrace new transformative potential, ensuring that
as an opportunity for career expansion. business models and ways of operating. companies and creatives receive its bene-
The SAG-AFTRA union is advocating Set aside time to work with tools such fits while guarding against the risks.

www.csimagazine.com spring 2025 15

 Sponsored article

Charting the journey to cloud playout

CSI, together in partnership with Amagi, look at cloud modernisation
and how companies can harness the power of the cloud.

C
loud migration is revolu-
tionising the broadcasting
industry, offering multiple
advantages, from cost sav-
ings to - business agility
and even sustainability. Here are five
ways in which moving to the cloud
could benefit broadcast and media
companies.
1.Cost savings. One of the primary
and apparent advantages of migrating
broadcast operations to the cloud is
cost reduction – both CapEx and OpEx.
Traditionally, broadcasters have relied
on expensive physical infrastructure,
which includes data centres, hardware,
and on-site staff for maintenance.
Moving playout and automation to the
cloud eliminates these costs, replacing
them with a scalable pay-as-you-go
model. are already on the cloud, and are easy modular customization. Broadcasters
Beyond infrastructure, operational to migrate, playout migration is the next can tailor services based on channel
expenses also decrease. In traditional step that they need to do to really see tiering — whether they need live
setups, multiple servers from different the cost savings.” graphics, recording modules, or only
vendors require integration, leading to 2. Increased business agility. The basic automation.
complex workflows. With cloud-based broadcast industry is evolving rapidly, 3. Scalability and flexibility. One of
automation, these processes become with ever-changing demands, such as the unique strengths of cloud
streamlined, reducing the need for launching single live events or technology is its scalability.
larger teams and frequent manual streaming-exclusive content. Traditional Broadcasters no longer need to
interventions. This optimization also hardware-based solutions require longer proactively invest in infrastructure for
lowers operational expenditures. procurement cycles, often taking six to peak demand periods. Instead, they can
It’s a natural progression with much eight months to launch a new channel. scale their playout operations up or
room for improvement. “Cloud In contrast, cloud-based solutions can down as needed. For instance, a sports
migration is more about when than if. set up a new channel in as little as two channel might require live broadcasting
Everybody we’ve spoken to is either on to three weeks, if not less, enabling infrastructure only for a few hours daily.
the journey or exploring cloud faster go-to-market strategies. With a cloud-based solution, resources
migration,” says Kalaivani Sivasankaran, Cloud infrastructure allows for can be spun up only during live events
senior director of product marketing at feature deployment on demand. and spun down afterward, optimising
Amagi, a company that has been an Whether it’s launching a niche sports costs.
active participant in this transformation channel or adding custom For example, Amagi DYNAMIC, a
since 2008. “People are quickly moving enhancements, broadcasters can make non-linear solution for live event
some of the media supply elements to quick adjustments without the delays management and playout, enables the
the cloud. While Media Asset associated with physical hardware launching of pop-up channels and
Management tools and scheduling tools, integration. Cloud systems also enable on-demand scaling. It helps

16 spring 2025 www.csimagazine.com

 Sponsored article

broadcasters spin up channels, whether difficult to find engineers who often-overlooked benefit of cloud
single event or multiple concurrent understand the worlds of both migration. Leading cloud providers have
events (Up to 50 events)— and spin broadcast video and DevOps. All the commitments to green energy solutions,
them down afterward, paying only for cloud providers implement their own allowing broadcasters to reduce their
the time used. This flexibility allows infrastructure enhancements, such as carbon footprint through metrics that
customers to scale as they need and resilience and self-healing capabilities. help companies understand energy
prevents the need for permanent These are constantly evolving and usage and CO2 consumption targets.
infrastructure investment. companies using the cloud get those With broadcasters now equally
As a cloud-first company, Amagi has benefits immediately. committed to sustainability goals and
built its ecosystem natively on the This includes advancements in AI, a practices, these benefits are now part of
cloud. Amagi emphasizes on a cloud- technology that hyperscalers are the conversation when considering
first strategy enabling better efficiency dedicating significant time, energy, and moving to the cloud.
and flexibility. “[We have re-architected resources to optimize. For its part, These opportunities are worth
the playout engine and automation Amagi integrates AI-driven tools to bearing in mind because there is still
engines specifically for the cloud, with enhance scheduling, metadata quite a way to go before the cloud
the playout architecture built on enrichment, and content preparation. journey is complete. A recent report
Kubernetes. We are truly cloud-native,” Features like automated live recording, revealed that while cloud adoption is
she says. content segmentation, and Quality widespread, its integration into
4. Tapping into cloud technology Control (QC) improve efficiency while workflows remains limited.
innovations. Acquiring the right talent reducing the need for manual
has been a big industry challenge for intervention. AI for clipping and editing Amagi will be exhibiting at NAB Show
some time now, especially with the shift is another turf Amagi is venturing in. 2025 in Las Vegas in West Hall at booth
to the cloud, IT and software, making it 5. Sustainability. Sustainability is an W1721

ENTER
NOW!
BUYERS’
GUIDE
2025
www.csimagazine.com spring 2025 17
 Show preview

Courtesy: NAB Show

dealmaking and content bundling to

NAB 2025 preview new advertising models, evolving audi-

ence trends and the intersection of
Hollywood and the creator economy.
AI will likely steal the show again, but there is The new Startup Stage that will
feature early-stage startups pitching
much more to look forward to besides.

A
their ideas; and AI Innovation Pavilion,
a dedicated space for exploring the
I took centre stage at “Foundation” and his writing on latest in AI-powered tools transforming
NAB last year and stole Christopher Nolan’s “The Dark Knight” the media industry; and Premiere Park
the show, with hun- Trilogy — will explore the new formats in the West Hall: a “dynamic area”
dreds of conference of collaborative storytelling he’s devel- showcasing first-time exhibitors and
sessions dedicated on oping that are bridging the gap between exciting new technologies that promise
the topic and a keynote AI and filmed entertainment through to redefine the media landscape.
described as the world’s first keynote his latest franchise project “Emergence” Meanwhile, a Creator Lab in the
speech co-presented by a human and and the AI-powered platform Incention South Hall is an area designed for all
an advanced AI robot (an autono- as part of the Business of things creator economy bringing digital
mously AI-powered humanoid robot Entertainment track. creators together with advanced tools
developed by Engineered Arts called Away from AI, sports in particular and technologies to elevate their
Ameca, pictured on the left above). It will play a big role, with the newly storytelling.
remains to be seen whether this launched Sports Sumit running as a Visitors can also expect to see and
year’s show delivers a similar ‘wow’ new three-day event April 6-8. This will hear about UHD HDR, ATSC 3.0,
moment, but it would be a fitting tes- take a deep dive into transforming fan interactive media, cloud virtualisation,
tament to increasing AI maturity that experience and unlocking new revenue and the creator economy. These will
media companies double down on streams with conversations around feature across 550+ sessions and dedi-
real-world applications that the tech- advancements in sports production, ath- cated areas.
nology affords. lete-driven content, NIL opportunities According to organisers, the 2025
AI is playing an increasingly vital role and fan engagement. NAB Show is expected to welcome over
in content creation, transforming every- WWE president Nick Khan and chief 67,000 attendees (vs 61,000 in 2024)
thing from storytelling and audience content officer Paul “Triple H” Levesque from 160+ countries and host 1,300
engagement to workflow optimisation will discuss the company’s continuing exhibitors, including Adobe, AWS,
and revenue generation. While these evolution under the sports stream, while AT&T Business, Canon, Dell, Intel,
advancements open new opportunities, the full NEB BEIT session lineup of the Microsoft, Sony, Verizon Business and
they also raise important discussions broadcast engineering and IT conference more. With construction work continu-
around responsible implementation, eth- is available here, covering everything ing to take place across the Las Vegas
ical considerations and the long-term from 5G Broadcast and SFNs to coding, Convention Centre, the show is clus-
impact on media professionals and audi- HDR and cloud native broadcasting. tered around three halls: South (lower
ences, which this year’s show promises Also new is Business of only), West and North, with the West
to tackle through sessions and a dedi- Entertainment, a track that is billed as Hall linked to the other two by a Tesla
cated AI startup hub. giving insider perspectives, sharp analy- underground hyperloop for those that
Hollywood writer and producer David sis and candid conversations on the big- don’t want to walk in the long corridor
Goyer — known for “Blade,” gest shifts in the industry—from media or the desert heat.

18 spring 2025 www.csimagazine.com

 Sponsored article

The battle for consumer attention

How streaming and AI-powered content discovery are redefining media
consumption
content production costs continue to relevant content.
rise and subscription fatigue sets in. • Universal watchlists that allow users
General Manager, EMEA, Xperi

With thousands of streaming options to keep track of their favourite shows

available, choosing what to watch has and movies in one place.
become overwhelming. Price increases Without these integrations, viewers
Gabriel Cosgrave,

across platforms are pushing audiences risk falling into “doom-streaming”—

to rethink their spending. Many are endlessly scrolling in frustration, which
turning to no-cost or lower-cost can lead to disengagement or even
alternatives — whether FAST channels, subscription cancellations.
AVOD services, or hybrid models.
These models cater to consumers Balancing monetisation and user
who want flexibility. Some prefer a experience
lean-back FAST experience with With ad tolerance on the rise,
scheduled programming, while others streaming platforms have more

T
enjoy on-demand content with limited flexibility in their pricing strategies.
he golden age of subscrip- ad interruptions. Broadcasters offering However, ad-supported models must
tion streaming is evolving. BVOD services provide another free strike the right balance. TiVo’s Q2
Consumers, faced with the alternative, often with exclusive local Video Trends Report also found that
rising cost of multiple content. For advertisers, this shift while viewers are open to ads,
streaming services, are creates engaged audiences ready for excessive or repetitive interruptions
reassessing their options. relevant messaging. But offering free can drive them away. The key is to
Some are cutting back, while others options isn’t enough. Streaming offer options that put control in the
are embracing flexible viewing models platforms must also enhance the way hands of the consumer. Whether
that offer greater control over their viewers discover content. through FAST, AVOD, BVOD, or
costs. This shift has driven interest in hybrid subscriptions with ad-supported
Free Ad-Supported Streaming The power of seamless search and tiers, platforms must provide options
Television (FAST), but also in other discovery that align with different viewing
ad-supported models like AVOD and In today’s crowded streaming preferences.
BVOD, which provide free premium landscape, finding content quickly is
content. For streaming platforms, this just as important as having access to it. Collaboration is the future
presents a challenge. Retaining To keep audiences engaged, platforms No single platform can succeed in
audiences and advertisers requires a must surface the right content at the isolation. The most successful
shift in strategy — one that prioritises right time. That means leveraging streaming services will be those that
consumer choice, seamless content AI-driven personalisation and embrace partnerships — with Smart TV
discovery, and deep integration with integrating directly with Smart TV OS OS providers, advertisers, and content
Smart TV operating systems (OS). platforms to improve discovery. aggregators — to deliver a seamless
By working with Smart TV OS experience.
The shift towards cost controlled providers, streaming platforms can When streaming first transformed
viewing offer: entertainment, it simplified access to
TiVo’s Q2 Video Trends Report found • Unified search that consolidates content. Now, the challenge is
that 77.8% of viewers are at least content across multiple services into a different: helping audiences discover
tolerant of ads, up from 74% in 2023. single, user-friendly interface. content they love, delivering it
This signals a growing acceptance of • Personalised recommendations that affordably, and ensuring a frictionless
ad-supported models, especially as leverage AI-driven insights to surface viewing experience across devices.

www.csimagazine.com spring 2025 19

 Cover story: Broadcast AV

Broadcast AV fuels opportunity,” explains Sean Wargo VP,

Market Insight at AVIXA. “More and
more enterprises understand this as they

global rise in pro AV attempt to produce content to stay

engaged with audiences of all kinds.
While this started before the pandemic,
it solidified its place as a long-term
Adrian Pennington examines the latest trends trend. This is creating a whole new take
and opportunities as the broadcast and pro AV on Pro AV, one as more of an ongoing
events management and content

T
markets increasingly converge. production capability leveraging the
combination of AV and broadcast skills
he global market for cloud has closed the gap between use and technology.”
Pro AV is tracking by live streamers or broadcasters and by Another reason is the advance of
double that of global retailers, education establishments or collaboration technology as a means for
GDP at a rate of 5.4% banks. companies and organisations to adapt
versus 2.7% over each “Let’s face it, video has become their office environments into hybrid
of the next 5 years to ubiquitous as a means of spaces to account for the changing
top US$400 billion, communication,” says Jon Wilson, nature of the workforce. Video streamed
according to industry body AVIXA and President and COO at Grass Valley. “In over IP is the common denominator.
it is Broadcast AV which is fuelling the past, lower production values may In the aftermath of Covid, companies
demand. have been acceptable in certain suddenly had a lot of spare real estate
Broadcast AV is a category of environments — but now, if the quality and workers from home. It changed the
technology used for networked video isn’t there, the audience won’t be specification of big boardrooms and
production in applications outside of either.” auditoriums from single use venues into
the traditional broadcast market. The There are a number of interrelated mixed-use spaces for training, team
standardisation of video distribution reasons for the rise of Broadcast AV. building and multi-office messaging as
over IP, the democratisation of kit from One is that the tech is being deployed live streaming became part of every
cameras to vision mixers and the as extension of the live events business. business culture.
‘softwarification’ of traditional “Part of standing up a good event is “If you’re doing a table tennis
hardware-based tools processed in the to treat it as a valuable content creation tournament for your new starters in

20 spring 2025 www.csimagazine.com

 Cover story: Broadcast AV

London, it’s kind of expected now that

there’s a live stream of it, so those who
are not able to be there on that day can
still participate,” is a real-world example
cited by Tom Morrod, co-founder,
Caretta Research.
Large retailers are still building
studios in order to provide consistent,
localised content for their storefronts,
versioning in dozens of different
languages. Increasingly, consumer
brands are doing this too, investing in
asset management systems. More
recently sports clubs are equipping with
production capabilities to run fan Table 1: https://carettaportal.com/home
related content like videos of training
sessions and interviews.
Dovetailed into the Broadcast AV mix
is the rise and rise of the ‘experience
economy’ which is a catch-all for
entertainment and live events in which
audience members are increasingly a
participant.
Corporate will remain the largest
single market for Pro AV, valued in
2025 to hit $71.8bn but with growth
forecasts of just 4.9%. AVIXA data
suggest M&E is already a U$53.9bn
segment of Pro AV growing at 6.1%.
Venues and events are valued at
$42.1bn growing at 6.3%. Retail, worth Table 2: https://carettaportal.com/home
$22.3bn today, is also supercharged
with a 5.9% growth. “The real question here is not ‘how do I get customers to the shop
“Technology solutions show a shift to whether [Broadcast AV] exists but floor?’ and more ‘how do I engage them
experiences,” says Wargo. which market to place it in as it borrows on social media and other platforms?”
“Conferencing (growing at 4.5%) and from so many. Put another way, this Fuelling all of this is technology
learning (3.8%) are in slower trend is causing a shift in the which increasingly overlaps with
replacement cycles but the experience conversations from what a company traditional broadcast. Caretta valued the
economy is where the buyers are. wants to do with its boardrooms to how whole of Media Tech at $92 billion this
AVIXA data finds Broadcast AV it wants to craft its digital identity, year of which Broadcast AV comprises
growing at 5.6% per year but with the video first.” $18.7bn. By 2028 it has Media Tech
sub-sectors of technology in In recent AVIXA polls of AV users, topping $100bn with Broadcast AV
Performance & Entertainment (6%) and 29% of those operating venues plan to growing faster in this period (at 3.2%)
live events (6.7%) growing faster. invest in or upgrade their content than traditional broadcast and media
Clearly all three are adjacent and production facilities, 31% of corporate (2.5%).
increasingly overlap. businesses will do the same and the Yet Morrod describes Caretta’s
“Broadcast AV is a very meaningful figure for retail is 31%. forecast for Broadcast AV as “not very
area of investment for many of our The latter is eye-opening. “It tells us aggressive… because everything is
markets. It cuts across many different the story of how content is extending getting cheaper so much faster, that it
solution areas and covers both fixed beyond just the performance on basically balances out.”
install entertainment systems and premise,” Wargo says. “Retailers are While conventional broadcaster and
temporary pop-ups for live events,” investing in Broadcast AV to engage prodcos are adopting Pro AV tools such
Wargo says. consumers with content. Now it is less as networking protocol NDI, PTZ

www.csimagazine.com spring 2025 21

 Cover story: Broadcast AV

three cameras into an auditorium.

What’s expensive is knowing how to use
them and that seems to be the biggest
gap in the market right now. It’s making
good use of equipment.”
Grass Valley has seen the same trend.
“More corporations, universities and
retailers want to produce high-quality
media in-house, but many lack
dedicated technical staff to operate live
video productions,” says Wilson. “Let’s
face it, in most cases it’s not their
primary responsibility within the
organisation.”
Likewise, broadcast kit vendors
turning to Pro AV for growth are facing
Corrivium has been working with GV’s AMPP for 4+ years to provide live streaming services what Carretta call “an information gap”.
Carretta’s survey found AV users
cameras, SaaS MAMs and lower cost impressive growth considering our somewhat nonplussed by the jargon-
studio solutions, Pro AV is becoming overall growth ambitions.” heavy engineering marcoms of media
more like broadcast. tech vendors, advising they do a better
“Broadly, all professional technology Information gap job of communicating what their
is more accessible and affordable,” says If there’s a fly in the Broadcast AV product does to a AV audience.
Morrod. “Cloud and AI allow for high- ointment it’s that this part of the “Saying something is ‘12G-SDI
end video creation and delivery at lower industry is growing faster than the supporting higher bitrates and HDR’
cost.” knowledge required to maximise its works well for a broadcaster CTO but it
This is pulling in heavyweight live potential. At ISE in February there doesn’t scan very well into the AV
event equipment making brands like appeared a gap in the technical skillsets engineering space because those guys
Ross, Vizrt, Grass Valley and Chyron, of companies now beginning to operate don’t work in those particular
notes Morrod. media content production at scale. standards,” Morrod reports. “It’s quite
For example, GV’s AMPP platform Large scale high profile events like a easy to make them feel alienated if your
and its LDX Series cameras are tech giant’s global developer conference jargon is unfamiliar.”
deployed by broadcasters as well as or major Esports competition tend to Instead, the advice is to talk to AV
corporates for live events. The AMPP have production outsourced to OB user’s more generally about application,
application Event Producer X enables a specialists like NEP or IMG. Buying in usability and outcome. “Inform AV
single operator located anywhere to that expertise is clearly more expensive users how they work with solution to
produce and direct a full-scale live than owning and running it in-house but solve a problem or deliver an outcome
event. the level of sophistication and volume rather than major on tech standard,
“This level of efficiency, flexibility, demand for content to be created tends specs or features.”
and quality is driving demand in to be beyond the capability of a local Even with the technology at hand,
corporate productions, live events, AV crew. there’s also a requirement to educate
education, and beyond—wherever “The AV technicians and engineers the decision makers in the organisation
compelling visual experiences are that normally buy cameras and to make best use of it.
needed,” Wilson says. switchers are also the team responsible “For example, is the CEO aware they
Non-broadcast environments already for the teleconferencing equipment,” can customise the screen with a logo?
account for around 10% of GV’s says Morrod. “They are installing Or that they can switch between
business, and Wilson expects that complicated video gear in a small cameras? Media training would help.”
growth to continue. “The demand for number of spaces, while also managing Addressing that skills gap with value
high-end production solutions from hundreds or thousands of meeting added training and service is an area
outside of the traditional TV sector is rooms. That kind of configuration is which AV integrators are encouraged to
escalating at a scale where we would pulling AV broadcast equipment into fill.
anticipate it to account for over 25% of the corporate world.” “Because the technology has become
our revenues by 2030 - which is He adds, “It’s not expensive to put broadly relatively easy to operate, the

22 spring 2025 www.csimagazine.com

 Cover story: Broadcast AV

gap now is more around knowledge and uncompressed UHD60 requiring larger
understanding what’s possible. There’s “Saying something is bandwidths.
business there for integrators to extract “IPMX doesn’t however mandate high
a bit more cash (to service this gap), ‘12G-SDI supporting bandwidth pathways, a single codec, or
rather than just dropping in some kit super performant edge devices,” says
and leaving.” higher bitrates and Moodey. “If 1Gbps is right for the
scenario then this can be implemented
AVoIP network standardisation HDR’ works well for a with lower cost endpoints. Critically,
Another significant area of growth
identified by AVIXA is cloud and
broadcaster CTO but the option to evolve later—without
needing to completely redo the control
managed services. These two go hand
in glove and the business potential is to
it doesn’t scan very plane—is built-in because the API is
common across different performance
migrate content production,
management and distribution silos into
well into the AV levels and across different
manufacturers.”
broader AV over IP networks. engineering space Manufacturers tend to be agnostic to
“Cloud and managed AV over IP standards by ensuring their kit is
services is where a lot of growth is because those guys compatible with leading ones. Grass
going to come from,” Wargo says. “It’s Valley for instance says emerging
a great story for integration in a lot of don’t work in those standards enable new ways to tell
ways because that’s the bread and stories.
butter of AV. It’s where the margins particular standards.” “The ability to seamlessly mix content
story. But it’s also challenging in terms from any source—regardless of protocol—
of competency.” means that creatives have more freedom
As in the broadcast industry, AV is proponents of this approach are often than ever,” Wilson says. “Thanks to our
struggling and possibly being held back still thinking about the data networks technical excellence, we ensure that
by competing video networking we had then. Using the 1Gbps network every standard enhances storytelling
standards like SDVoE, HDBaseT, NDI because ‘it’s there’ is not necessarily rather than distracting from it.”
and IPMX. wrong but doesn’t acknowledge the The acceleration of high-end content
The latter two are protocols with reality that network capacity around us production in non-broadcast
which broadcast users will be most is increasing exponentially year on year. environments will continue. Even now,
familiar. The standout difference is that “An end-of-life switch does not have some of the equipment being used in
NDI uses a compression scheme to be replaced with one of the same both areas is “of a near-equivalent
designed to maximise efficiency over a bandwidth. More bandwidth gives quality,” says Wilson. The key difference
1G network while IPMX is an options—whether more similar streams, is scale – both content output and the
adaptation of SMPTE standard 2110 better streams, or a mixture. And production operations behind it.
and uses 10G and 25G networks to human nature is to choose better if it is “It’s very different running a linear
carry higher bitrates. conveniently available.” TV operation across multiple channels
“Most AV over IP approaches to date ST 2110 started the multi-bandwidth and distribution platforms than it is
have been shaped by the convergence ball rolling, supporting both streaming a one-off live event,” he says.
envisioned decades ago,” says Rob uncompressed UHD60 at 25Gbps, as “So there will remain differences, but
Moodey, Strategic Partnerships well as constant bitrate compression on with shared practices I do see a future
Manager, Matrox Video. “However, lower bandwidth connections, where greater collaboration and
recognising different needs within the knowledge sharing takes place between
broadcast community. the two sectors to bring them closer
IPMX extends ST 2110, to create a together.”
single transport mechanism now AVIXA value the total Pro AV market
encompassing standard AV applications. at $346 billion this year and recognises
Unlike other AVoIP approaches, IPMX that’s trivial compared to the trillion
enables multiple codecs—those intended dollar value of consumer electronics or
for 1Gbps networks (inevitably highly the five trillion dollar value of IT. At
compressed)— through various degrees the same time bullish that the AV
of compression, exploiting from industry – led by Broadcast AV - has
Image of Vion Series 2.5Gbps and 10Gbps right up to the room to grow.

www.csimagazine.com spring 2025 23

 Broadcast AV

T
he pro-AV and
broadcast industries
continue to converge
with the continual
democratisation of
technologies and a
growing appetite for
video communication and
consumption.
Furthermore, the rising importance
of general-purpose technologies, such as
AI, has been gaining more attention in
both pro-AV and broadcast industries in
the past years, driving the development
Convergence in the pro
of solutions that can benefit all sectors.
Traditionally, verticals such as
corporate, education, house of worship
AV and broadcast
that produce video typically utilise pro-
AV technology like video conferencing
cameras. In recent years, however, these
industry
end users have started to increasingly
incorporate professional broadcast Joyce Wang, lead market analyst at
technology into their video productions,
such as broadcast quality cameras,
Futuresource, examines the current status
professional PTZs, cloud streaming and further implications.
tools, and video editing software. This
can be seen in Futuresource’s System marketing materials. with a growing desire to produce quality
and Box Camera Market Update The decreasing cost of professional video content due to video
FY2023, which shows that the video technology further fuels the communication becoming an integral
corporate vertical now accounts for 8% convergence trend, instigating the part of people’s daily lives, is driving a
of global system and box camera sell-in, continual shift of end-users in non- convergence of pro AV and broadcast
where prior to the pandemic, it traditional verticals to use and invest in equipment. These new end users will
accounted for just 2%. As a result, the broadcast equipment. For video still have pro AV equipment that they
convergence trend of broadcast and pro acquisition, end users can now access will want to work with their new
AV industries also signifies the public’s full frame sensors for less than $5K in broadcast technology-based investments
shifting ways of creating and consuming Sony’s ILME-FX3 camcorder -- Due to this trend, broadcast
video content. something that would have typically technology vendors have been designing
The demand for more video content cost more than $5K prior to the release solutions dedicated to the specific
is one of the main drivers of the of this product and was reserved for needs of nontraditional broadcast
convergence between pro AV and predominantly mid to high-end verticals. These solutions often focus on
broadcast technology. Video cinematic productions. As such, small ease of use and lower costs for example,
communications and remote working to mid-size corporations, House of Blackmagic’s ATEM-mini video
have become integral to people’s lives Worship, and higher education bodies production switchers offer broadcast-
since the COVID-19 pandemic, thereby can now access this high-end tech more level technologies, such as Picture in
prompting more and more end-users easily. This trend isn’t limited to video Picture (PiP) and various scene
from non-traditional verticals to seek acquisition either. With Blackmagic’s transition effects, at a low cost, allowing
sophisticated video solutions from free professional video editing software non-traditional end users to produce
broadcast technology vendors. In fact, DaVinci Resolve, people can easily more “professional” looking video
video usage in these non-traditional create a professional postproduction content without the need to learn their
verticals has evolved beyond simply for look for their videos. As such, end-users way around a huge, broadcast grade
remote working. Companies are without big budgets now have access to switcher tables. Another example can
bringing studios in-house to produce pro video gear across the content be seen in Sony’s release of the HXC-
their own internal training videos and production workflow. This, combined FZ90, a broadcast system camera

24 spring 2025 www.csimagazine.com

 Broadcast AV

explicitly designed to cater to the needs vertical, further driving the convergence
of traditional pro AV end users with its between pro-AV and broadcast.
single-chip 2/3” sensor and more cost- The convergence between Pro AV and
conscious ASP. Broadcast Industry is a two-way street.
Software and cloud versions of In other words, broadcast technology
broadcast technologies, such as video vendors are also taking inspiration from
production switchers, have also become pro AV products and adapting them to
attractive for entry-level users as it does fit the needs of traditional broadcasters. verticals signifies that resources would
not require any hardware investment For instance, LED walls were mainly be more titled towards developing
and can be deployed immediately on used in pro AV settings for displays and solutions that are suitable for workflows
computers. Broadcast technology are now increasingly adopted in the in non-traditional workflows. This will
vendors also offer AR/MR and XR broadcast industry as an integral part of also lead to a slowdown in innovation
tools for end-users in all verticals to virtual production. By using LED walls, breakthroughs in high-end broadcast
make videos more engaging for their the broadcast industry can operate technologies dedicated to traditional
audience. For instance, Vizrt offers a more cost-effectively and more broadcast verticals. Furthermore,
complete AR graphics and virtual set sustainably without shooting on products that can operate within
solution, Viz Virtual Studio Go, that location. Furthermore, broadcast ecosystems of both broadcast and non-
can be easily deployed to increase the technology vendors are also broadcast traditional verticals will be an
production value of corporate internal experimenting with new operational opportunity for pro-AV and broadcast
communications and make classroom ways by combining their products with technology manufacturers.
instructions in higher education more pro AV devices. For instance, end-users In brief, both Pro AV and broadcast
engaging. As such, non-traditional can access and operate Grass Valley’s industries benefit from innovation from
verticals, such as education, corporate, AMPP on Apple Vision Pro for one another. The demand for creating
and house of worship, have been using augmented production experiences. and consuming high-quality videos will
these technologies to produce Through Apple Vision Pro, operators continue to drive professional video
sophisticated video content to increase can see and control virtual AMPP production devices in verticals outside
engagement, enhance the viewing platform offerings such as multi-viewers of the conventional broadcast. With the
experience, and reach a broader and switchers. The combination of increasing convergence trend, it is
audience. AMPP and Apple Vision Pro showcases essential for technology vendors to
The democratisation of IP technology a new potential for future video develop products and innovative
also fuelled the convergence process production workflows. As such, both solutions that directly address the pain
between the pro-AV and broadcast Pro AV and Broadcast industries benefit points and production needs of
industries. For instance, launched in from each other’s innovations different verticals. In other words,
January 2024, Internet Protocol Media As the convergence trend between tailored solutions would be a key factor
Experience (IPMX) is based on the IP pro AV and broadcast continues to for success for broadcast technology
transport standard in the broadcast deepen, the areas of innovation are vendors.
industry, SMPTE 2110, but specifically likely to shift for broadcast technology
tailored for pro-AV needs for IP video vendors. Although research and
transmission. By making IP protocols development for high-end broadcast Joyce Wang,
more accessible, IP-based video equipment are still important for Lead Market Analyst,
Futuresource
production is now possible for content technology vendors, the increasing
creators outside of the broadcast demand from non-traditional broadcast

www.csimagazine.com spring 2025 25

 CSI interviews

Q &A
CSI speaks with Cédric Dufour, CEO and
President of Rakuten TV about the company’s
new FAST offering for telcos
Cédric Dufour, CEO,

access to a vast content library, secured to realise that FAST channels were
Rakuten TV

through partnerships with major different from traditional TV channels

Hollywood studios and local content in terms of monetisation, content and
providers. This localised approach audience.
ensures that viewers across different The response from telecom operators
countries receive relevant programming. has been positive, with many seeking to
Unlike a white-label service, Rakuten outsource their streaming operations to
TV maintains its branding, which aligns Rakuten TV, Dufour added. While

R
with its content licensing agreements. negotiations with large telecom
akuten TV is expanding its Content is appropriately scheduled for companies take time, industry
B2B services, Rakuten TV peak and off-peak hours. discussions — such as those at MWC —
Enterprise Services, with a The company has already highlight growing interest in FAST
new initiative that aims to implemented this model with telecom channels and Rakuten TV’s solution.
support telecom operators provider Orange in Spain. Orange Rakuten TV is also considering
by providing content distribution, customers gain access to Rakuten TV’s expansion beyond Europe. Discussions
monetisation solutions, and technolo- extensive movie catalogue expanding with telecom operators in Latin
gy for Free Ad-Supported Streaming their existing content selection without America and South Africa indicate
Television (FAST) channels. This altering their platform’s infrastructure. potential growth opportunities, though
comes as FAST growth momentum Rakuten TV monetises its content licensing and monetisation
continues across the industry. ad-supported content through its strategies vary by region.
Rakuten TV, originally a B2C in-house sales team, which manages AI is another focus area for Rakuten
streaming platform, has evolved advertising inventory across Europe. TV, Dufour explained. The company is
significantly over the past 15 years. This team specialises in Connected TV exploring AI-driven improvements in
across 40+ European countries. The advertising, differentiating it from content recommendation and search
new B2B solution allows telecom traditional television and digital display functions to enhance user experience.
operators, smart TV manufacturers, and advertising. The company has integrated AI is also being used to streamline
content owners to integrate Rakuten this monetisation expertise into its B2B internal processes, such as scheduling
TV’s content library, advertising offering, helping telcos generate revenue FAST channel programming, and
capabilities, and technology into their from their own FAST channels. For reducing manual workloads.
platforms. By combining content example, telecom partners such as As part of the larger Rakuten Group,
syndication, monetisation expertise, and Altibox in Norway not only use Rakuten TV benefits from access to
advanced technology, the company is Rakuten TV’s content but also benefit advanced AI research and technological
positioning itself as a key partner for from its advertising capabilities to resources. This synergy also enables
telecom operators, smart TV makers, maximise revenue. Rakuten TV to innovate and refine its
and content providers looking to Rakuten TV has been developing offerings. In France, for example,
capitalise on the growing FAST channel FAST channels for five years, fine- Rakuten TV collaborates with
market, according to Rakuten TV CEO tuning both the technical infrastructure Rakuten’s e-commerce platform,
Cédric Dufour. and content curation process. Unlike allowing customers to earn Rakuten
Rakuten TV’s B2B offering is built on simply aggregating content, creating a Points through purchases, which can
three key components: content successful FAST channel requires then be redeemed for movies. Similar
syndication, monetisation, and strategic scheduling to optimise synergies are being explored with
technology, Dufour told CSI. viewership, Dufour argues. Indeed, he Rakuten Rewards, a cashback platform
Rakuten TV provides partners with points out that it took a while for telcos expanding across Europe.

26 spring 2025 www.csimagazine.com

SAVE
THE DATE
FOR IBC2025
12-15 SEPTEMBER 2025
RAI AMSTERDAM
#IBC2025

THE WORLD’S LEADING MEDIA AND TECH EVENT

 Localisation

The evolving role of localisation

Bridging cultures and expanding global reach in media and
entertainment. By Rosa Lee, Marketing Specialist XL8 and Josh Pine,
Chief Revenue Officer XL8

T
he success of globally fact that OTT platforms are investing potential of regional markets. Plus, the
appealing shows like heavily in producing and acquiring growing demand for authentic
Squid Games and its content in local languages, localisation storytelling will continue to push
much-anticipated sequel is critical for retaining engaged companies to invest in localisation.
has significantly audiences and being a differentiator in For live streaming shows like news
influenced the localisation attracting new subscribers. and broadcasts or events, the success of
market. This example shows how For live content, localised news and localised content hinges on authenticity,
content can transcend language media resonate better with audiences, relevance, and the ability to foster
barriers, especially if localisation is and high-quality translations that adapt community connections.
done well. It also highlights the need to cultural nuances make this content Localisation is not a “final touch” but
for solutions that can scale while more relatable. These opportunities also is quickly becoming a strategic tool to
maintaining quality. The translation empower niche media markets and expand global reach, open new markets,
and localisation industry is being creator-led media ecosystems looking to and even shape a brand’s international
shaped by innovation, collaboration, stand out in a highly competitive market identity.
and a heightened appreciation for and build direct relationships with their
cultural diversity. In 2025, this market audiences. Balancing AI-driven translation
will become an even more essential efficiency with human expertise
part of the media supply chain for Content strategy shifts AI-powered tools are accelerating and
media and entertainment Localised shows’ success shapes improving the quality of the localisation
organisations to adapt quickly and content strategies, driving greater process, and technologies like
keep up with the momentum and investment in original productions and MediaCAT allow media customers to
demand for localised content. acquisitions in non-English language automate and refine their localisation
Whether it’s the rise of niche content. Localisation has become a workflows. Yet, it’s not about
streaming platforms, the international cornerstone of a strategy aiming to eliminating the human interface, as
expansion of content libraries, or the expand global reach and tap into the there is great value behind hybrid

28 spring 2025 www.csimagazine.com

 Localisation

human-AI collaboration, with each not just about translating words. It’s while English to Japanese can get
complementing the other’s strengths. about making sure the message expensive fast. To manage these costs,
It’s not just about cutting costs; it’s connects with the audience in a way studios typically wait until the content is
about maximising the impact of our that’s culturally relevant and sold to a specific market before
resources. contextually accurate. Real-time localising, which can cause delays.
AI-driven platforms like MediaCAT translation engines, like our EventCAT However, studios can speed things up
allow users and LSPs to automate many capture the moment’s tone, energy, and and save money by using machine
early steps in localisation, such as emotion, whether it’s the thrill of a translation and AI tools earlier in the
transcription, timecoding, and sports event or the seriousness of production process. Investing in machine
simultaneous multi-language translation, breaking news. It must also be mindful translation from the start allows studios
which are traditionally handled entirely of cultural differences, adjusting for to automate a big chunk of localisation
by humans. XL8’s engineers have humour, slang, or references that may (up to 80-90%) while the content is still
addressed these pain points with not translate well across regions. Doing being made, helping them get to market
AI-powered features, providing linguists so makes the message feel natural and faster and cheaper. This shift reduces
with tools for better planning and relatable to the audience, creating an bottlenecks, which means companies can
resource allocation. This means inclusive experience. handle more content and scale their
significantly reduced manual tweaks localisation efforts more easily while still
and cutting editing time by over half. Shifting localisation earlier in the maintaining high-quality results across
While AI can handle repetitive tasks, production process different languages and markets.
human linguists can focus on the subtle In the past, localisation was often an Looking ahead, it’s clear that
differences of context, cultural nuances, afterthought, occurring only after a localisation has become much more
tone, regional variations, and final movie, show, or series was finished and than just a final step in creating content.
quality assurance, removing the sold into specific markets. This reactive It is now a key part of how content
bottlenecks of tedious manual tasks. approach, which typically wasn’t part of connects with audiences worldwide.
the original production budget, led to With the growth of global streaming
Beyond language delays and inefficiencies in getting services, niche markets, and live media,
Localisation and translation aren’t just content to global audiences. But with localisation helps ensure that content
about changing words - they’re about streaming platforms now taking the feels authentic, bridging cultural gaps
connecting with people on a deeper lead, studios are realising the value of and creating stronger connections. As
level. It’s about understanding cultural integrating localisation earlier in the AI-powered translation tools and human
quirks, preferences, and what matters to production process, which helps make expertise keep improving, the industry is
your audience. Good localisation adapts the whole thing more cost-effective and more capable of delivering high-quality
everything: images, tone, and humour, efficient. localised content faster and more
so it feels natural and relatable. It’s The cost and complexity of affordably. By integrating localisation
about making your product or message localisation depend on the languages early on, companies will be positioned
feel like it belongs in someone’s world. involved. For instance, translating from to connect with global audiences and
When done right, localisation builds English to Spanish is fairly affordable, thrive in new markets
trust and fosters connection.
Take the creators of Squid Games, for
example: They didn’t just rely on
translating dialog; they ensured the
cultural essence of the story remained
intact while making it accessible to
audiences worldwide. They were able to
bridge cultural gaps with subtle context
changes and still keep the authenticity
of the Korean culture, which added to
the show’s appeal. Featuring well-crafted
subtitles and dubbing in multiple
languages yet still ensures the emotional
weight of the dialogue is preserved.
Real-time translation for live
broadcasts, global events, and news is

www.csimagazine.com spring 2025 29

 Satellite regulation

Helping businesses navigate today’s

satellite regulatory complexities
By Alexis Martin, CEO of River Advisers
underserved areas work with existing and unmodified
to providing mobile phones, providing a simpler and
seamless more scalable solution for consumers.
connectivity in However, this approach requires careful
rural or hard-to- coordination between mobile network
reach locations. operators and satellite service providers
By 2030 there is to ensure that both parties can access
expected to be and use the spectrum in a way that does
approximately not cause interference or reduce service
330 million D2D quality.
subscribers across Yet there’s one important question to
the globe. consider here - which entity is the
D2D requires provider of the electronic
dedicated communications service? This could be
frequencies to a real conundrum for the regulators. Is
transmit data it the mobile network operator, or the
from the satellite satellite operator? Or even the terminal
to the device, and manufacturer in cases where handsets
these frequencies come with embedded technology linked

W
are highly to a specific provider, such as Apple
regulated. The with Globalstar?
ithin the satellite challenge lies in ensuring there is This uncertainty can quickly lead to
and space enough spectrum to meet the rising issues unless resolved.
sectors, demands for both terrestrial and Alongside D2D, the use of High
technological satellite services while minimizing Altitude Platform Stations (HAPS)
innovations interference. Regulatory authorities reflects another exciting development.
continue to must carefully balance the needs of Positioned in the stratosphere, typically
outpace regulations. The world of satellite providers with those of at altitudes between 20 and 50
satellite communications is evolving terrestrial networks to avoid kilometres, HAPS provides a hybrid
rapidly, and modern technologies fragmentation of the radio frequency solution that combines the best aspects
have created a complicated spectrum. of both terrestrial and satellite systems.
ecosystem which has proven difficult There are two approaches when it However, HAPS also introduces
for some businesses to grasp. comes to D2D – using it in Mobile regulatory complexities because of their
Satellite Services (MSS) spectrum, or in unique positioning between terrestrial
Direct-to-Device and HAPS - the the spectrum allocated for Mobile. and satellite. And even though HAPS
future of satellite connectivity Using it for the former would have operate where air traffic is limited they
One such innovation within the satellite implications regarding the phone design are still regulated by aviation
industry is the rise of Direct-to-Device and development of chipsets that authorities, and issues like collision
(D2D) services, which allow consumers support the relevant satellite avoidance, airspace integration, and
to connect directly to satellite networks frequencies. But more importantly, this operational control must be addressed.
without needing intermediary ground approach faces country-by-country Striking the right balance between
stations or specific satellite phones. The challenges unless the spectrum is regulatory oversight and fostering
potential applications for D2D are vast, globally harmonised. innovation in this space will be a key
from enabling emergency On the other hand, D2D services challenge for telecom authorities in the
communications in remote or operating within the mobile spectrum coming years.

30 spring 2025 www.csimagazine.com

WHERE BROADBAND MEETS CONTENT

EXHIBITION & CONFERENCE

3-5 June 2025 • Cologne / Germany

BROADBAND TELEVISION ONLINE

23,000 600+ 480

PARTICIPANTS PLATFORM EXHIBITORS
34 % international OPERATORS from 35 countries

www.angacom.de
 Live streaming

I
n our 2025 predictions, we had
identified the scaling of live
sports event as a key subject,
Large-scale live events:
and after all the recent events,
being Netflix Christmas games
and NFL Super Bowl 2025, we
what are the numbers
now have some good data and
can take a step back to better analyse
those events.
telling us?
2024 was a year filled with major live
events, starting with the Olympics, Industry consultant Thierry Fautier of Your
followed by the now “infamous” Tyson Media Transformation looks back at large-
boxing match — Netflix’s largest-ever
live-streamed event. Just a month later, scale events and crunches the data.
Netflix streamed NFL games
exclusively, and more recently, Tubi
streamed Super Bowl 2025 for free. To
provide a broader perspective beyond
the U.S., we’ve also included
comparisons with the Cricket World
Cup in India and a lesser-discussed
ByteDance concert in China.
The table below summarises the key
characteristics of these events.

Key distinctions in audience and

streaming models
A crucial distinction must be made
between a global audience — such as
Netflix’s Tyson match —and a U.S.-only
audience. Additionally, there is a
difference between exclusive events, like
those on Netflix and ByteDance, versus
events where viewers have the option to
watch via traditional broadcast.

Data analysis
The Netflix Tyson event received
widespread commentary, exposing the

Operator Tubi only Total OTT US Netflix Global Netflix US Disney+Hostar ByteDance
event Superbowl'25 Superbowl'25 Tyson match Tyson match Cricket world cup concert
exclusivity No No Yes Yes No Yes
date February'25 February'25 November'24 November'24 2023 2023
Geography US US WW US India China
peak traffic 15.5 31 65M 38M 59M N/A
Household N/A N/A 108M N/A N/A N/A
AMA 13.6 27M N/A N/A N/A 350
bitrate (est) 14M 14M 6M 6M 0.8M 0.4
Peak traffic (T/s) 217 431 390 228 47 est 42

32 spring 2025 www.csimagazine.com

 Live streaming

limitations of supporting a large-scale This suggests that ISP networks can Comparing to other global events
event using a single CDN—Netflix’s handle extreme traffic loads—up to 431 Looking at the Cricket World Cup in
Open Connect. Designed primarily for Tbps—while Netflix’s CDN was the India and ByteDance’s concert in
VOD traffic, Open Connect struggled bottleneck. China, while both had a higher
with the demands of live streaming. Why was this the case? In Netflix’s number of concurrent sessions, their
Network traces from several U.S. ISPs Open Connect architecture, some aggregated traffic was lower due to the
indicated that traffic reached peering caches are located inside ISP networks lower streaming bitrate, as these events
saturation, with some sources (“on-net”), while others remain primarily targeted mobile devices.
speculating that the peak traffic was outside (“off-net”). Under normal
three times higher than initially VOD traffic patterns, on-net caches Conclusion
planned, making smooth streaming handle about 60% of traffic, while off- For now, a multi-CDN architecture
impossible. net caches handle 40%, requiring data remains the most reliable solution for
In contrast, Super Bowl 2025, to cross ISP peering points. However, large-scale live streaming. A single
produced by FOX and streamed on Tubi during a live event surge, on-net CDN approach is feasible but would
(its FAST—Free Ad-Supported caches fill up quickly and become require a live-optimised architecture
Streaming TV service), reached a saturated, forcing more traffic to come with significantly higher egress
similar peak traffic level in the U.S. but from off-net caches—overloading capacity—something Netflix has yet to
delivered a better quality of experience peering links. achieve but is within reach for operator-
(QoE). Notably, Tubi’s stream was How did Netflix manage the problem run CDNs specifically designed for live
ahead of the broadcast feed, while during its NFL Christmas Day streaming.
Netflix’s NFL games lagged behind by broadcast? Observers noted that new
at least 15–20 seconds. This sessions often experienced delays of up Thierry Fautier is Managing Director of
discrepancy can be attributed to to two minutes before starting, likely consulting firm Your Media
differences in content distribution because Netflix was distributing traffic Transformation, that helps executives in
methods between OTT and traditional across more servers, effectively the Media & Entertainment tech industry
broadcast. mimicking a VOD traffic pattern. to address new markets or execute in a
More strikingly, the total combined Can Netflix resolve this issue? To do more efficient way in existing markets.
traffic from all OTT providers so, Netflix would need to upgrade its Check his LinkedIn profile at www.
streaming the Super Bowl (including caches from their current 200 Gbps linkedin.com/in/thierryfautier
Tubi and various vMVPDs) reached a throughput to at least 1 Tbps per
peak of 431 Tbps, which was 90% server. Given that Netflix operates
Thierry Fautier, Managing Director,
higher than the peak traffic of Netflix’s over 10,000 caches worldwide, such an Your Media Transformation
Tyson match, despite relying on public upgrade would take several years to
CDNs and delivering a superior QoE. complete.

www.csimagazine.com spring 2025 33

 Service List Registry

connect viewers with the programmes

that they want to watch is the key to
unlocking the multiscreen experience.
The problem with current approaches
based on individual apps is that media
providers must deal with many
competing platforms and consumer
electronics companies to secure
distribution and prominent presentation
of their services.
While manufacturers aim to produce
products for global or multinational
markets, many media services address
national or regional audiences. This
market fragmentation causes friction
and limits economies of scale for all
parties.
Despite the growing popularity of
online video, many people still rely on
traditional television brands, which are

Unified service platform often strongly identified with familiar

channel numbers. These are associated
with viewing habits, shared experiences,

simplifies television and and cultural identity that remain

relevant in the modern media market.
There is a real risk of losing the

video simplicity of an open competitive

ecosystem, in which any device or
display can access any available service,
By Dr William Cooper, Chief Executive of the whether it is free to view or part of a
subscription. This is a crucial concern

T
Service List Registry for regulators that seek to maintain the
prominence of public service media
elevision and video Finding a particular programme can while encouraging innovation and the
services are too be frustrating, as we are often forced to development of new forms of
difficult to access and navigate multiple menus and similar but distribution.
use. Navigating the separate user interfaces on various
rapidly evolving screens. Unified service platform
viewing environment is As viewing moves from traditional The Service List Registry provides a
increasingly complex broadcast channels to the online world, unified service platform to enable
for both users and media providers, there has been no standard method for devices, displays, agents, and
as competition for audience attention devices and displays to discover services applications to discover audiovisual
intensifies. or for media providers to promote them services and empower media providers
We have more viewing choices than to users. to manage and promote them.
ever and so many more ways to watch, This presents a significant challenge Imagine a machine-readable online
but it is still difficult to discover how to for previously predominant directory that products and applications
access audiovisual media services on broadcasters. They are losing their can use to look up lists of relevant
different devices and displays. share of viewing in the face of services and present them within their
Traditional broadcast services are increasing competition for the attention user interface.
struggling to compete with global of audiences and attempts by other The solution is based on existing
online players. We expect to be able to powerful players to aggregate the user open standards and does not require
access audiovisual media services on experience. any changes to current broadcast
any screen, over any network. With billions at stake, the ability to transmission systems. By using web

34 spring 2025 www.csimagazine.com

 Service List Registry

technologies, the online service layer accessible. This identifies the integration of services from multiple
can be easily integrated with various provenance of licenced services sources into a coherent and consistent
client software systems, reducing within their jurisdiction, ensuring proposition.
barriers to adoption. media plurality and fulfilling public To improve the developer experience
The cloud-native platform built on policy objectives. and make the DVB-I specification more
global infrastructure provides a immediately accessible, the Service List
standards-based interface that allows The real strength of the system is in Registry translates the essential
devices, displays, agents, and the aggregation of services from diverse elements into a documented
applications to query the online registry and competing media providers. The Application Programming Interface.
to discover services and titles. Service List Registry provides these The key to opening up DVB-I to
The Service List Registry is uniquely service lists in a consistent and developers is an OpenAPI specification,
able to address the requirements of interoperable format, creating shared a declarative document notation that
media users, devices, providers, and value for all participants in the provides concise yet comprehensive
authorities. ecosystem. documentation and code examples in a
The unified service platform delivers machine-readable format. By offering
• Users with compatible devices, economies of scale that individual clear, interactive definitions, OpenAPI
displays, or applications can simply media providers and service operators simplifies integration, accelerates
select services from lists of familiar cannot achieve. This creates a development, and deployment, reducing
channels and online offerings in an multinational market that manufacturers implementation costs and risks.
integrated view, based on their and developers can address cost- In addition to XML, OpenAPI
location and the capabilities of their effectively and allows media providers natively supports lightweight responses
screen. All queries are anonymous, to reach a wider audience. in JSON, a language-independent
protecting personal privacy. Ordered The Service List Registry ensures format that is readily readable and
service lists enable simple and authenticity, preventing the inclusion of easily consumable by software clients,
accessible navigation, including illegitimate or unauthorised services. By including HbbTV and other browser
numeric selection. serving as a definitive and trusted applications. These responses are
• Devices and applications can use source of service information, it specified in standard JSON Schema
open web standards to request service maintains the integrity of service notation to facilitate software validation
lists and present the results in their discovery, protecting products, services, and testing.
own environment. Third parties retain and users. A clearly defined application
the freedom to innovate and In many markets, regulation demands programming interface enables services
differentiate the user experience of the clear prominence and provenance of and programmes to be discovered not
their products in an open and services, particularly those of public only by viewers, but also by other
competitive multinational market. importance. The Service List Registry software systems. These can include
This includes integration with ensures compliance with these artificial intelligence agents that can
intelligent systems, including regulatory requirements, protecting search for viewing options on behalf of
personalised recommendations, voice service integrity and promoting viewers.
control, and home automation. consumer confidence. Through its unified service platform
• Providers of media services can and published application programming
publish details of services available by Open standards interface, the Service List Registry
region across various delivery The Service List Registry is based on enables media providers to reach users
networks. They can promote their freely available open standards and across compatible devices or displays.
brands and retain control of the specifications, providing interoperability The aim is to simplify television and
distribution of their services, with the and ease of integration for rapid video viewing, offering users choice,
option to prioritise different modes of implementation, deployment, and convenience, and control.
delivery and offer higher quality adoption.
audio and video formats for Central to the registry is the DVB-I Dr William Cooper is an independent
compatible displays. specification for service discovery and consultant who has worked at the
• Authorities and regulators can programme metadata developed by the intersection of broadcast and broadband
designate and approve service lists to DVB Project. television and video for over two decades.
maintain the prominence of public DVB-I delivers audiovisual service He is the founding Chief Executive of the
service media prov®iders so that they information online using open Service List Registry. Further information
are universally available and easily standards. It allows the aggregation and is available at slrdb.org.

www.csimagazine.com spring 2025 35

 Satcom evolution

The new satellite landscape

Can the satellite industry cope with the transition to a new space
environment? By Helen Weedon, Managing Director, the Satcoms
Innovation Group

T
he satellite industry is satellites to low Earth orbit (LEO) market. In recent years, we’ve seen
undergoing a services, which offer lower latency and several high-profile mergers, such as
transition. Previously more direct communication. Viasat/Inmarsat and Intelsat/SES, as
the domain of According to Manik Vinnakota, Vice organisations reposition themselves to
traditional operators, President, Product and Customer meet the evolving technological
legacy hardware, and Solutions, Telesat: “The tremendous demands. This consolidation trend will
longstanding proliferation of LEO satellite likely continue, both among the largest
processes, it is experiencing one of constellations is a game-changer for players and within the mid-size satcoms
the biggest shake-ups in its history. connectivity globally. There is massive businesses. The result will be a less
Of course, in broadcast, we have seen demand for ubiquitous connectivity diverse but ultimately more resilient
a shift away from satellite for across multiple industry and market.”
contribution and distribution over government sectors, and first
recent years. However, the advent of generation, consumer-grade LEO The technology shift
new players and mega constellations satellite services are only just beginning “Next-generation, enterprise-class LEO
makes it easier and cheaper to access to tap into that market potential.” satellite constellations will massively
high-capacity satellite coverage, This is a view echoed by Ali Ahmed expand the addressable market by
which is proving a valuable Al Kuwari, President & CEO, providing immediate access to reliable,
alternative, especially for those hard- Es’hailSat: “The biggest changes in the secure, and pervasive connectivity in
to-reach areas. satellite environment have been the even the most remote regions of the
With so much change in a very advent of global Non-Geostationary planet,” believes Vinnakota. “These
traditional industry, however, can the (NGSO) constellations, driven by a technologically advanced satellite
satcoms sector keep pace with that reduction in launch costs and backed networks will bring mission-critical
evolution and cope with the transition? by demand for connectivity across the connectivity to the many digital deserts
“The satellite environment is globe.” Martin Coleman, Board that still exist today to drive digital
undergoing dramatic changes that are Member, the Satcoms Innovation transformation and new opportunities
impacting not only the space industry Group adds: “These constellations are for citizens, businesses, and
but also our broader economy and daily pushing the boundaries of what is governments everywhere.”
lives,” says Leshan Uggalla, Senior possible in satellite communications And we are already seeing how these
Lecturer, University of South Wales. “In and their scale is transforming both the evolutions are drastically changing
the UK, satellite-based services commercial satellite market and the satellite’s potential. According to
contribute nearly 20% of GDP, way we think about global Richard Jacklin, Commercial Lead,
underlining their critical role as both connectivity.” Plextek: “Direct to Device (D2D) is
national infrastructure and a standalone At the same time, there are some going to be a potential gamechanger for
industry.” major business shifts. As mentioned by the satellite communications industry.
Uggalla adds that one of the most Kevin Dunne, CEO, ETL Systems: For decades cellular and satellite has
significant changes is the shift from “We’re witnessing a significant trend coexisted and worked together
traditional geostationary (GEO) towards consolidation within the successfully in backhaul; but now we

36 spring 2025 www.csimagazine.com

 Satcom evolution

are seeing the potential for satellite to Of course, as we have seen across the complementing its satellite video
device (fronthaul) services.” He goes on broadcast industry, AI is also having an distribution with cloud-enabled playout
to highlight that the “impact could be impact in space. Uggala comments: “the and media services.
significant as D2D can disrupt many integration of emerging technologies
markets including maritime / cruise like AI and IoT is enhancing the The future of satcoms
industry, emergency service capabilities of satellite systems, enabling It is certain it is an exciting time.
connectivity in remote areas, and smarter and more efficient operations. Jacklin believes: “more funding will
probably governmental and security.” Collectively, these changes underscore move to private sector non-defence
Al Kuwari adds: “On the broadcast the transformative impact of the space and satellite development, the
side, the growth in Over-the-Top (OTT) evolving satellite environment on both space industry will continue to
viewership driven by the preference our economy and our way of life.” transform into a higher speed
towards on-demand streaming of However, Vinnakota warns: “If next- development opportunity.” At the same
content has been a significant shift in generation LEO satellite operators time, as Uggala warns it also appears:
the way video content is consumed. TV continue with consumer-grade, best- “somewhat concerning.” Talking about
channels that were primarily using effort services, service quality will the proliferation of LEO constellations
satellite for linear distribution, also have inevitably deteriorate as uptake he cautions while it “is likely to reduce
OTT offerings to cater to more increases. To ensure consistently high service costs for customers, it also risks
connected audiences. However, many levels of service quality, LEO satellite overcrowding space and increasing the
channels such as public broadcasters operators must provide guaranteed potential for collisions. Although the
continue to value the reach and performance that’s backed by service overall situation holds exciting
coverage of satellite distribution.” level agreements (SLAs) and the ability opportunities for innovation and
Indeed, we have even seen some good to prioritize traffic within different enhanced connectivity, there is an
examples of how LEO satellites have classes of service.” urgent need for stringent regulatory
been used with other technology to mechanisms to govern space traffic and
enable more cost-efficient broadcast How the industry is adapting mitigate environmental impacts.”
contribution. One such example is some According to Coleman: “The new space Vinnakota also warns caution: “If
of the work being done by Open environment is driving smarter, more LEO satellite networks are to fulfill
Broadcast Systems, which is using 5G adaptive and cost-effective solutions. their huge potential to bridge the digital
together with LEO satellites for Multi-orbit networks, AI-driven divide and eliminate digital deserts, they
occasional use sports broadcasting. automation and software-defined must be designed and built to integrate
Kieran Kunhya, CEO, Open Broadcast satellites will increase efficiency, with terrestrial telecom and enterprise
Systems says these technologies are scalability and security, while space networks, provide flexibility for
also: “useful as a backup solution for debris mitigation and sustainable terrestrial operators to define and
linear channels on fibre connections, practices will ensure long-term control their satellite services, and meet
ensuring uninterrupted 24/7 service.” viability.” strict security requirements.”
Another major technology shift That is certainly evident from the And while LEO is gaining traction, Al
happening within the satcoms industry people we spoke to, both in terms of Kuwari is optimistic about the role of
is highlighted by Dunne: “the shift the ground segment and in space. From GEO: “The future will be a
towards digitalisation remains a key front-end RF engineering at Plextek to combination of GEO and Non-GEO
driver of change in satellite tools that adapt to the digital shift from satellite solutions as both are required
communications. Both space-based and ETL Systems, that is well into the in their own way.” He also believes:
ground infrastructure are evolving, with development of the next phase of “Ground infrastructure will become
the aim of creating software-defined Digital IF products. more of a service as Teleports become
satellites and a virtualised ground Satellite operators are also adapting. more connected and allow for seamless
segment. Achieving this vision will Telesat has built-in leading-edge networking across applications.”
close the traditional divide between innovations such as digital Ultimately, as Coleman points out:
ground and space – two sectors that beamforming, integrated onboard data “The future space environment will be
have long operated in parallel but processing, and optical inter-satellite highly interconnected, AI-driven and
largely independently. With the links for better link performance, commercialised, with lower costs, faster
introduction of digitalisation into increased network efficiency and deployment and smarter networks.
satcoms, these two elements will enhanced flexibility. Es’hailSat has also However, managing space traffic,
ultimately become an integrated, grown and adapted its portfolio of cybersecurity and sustainability will be
synchronous ecosystem.” products and services. This includes key challenges.”

www.csimagazine.com spring 2025 37

 AWARDS CEREMONY
12 September 2025

The CSI Awards 2025

Established in 2003 the awards, now in their 23rd year, are among the most prestigious and competitive
technology awards in the industry, designed to recognise and reward innovation and excellence in the cable,
satellite, broadcast, IPTV, streaming and associated sectors.

2025 categories
1. Best video processing technology 13. Best advance in AdTech or Monetisation
technology
2. Best network delivery technology
14. Best remote or virtual production / Best IP
3. Best edge/video CDN deployment production development or project

4. Best monitoring or network management solution 15. Best TV middleware - NEW

5. Best content or service protection/Best anti-piracy 16. Best sports broadcast or streaming innovation
protection
17. Best advance in content discovery
6. Best live streaming technology or service
18. Best TV app
7. Best TV everywhere or multi-screen video
19. Best FAST innovation or deployment
8. Best data & analytics solution
20. Best TV / cloud gaming project or service - NEW
9. Best cloud or virtualisation innovation
21. Best interactive streaming technology or
10. Best TV user experience application - NEW

11. Best use of AI or Machine Learning in video 22. Best sustainability project or initiative

12. Best implementation of GenerativeAI in video

www.csimagazine.com/awards
The winners will be announced on September 12 2025 — at the Hotel Okura in Amsterdam.

For the latest news and updates follow us @CSI_Magazine #CSIAwards

38 Spring 2025 www.csimagazine.com

AWARDS CEREMONY
12 September 2025

The free-to-attend CSI Awards ceremony will be

again taking place at the Hotel Okura in Amsterdam

Deadline for entries: 16 May 2025

Enter here: wwww.csimagazine.com/awards/enter_the_awards.php

For awards or entry enquiries:

Olivia Richardson Camilla Capece
+44 (0)20 7562 2413 +44 (0)207 7562 2438
olivia.richardson@
Organised by camilla.capece@csimagazine.com
perspectivepublishing.com
www.csimagazine.com/awards
www.csimagazine.com Spring 2025 39