News

NASA TV HD and NASA TV UHD distributed on Eutelsat satellites

Paris, 12 April 2018 – Eutelsat Communications (Euronext Paris: ETL), one of the world’s leading satellite operators, today announced that the NASA High Definition (NTV-3) and NASA Ultra High Definition (NTV-4) channels are broadcasting in free-to-air via satellite for the first time across Europe, the Middle East, North Africa and Sub-Saharan Africa.

Viewers from across these regions can now enjoy exceptional images from the U.S. space programme, including coverage of launches, life on-board the International Space Station, Earth views from space, deep space exploration, the solar system, Mars, replay of NASA classics such as the Apollo programme, and documentaries on NASA’s latest R&D work.
• NASA TV HD is transmitted free-to-air from the popular HOTBIRD video neighbourhood at 13° East for viewers in Europe, the Middle East and North Africa, and via the 7° East video neighbourhood for viewers in Sub-Saharan Africa.
• NASA TV UHD is also broadcast on the HOTBIRD and 7° East video neighbourhoods, as well as the FRANSAT TV platform via the EUTELSAT 5 West A satellite, for subscribers equipped with an Ultra HD-compatible TV set*. The channel, produced by Harmonic, leverages Harmonic’s latest Ultra HD end-to-end media processing and delivery technologies, with image resolution levels four times higher than standard HD.

Eutelsat is the first satellite operator to make NASA TV channels accessible to a large and rapidly growing audience base across Europe, the Middle East, North Africa and Sub-Saharan Africa. Offering an unequalled viewing experience, the addition of NASA TV UHD underlines the continuous expansion of Ultra HD content transmitted via Eutelsat’s fleet of satellites.

* Viewers must be equipped with a recent 4K Ultra HD TV set with an integrated satellite tuner certified by FRANSAT, as well as a CI+ CAM module.

How to receive the channels

• NASA TV UHD (NTV-4) – 4k UHD, HEVC encoding

From HOTBIRD (13° East)
Frequency: 11373 MHz
Horizontal polarization, DVB-S2, 8PSK, FEC 3/4
Symbol rate: 27500

From EUTELSAT 7B (7° East)
Frequency: 10887 MHz
Horizontal polarization, DVB-S2, QPSK, FEC 4/5
Symbol rate: 30000

From EUTELSAT 5 West A (5° West)
FRANSAT
Frequency: 12732 MHz
Vertical polarization, DVB-2, 8PSK, FEC 3/4
Symbol rate: 29950

• NASA TV HD (NTV-3) – MPEG-4 encoding

From HOTBIRD (13° East)
Frequency: 11373 MHz
Horizontal polarization, DVB-S2, 8PSK, FEC 3/4
Symbol rate: 27500

From EUTELSAT 7B (7° East)
Frequency: 10887 MHz
Horizontal polarization, DVB-S2, QPSK, FEC 4/5
Symbol rate: 30000

About Eutelsat Communications

Founded in 1977, Eutelsat Communications is one of the world’s leading satellite operators. With a global fleet of satellites and associated ground infrastructure, Eutelsat enables clients across Video, Data, Government, Fixed and Mobile Broadband markets to communicate effectively to their customers, irrespective of their location. Over 6,800 television channels operated by leading media groups are broadcast by Eutelsat to one billion viewers equipped for DTH reception or connected to terrestrial networks. Headquartered in Paris, with offices and teleports around the globe, Eutelsat assembles 1,000 men and women from 44 countries who are dedicated to delivering the highest quality of service.

Eutelsat Communications is listed on the Euronext Paris Stock Exchange (ticker: ETL).

For more about Eutelsat go to www.eutelsat.com

Press
Marie-Sophie Ecuer Tel: + 33 1 53 98 37 91 mecuer@eutelsat.com
Christina Darvasi Tel: +52 55 2629 5847 cdarvasi@eutelsat.com

Investors and analysts
Joanna Darlington Tel. : +33 1 53 98 35 30 jdarlington@eutelsat.com
Cédric Pugni Tel. : +33 1 53 98 35 30 cpugni@eutelsat.com

Content Owners Amp Up Anti-Piracy Strategy with Irdeto’s Industry-First Watermarking Solution

Irdeto introduces first-of-its-kind technology that now combines support for JPEG 2000 in Interoperable Master Format into its scalable distributor watermarking solution

LAS VEGAS, NAB – 10 April 2018 – As content owners and distributors continue to address consumer demand for premium content, Interoperable Master Format (IMF) is becoming an increasingly popular exchange format for 4K and HDR assets. While this format has helped OTT providers and pay TV operators reduce costs and complexity associated with distributing premium content, pirates have also evolved their piracy strategies to steal valuable assets. To address piracy challenges, Irdeto has introduced an industry-first feature set into its scalable distributor watermarking solution. Irdeto TraceMark™ forensic watermarking now provides content owners with support for JPEG 2000 (J2K) in IMF exchange formats to help prevent theft of premium 4K and HDR content.

With Irdeto TraceMark now supporting J2K in IMF, content owners are able to keep one master version of the content and send out individually watermarked versions of the content on-the-fly with no delay to distributors. As a result, content owners no longer need to transcode individual copies, reducing the use of storage space and preparation time before distributing content. The solution also offers the ability distribute high-quality content at scale in individually watermarked form, provides post-encode benefits that eliminate the need for custom watermarking plugins and operates independently of encoders, requiring zero integration so it can be deployed immediately. TraceMark is also the first to fully integrate distributor watermarking with Aspera’s FASP® transfer technology.

“One thing is for certain, if pirates want to get their hands on premium content, they will alter their tactics in order to find a weak point in a content owner’s anti-piracy strategy,” said Pete Cossack, Vice President of Cybersecurity Services at Irdeto. “To combat pirates, we recognize the importance of continually innovating in order to enhance anti-piracy strategies. With our industry-first J2K in IMF watermarking solution, we are adding yet another layer of defense to help content owners and distributors protect premium 4K and HDR content. Supporting IMF exchange formats is the type of innovative functionality needed to help content owners stay one step ahead of pirates.”

Offered as a key solution in the Irdeto Piracy Control suite, Irdeto TraceMark forensic watermarking provides the industry’s widest support for file formats and codecs, including XDCAM, HD50, ProRes, AVC, HEVC and now J2K in IMF. The solution provides content owners with deeper insight into the actual origin of pirated content, allowing content owners to make informed decisions based on correct data rather than what was purported based on file name or other characteristics. Irdeto’s team of multi-discipline specialists and its proven methodology has a successful track record in rapidly identifying content theft, disrupting piracy and leveraging its established networks to track down pirates and their supply chains.

To learn more about Irdeto TraceMark forensic watermarking, please visit: https://resources.irdeto.com/piracy-control/datasheet-irdeto-tracemark-forensic-watermarking-distributor-watermarking-for-content-owners-sports-rights-holders

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About Irdeto
Irdeto is the world leader in digital platform security, protecting platforms and applications for media & entertainment, connected transport and IoT connected industries. Our solutions and services enable customers to protect their revenue, create new offerings and fight cybercrime. With nearly 50 years of expertise in security, Irdeto’s software security technology and cyber services protect over 5 billion devices and applications for some of the world’s best-known brands. Our unique heritage as a subsidiary of multinational media group Naspers (JSE: NPN) means that we are a well-established and reliable partner to help build a more secure future. Please visit Irdeto at www.irdeto.com.

For further information, please contact:

Stephen Russell
Global Manager, Public Relations, Irdeto
Mobile: +1 774 273 3890
Email: Stephen.Russell@irdeto.com

Crystal Kung
Senior Account Manager, WE Communications
P: +65 6303 8472
Email: ckung@we-worldwide.com

NAGRA and KT Skylife expand content protection partnership with NexGuard watermarking

Latest deployment of NexGuard watermarking technology allows KT Skylife to meet MovieLabs requirements while giving subscribers access to the best content and safeguarding against piracy

Cheseaux-sur Lausanne, Switzerland, and Phoenix (AZ), USA – April 5, 2018 – NAGRA, a Kudelski Group (SIX:KUD.S) company and the world’s leading independent provider of content protection and multiscreen television solutions, today announced that its NexGuard watermarking solution for pay-TV was selected by Korean satellite broadcaster KT Skyylife.

This partnership allows KT Skylife – a NAGRA customer since 2010 – to meet forensic watermarking requirements mandated by MovieLabs’ Enhanced Content Protection for premium content, including 4K Ultra HD and HDR. The expansion also gives KT Skylife’s subscribers access to the best content available, while protecting their service from piracy.

By expanding its partnership with NAGRA, KT Skylife can now leverage NexGuard watermarking technology to meet studio requirements for the protection of high-value content. The additional ability to expand KT Skylife content offering and increase the value of their services to their subscribers provides a competitive advantage for KT Skylife moving forward.

“Our unique watermarking capabilities provide KT Skylife with the added security and traceability for pay-TV provides to meet content owners’ requirements for the protection of premium content, and deter would-be pirates,” said Stephane Le Dreau, Senior Vice President Sales & Services APAC at NAGRA. “With NAGRA content protection and watermarking, KT Skylife is now able to create the ultimate closed-loop approach to fighting piracy while ensuring access to the best content available for their subscribers.”

NAGRA’s NexGuard forensic watermarking technology adds a unique, invisible identifier to video content delivered to set-top boxes, smart TVs and other video players enables each device. It embeds a unique watermark for any video shown, making it the only way to tracing illicit re-distribution back to a specific account. The watermark remains with the content, even in the case of transcoding, resizing, downscaling, camcording or any other alteration.

NAGRA Anti-Piracy Services and NexGuard watermarking solution will be demonstrated on the NAGRA stand, SU3424, at NAB 2018 in Las Vegas (9-12 April 2018).

About NAGRA
NAGRA, a digital TV division of the Kudelski Group (SIX:KUD.S), provides security and multiscreen user experience solutions for the monetization of digital media. The company provides content providers and DTV operators worldwide with secure, open and integrated platforms and applications over broadcast, broadband and mobile platforms, enabling compelling and personalized viewing experiences. Please visit dtv.nagra.com for more information and follow us on Twitter at @nagrakudelski.

Contacts
Ivan Schnider
Marketing Communications
+41 21 732 09 40
ivan.schnider@nagra.com

Anita Pang
Marketing Communications
+65 6829 0811
anita.pang@nagra.com

Dove Announces Global Partnership with Cartoon Network’s Steven Universe to Build Self-Esteem and Body Confidence in Young People Using Mainstream Entertainment for the First Time

The two-year partnership takes the Dove Self-Esteem Project, the world’s largest provider of self-esteem education, to a scale never-seen-before

April 4, 2018 – Dove announces a two-year global partnership with Cartoon Network’s Steven Universe to educate young people on body confidence through the cartoon’s themes of inclusivity and empowerment, conveyed through its world and characters – going directly to them in a medium they know and love, something that has never been done before.

This pioneering collaboration comes from the Dove Self-Esteem Project which has been helping young people build self-esteem and body confidence through educational programmes since 2004. The project is based on the knowledge that over half of girls do not have high body confidence, leading them to avoid spending time with friends and family, put their health at risk and opt-out of important life events. The Dove Self-Esteem Project exists in 140 countries around the world is committed to reaching 40 million young people by 2020 through its existing educational programmes; and with the help of Steven Universe, will now reach 20 million more, including in Asia Pacific.

Using a public health intervention model, the Dove Self-Esteem Project will expand beyond structured workshops delivered by adults to taking educational content direct to young people on a scale never-seen before. And in the case of the project’s partnership with Cartoon Network, this will be Steven Universe’s young viewers to positively impact their self-esteem and body confidence.

The partnership will come to life in a series of six short animated films directed by Steven Universe creator Rebecca Sugar, the first of which premieres today in the US, and in Australia and New Zealand on April 7, and in the Philippines on April 23. Working with the Dove Self-Esteem Project, all content has been carefully co-created and grounded in scientific evidence by body image expert, Dr Phillippa Diedrichs at the Centre for Appearance Research at the University of the West of England, in order to make a meaningful impact on a young person’s self-esteem and body confidence.

Later this year, an original song featuring the cast of the show, an accompanying music video, and an educational eBook will also be launched adding to the Dove Self-Esteem Project’s commitment to create a media landscape for young people that is inclusive by acknowledging every person’s uniqueness and representing true diversity.

“We are passionate about evolving the types of messages the next generation are receiving through media, which is why we are working side by side with partners to take the programme to the next level. We are introducing new tools to enable us to reach even more young people with content that not only educates but also entertains. By partnering with Cartoon Network and Rebecca Sugar we are able to create new ways to make a real impact towards our mission of helping young people build positive body confidence and self-esteem.”

Research shows that children’s media can be a powerful source of influence on young viewers’ body image and emotional intelligence, with carefully designed inclusive content creating more positive attitudes and behaviours towards their own health and others.

“The partnership creates content that tackles topics identified in scientific research as key influences on young people’s body confidence, and delivers it in an engaging and fun way.”

Critically acclaimed, Steven Universe is the first animated series on Cartoon Network to be created by a woman. A global pop culture phenomenon recognized for its overall themes of inclusivity, empathy and relatability, the show is inspired by Rebecca’s friendship and close relationship with her younger brother Steven.

“Cartoons are a powerful medium when it comes to empathy and understanding, which is why my team and I take great care with Steven Universe to reflect real issues that affect our audience,” says Rebecca.

SEE THE FIRST OF SIX ANIMATED SHORTS BELOW!

For more information, contact:
James Moore +852 3128 3720 James.Moore@turner.com

Why Fox and Disney hate Singapore’s little black boxes

Singapore has become the front line in a global fight against rampant piracy of movies, TV shows and sports games.

Major media and entertainment companies are waging a campaign against the spread of small black boxes that can provide free access to thousands of TV and video-on-demand channels worldwide.

“It’s the little box that took over piracy and it’s taking over the world,” said Neil Gane, general manager of the Coalition Against Piracy, an industry group that includes Disney (DIS), 21st Century Fox (FOX) and Turner, the parent company of CNN.

Gane said Southeast Asia has become “the epicenter” of the manufacturing and distribution of the boxes, which are known as illicit streaming devices, or ISDs.

On their own, the boxes don’t do much. But when loaded with the right software, they can enable people to illegally watch content they should be paying for, such as top soccer and NBA games, popular shows like Game of Thrones and the latest Hollywood movies.

The companies are fighting back and pushing authorities to crack down on the boxes.

Losing subscribers

In Singapore, cable operators Singtel and Starhub have teamed up with Fox and English soccer’s Premier League to take legal action against two ISD sellers. The case, which is now before the courts, could result in the devices being outlawed in the city-state.

Successful legal action has already been taken against sellers of the boxes in Hong Kong, Thailand, Malaysia and the United Kingdom, according to the Coalition Against Piracy. But it hasn’t been enough to stop the sale and use of them in many countries.

Last year, the US government made the boxes a special focus of its “notorious markets” report, warning that use of them has exploded in the United States. They’re different from products like Slingbox and Apple TV, which are set up to work with authorized content providers.

It’s difficult to put an exact number on the financial damage the illicit devices may be doing to the global media and entertainment industry. Losses for companies that create, own and distribute content for North America could exceed $4 billion a year, according to a recent report from communications technology firm Sandvine.

Research group Media Partners Asia says that in Singapore, the number of pay TV subscribers has fallen 15% over the past two years, mainly because of piracy. Its CEO, Vivek Couto, predicts the number of subscribers could fall another 15% in the next two years.

‘Everybody’s talking about the issue’

Jonathan Spink, the CEO of HBO in Asia, has worked in the region for 20 years and says content piracy has never been as widespread as it is today.

“Everybody’s talking about the issue now, which means everyone’s being impacted by it,” he said. “People are canceling subscriptions because they can get stuff for free. At the moment, it’s not killing the business but it’s beginning to have a very real effect on it.”

HBO, like CNN and Turner, is owned by Time Warner (TWX).

Spink said it’s hard to quantify how much illegal streaming devices are costing the company, but he points to the example of HBO’s Game of Thrones, which is the most pirated show in history. Episodes from its seventh season were pirated more than a billion times, according to anti-piracy firm Muso.

“Even if you can convert 10% of those people to paying customers, then business would be significantly better,” Spink said.

Easy to buy

One of the biggest problems is the abundant availability of the streaming boxes.

The devices are “the hot thing being sold” in many shopping malls devoted to tech products across Asia, Gane said.

In Singapore’s Sim Lim Square, an electronics mall, at least half a dozen outlets were openly offering the media streaming boxes last month. Several of them told CNN that the devices were selling well.

For the equivalent of $150, we bought a box that the store then loaded with software. After that, it’s basically plug and play. All that’s needed is a screen and an internet connection.

The device we bought provided access to the latest movies, TV shows and sports, including the English Premier League. It was all content we should be paying for, so we shut it down.

Stamping out the sale of the boxes is proving tough.

“I think most governments recognize the damage intellectual property crimes do to their economy, but they are not necessarily enforcing it or they are delaying the decisions to clamp down,” Gane said.

The industry needs to try to alter the way consumers think about piracy, according to HBO’s Spink.

“If you stole £100 through the internet from your bank, you would have the world falling on your shoulders. But if you steal a couple of films from someone, then no one seems to mind,” he said. “That mindset has to change.”

Star India unleashes an epic MI Vs CSK opening game campaign

MUMBAI, April 4, 2018: With just 3 days for the gripping cricketing action-entertainment of the much anticipated VIVO IPL 2018 to begin, Star India has unveiled yet another feisty campaign; this time, it’s the ‘Best vs Best’ narrative that stokes passion of the fans around the high-octane action promised highly awaited opening clash on Saturday, April 7th at 8 pm between current champions Mumbai Indians and Chennai Super Kings that return after two editions. This match and all the matches will be aired on the Star Sports bouquet (Star Sports 1 English, Star Sports 1 HD English, Star Sports 1 Hindi, Star Sports 1 HD Hindi, Star Sports 1 Tamil, Star Sports 1 Select SD English, Star Sports 1 Select HD English), Suvarna Plus, Star Maa Movies, Jalsha Movies and live streamed on Hotstar in India, US & Canada.

The narrative of the latest campaign created by the Star Sports creative team rekindles the greatest rivalry of IPL between Mumbai Indians and Chennai Super Kings, which amongst them have won 5 IPL trophies out of the total ten leagues organized so far. The campaign drives a gritty face-off between Mumbai Indians and Chennai Super Kings in an opening encounter that promises great action with some of the best players in the VIVO IPL 2018.

What is already fuelling fan frenzy is that VIVO IPL 2018 is set to witness Chennai Super King’s return under the iconic MS Dhoni’s leadership, after a two-year absence. The fact that these fierce rivals, who have clashed in 3 of 8 past finals, will square up for the opening game of the VIVO IPL 2018, will give a dream start to the single largest event. The film, driven by a catchy, clever script, gives strident voice to the fanatic support of fans of Chennai Super Kings and Mumbai Indians, with each side throwing the gauntlet at the other, confident that their team will crush their rivals in the opening match.

Gayatri Yadav, President Consumer Strategy & Innovation, Star India, said, “With just five days for the Vivo-IPL 2018’s mega cricketing extravaganza to go live, our latest campaign around the MI-CSK opener will intensify the expectations and enthusiasm of not just their fans but all other passion-cricket entertainment lovers too. This film, which is an extension of our Best v/s Best campaign, builds upon the intense anticipation of everyone waiting for this thrilling contest to start the Vivo IPL 2018.”

“With the combined power of digital and television and a first-ever six-language presentation including, Star Sports Tamil for CSK fans who have waited patiently for two long years for their heroes’ comeback, we are confident our presentation of the Vivo-IPL 2018 will deliver never-before fan experience,” Yadav said,

Rahul Johri, CEO, BCCI, said “The IPL is the biggest and widely followed cricketing properties in the world. Over the years, each of the franchisees has developed a strong and loyal fan following, globally. The opening game between Mumbai Indians and Chennai Super Kings will serve as the perfect start to the action-packed season. The latter will be returning after 2 years amidst much hype and celebration and led by none other than MS Dhoni while the former is a three-time champion and one of the most consistent T20 teams. The latest campaign brings forth the true spirit of the IPL, bringing enthusiasm levels to an all-time high, prior to the start of the biggest league in the world.”

Star India will broadcast live matches of the league in 6 languages – Hindi, English, Tamil, Telugu, Bengali and Kannada on its broadcast network. The VIVO IPL will also be beamed LIVE in these 6 languages on Hotstar.

Watch the video here: https://twitter.com/StarSportsIndia/status/980343058939047936

YouTube Link: https://www.youtube.com/watch?v=0-xwTI8MKO8

Promo Link: https://drive.google.com/drive/folders/1342KcGu78hkJ1VFybcDsRFBSXg4Ys4dm

Newly created BBC Studios officially launches

The newly created BBC Studios officially launched today (3rd April 2018), heralding a new chapter for the BBC’s content creation and exploitation activities.

In an environment of increasing competition for viewers, the merger of BBC Worldwide and BBC Studios brings the BBC Group into line with the rest of the industry and ensures the creative and commercial success of the organisation. BBC Studios will see content through the full life cycle of development, commissioning, production and co-production, sales and distribution and will underpin the creation of new BBC-owned IP.

The newly formed BBC Studios will build on the unique heritage and global success of both organisations, with British creativity and outstanding content forming the cornerstone of the company.

Leading a staff of around 3000 and overseeing an annual turnover of £1.4bn, Tim Davie, Chief Executive Officer and Mark Linsey, Chief Creative Officer officially assumed their new roles today and unveiled the organisation’s new vision, purpose and strategy.

And following last month’s announcement to set up a production office in Sydney, Australia, BBC Studios is developing new production opportunities in Beijing, China. Award-winning executive producer Matthew Springford, who has over 20 years’ experience in factual programme-making, will be based at the BBC office in Beijing alongside the BBC Studios’ distribution team and will be working with Chinese TV stations and digital platforms to co-develop and co-produce original content and new formats across all factual genres.

Tim Davie, CEO, BBC Studios, said: “BBC Studios exists to inspire audiences globally, strengthening the BBC financially and creatively, working with the very best British talent. Bringing together the UK’s most awarded production business, a world-class content sales business, our unique portfolio of brands, and a network of premium indie partners, BBC Studios has what it takes to create and export quality British programmes in this new age of content.”

Mark Linsey, CCO, BBC Studios, said: “Today is an important and exciting day for the BBC. For me, it’s all about BBC Studios’ outstanding creativity and the brilliant programmes that we and our indie partners make, so it’s even more thrilling that I can announce today that Shakespeare & Hathaway, our break-out daytime drama hit, has been recommissioned.”

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NOTES TO EDITORS:

BBC Studios, a global content company with British creativity at its heart, is a commercial subsidiary of the BBC Group. Formed in April 2018 by the merger of BBC Worldwide and BBC Studios, it spans content financing, development, production, sales, branded services and ancillaries. BBC Studios’ award-winning British programmes are internationally recognised across a broad range of genres and specialisms. It has offices in 22 markets globally, including six production bases in the UK, and a further seven wholly-owned and production partnerships internationally. The company, which makes 2,500 hours of content a year, is a champion for British creativity around the world and a committed partner for the UK’s independent sector. BBC Studios has revenue of £1.4bn, and returns around £200m to the BBC Group annually, complementing the BBC’s licence fee and enhancing programmes for UK audiences.

Commissioning announcement
http://www.bbc.co.uk/mediacentre/latestnews/2018/shakespeare-and-hathaway

Matthew Springford
Matthew Springford is an award-winning executive producer, series producer and producer/director. With over 20 years’ experience in factual television, his work includes documentaries, specialist factual, science and history. Working exclusively for the BBC for over 12 years, he has overseen many of the BBC’s flagship arts strands including The Culture Show, Artsnight and Imagine. His recent credits include An Art Lovers’ Guide, Handmade by Royal Appointment, and The Art of Japanese Life. In 2013 he produced and directed a feature documentary on the Chinese pianist Lang Lang – Do or Die: Lang Lang’s Story – which followed the pianist on a tour across China, America and Europe.

Stay resolute in fight to preserve C-band for FSS

WASHINGTON – Satellite service providers Intelsat and SES have announced an alignment on a proposal to the US Federal Communications Commission (FCC), which seeks to “protect the wide array of established satellite services in the 3700-4200MHz C-band downlink spectrum while opening a specified portion of that spectrum for terrestrial mobile use.”

The proposal, announced earlier this year, builds on an initial proposal put forth by Intelsat and Intel last October, and sets a commercial and technical framework that would enable wireless operators to quickly access approximately 100MHz of nationwide C-band downlink spectrum in the US, thus speeding the deployment of next-generation 5G services, said Intelsat and SES.

It is widely expected that by 2020 a number of 5G networks will be launched globally — and they will require more spectrum to operate in.

What this new proposal entails is the voluntary clearing of satellite users from the 3700-3800MHz in order to accommodate terrestrial mobile services, an APSCC spokesperson told APB. “Under this proposal, the remaining 3800-4200MHz of the C-band would be secured for satellite use, and fair compensation would be paid to the affected parties.

“This ensures that most of the standard C-band can still be used to support the thousands of US cable and broadcast channels being distributed via C-band satellites today.”

The proposals from Intel, Intelsat and SES are a respond to specific conditions in the US, highlights John Mederios, chief policy officer, CASBAA. These conditions, he explained, include huge geographic scope covered by a single regulator, and across temperate zones that predominately do not experience tropical rains.

“While other regulators will no doubt study the US model when it is fully implemented, it is not a template for solutions that could be imported to the rest of the world,” Mederios said. “More specifically, it is not a scheme that could be used successfully in the tropical zones of Asia-Pacific.”

In this region, C-band satellites continue to play an “irreplaceable role” in ensuring video distribution — and other essential services — to half a billion homes and businesses, he added.

APSCC members — including both Intelsat and SES — are unanimous in agreeing that the proposal is not appropriate outside of the US, and is not necessary or practical in Asia-Pacific, revealed the APSCC spokesperson.

“Rather, APSCC believes that this US-centric proposal is best understood as a good faith attempt to compromise, given the specific regulatory and market conditions in the US.”

At WRC-15, one of the key verdicts passed was to maintain C-band spectrum primarily for fixed-satellite service (FSS). As the International Telecommunication Union (ITU) prepares to re-convene for WRC-19 next October in Sharm El-Sheikh, Egypt, is there a case to be made for more spectrum to be allocated for the IMT industry?

Yes, said the APSCC, but not at the amount being asked for, and especially not in occupied satellite bands.

“We expect mobile consumption to grow — in fact, the satellite industry’s investment in current and next-generation high throughput satellites (HTS) is premised in part on that growth,” said the APSCC spokesperson. “However, some mobile industry estimates would have you believe that, very soon, the amount of mobile data consumed will be more than if every mobile user on Earth were watching 4K/Ultra HD (UHD) video for 16 hours a day. We do not think that is a realistic projection.”

There also remains an under-utilisation of spectrum already allocated to the IMT industry, further dismissing any need to displace satellite services in C-band to satisfy IMT spectrum requirements, said APSCC.

The WRC-19 agenda includes an examination of a wide range of new spectrum options in higher frequency bands whose use was “unimaginable” a few short years ago, but is now becoming technically and commercially feasible, said CASBAA’s Medeiros.

He continued: “Indeed, we view the future 5G ecosystem as one where satellites will play an integral role, providing telcos with the ability to roll out 5G across Asia’s many nations and diverse geographies, moving huge volumes of data to base stations — whether urban or remote — from which the telcos can deliver services to customers.”

However, there should be no doubt that C-band satellite services remain vital in reaching out to large populations in Asia-Pacific, where mobile networks simply do not exist, or are currently underdeveloped, Medeiros emphasised.

“We urge governments in Asia to focus on sustaining services to those populations too while working together to find different frequencies — outside those used by satellites — to help expand video delivery to urban consumers over 5G networks.”

Having confirmed the importance of C-band spectrum for satellite at WRC-15, governments and regulators need to remain resolute and fight to retain that spectrum for satellite, and avoid any new IMT identifications, especially in Asia-Pacific, said APSCC.

About half of the world’s satellite cellular backhaul sites are located in Asia-Pacific, and most of them are using C-band spectrum, the APSCC spokesperson pointed out. He also highlighted how C-band is used throughout the region not just for broadcasting, but also to bridge the digital divide by extending the reach of mobile networks to even the most rural and remote locations.

“It would be foolish to cannibalise this vital backhaul spectrum just so those already with broadband can get more broadband.”

Asia-Pacific represents a “radically different” spectrum market than is found in the US or Europe, in which frequencies above C-band are dominant.

What does not broach argument is how satellite and terrestrial mobile cannot use the same frequency at the same time, without satellite being “silenced”, cautioned Robert Bell, executive director of the World Teleport Association (WTA).

He notes that because of dense population centres and the presence of heavy rainfall in Asia-Pacific, C-band will continue to be crucial for lifeline telephony, broadband access, TV and radio distribution, as well as disaster response.

Sounding a warning bell to regulators, he cautioned: “Any effort to simply open satellite bands to terrestrial use will produce major service interruptions in a region where C-band is indispensable.

“I would expect satellite operators, telcos and national governments to continue a strong defence of their exclusive right to spectrum at WRC-19.”

CARTOON NETWORK HIRES NEW HEAD FOR LICENSING & CONSUMER PRODUCTS BUSINESS IN APAC

(HONG KONG) March 28, 2018 – Turner Asia Pacific has appointed Vikram Sharma Vice President of Cartoon Network Enterprises (CNE), its regional licensing and merchandising division.

Joining Turner in March, Mr Sharma is tasked with driving sales across the whole region for its branded toys, apparel, home entertainment, publishing and lifestyle products, as well as live events and themed entertainment. Major franchises and IP under CNE’s management from the Cartoon Network portfolio of shows including Ben 10, We Bare Bears, Adventure Time, The Amazing World of Gumball and The Powerpuff Girls, as well as Adult Swim’s Rick and Morty.

His remit also includes the management of Tuzki, the digital IP and emoticon of choice in China and beyond. In South Asia, Turner acts as a representative for Warner Bros. Consumer Products.

Ricky Ow, President of Turner Asia Pacific, said: “The potential of the CNE business is immense and with Vikram leading the charge, we know it can be realised. We are incredibly pleased to have attracted someone with his track record and have high hopes that fans of our amazing IP and franchises will have products that match their passion.”

EMEA President Giorgio Stock, who also spearheads Cartoon Network Enterprises for Turner internationally, will work closely with the CNE team in Asia Pacific to maintain consistency and strategic direction for the business outside of the US.

Before joining Turner, Mr Sharma held various key positions in Disney across Asia including Singapore and India. He’s a proven commercial leader with successful stints in overall P&L management and in different aspects of sales and distribution, with a special focus on retail and franchise monetization. Most recently he led Disney’s consumer products business in Thailand, a key location for Turner’s CNE business.

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For more information, please contact:
James Moore, Director of Communications, Turner Asia Pacific
James.Moore@turner.com
Tel: +852 3128-3720

About Cartoon Network Enterprises
Cartoon Network Enterprises (CNE), the licensing and merchandising arm of Turner Asia Pacific, is responsible for building world-class licensing programs across its franchises including The Powerpuff Girls, Ben 10, Adventure Time, We Bare Bears, The Amazing World of Gumball and Rick and Morty, as well as other Cartoon Network and Adult Swim originals. CNE connects with millions of Cartoon Network fans through consumer and home entertainment products, promotional licensing, interactive games, publishing and live events.

Turner also owns Tuzki, the digital IP for a new generation. And in South Asia, Turner represents the Warner Bros. Consumer Products business, managing world-famous IP such as Batman, Superman, Tom and Jerry, and Looney Tunes.

The CNE team works closely with Turner’s location-based entertainment department in Hong Kong, which oversees licensed projects such as the Cartoon Network Amazone waterpark in Thailand, the cruise liner, Cartoon Network Wave, and Amaazia theme park in India.

About Turner Asia Pacific
Turner Asia Pacific creates and distributes award-winning brands throughout the region, running 63 channels in 14 languages in 42 countries. These include CNN International, CNNj, CNN, HLN, Cartoon Network, Adult Swim, Boomerang, POGO, Toonami, Warner TV, Oh!K, TNT, TCM Turner Classic Movies, truTV, MondoTV, TABI Channel, Tabi Tele, Mondo Mah-Jong TV, and HBO, HBO HD and WB in South Asia. Turner manages the business of Pay- and Free-TV-channels, as well as Internet-based services, and oversees commercial partnerships with various third-party media ventures; it teams with Warner Bros. and HBO to leverage Time Warner’s global reach. Turner Broadcasting System Asia Pacific, Inc. (“Turner Asia Pacific”) is a Time Warner company.

Turner appoints IndiaCast as exclusive distribution agent

March 27, 2018… Mumbai, India – Turner International India Private Limited (Turner) today announced the appointment of IndiaCast Media Distribution Private Limited, as its exclusive distribution agent from 1 April 2018, for distribution of Turner channels: CNN International, Pogo, Cartoon Network, WB, HBO and HBO HD to consumers in India, Nepal and Bhutan.

A TV 18 and Viacom18 venture, IndiaCast is known to bring quality content to viewers spanning across various genres including General Entertainment, Kids, News, Music, Infotainment, Movies etc.

Commenting on the landmark announcement, Siddharth Jain, Managing Director, Turner South Asia said, “I am delighted to announce the appointment of IndiaCast as our exclusive distribution agent for India, Nepal and Bhutan. I am very confident they will enable us to further enhance our footprint and bring the choicest content to our fans in the Indian sub-continent. We look forward to a long term strategic relationship with IndiaCast.”

Anuj Gandhi, Group CEO, IndiaCast, stated, “At IndiaCast, it is our constant endeavour to curate the best possible exposure for our content creator partners. Turner has a fantastic bouquet of channels catering to a bespoke audience. As we ramp up the distribution network for its channels, across India, Nepal and Bhutan, I look forward to a long-term association that is founded on mutually beneficial economics.”

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About Turner International India Pvt. Ltd.

Turner India creates and manages the sales, distribution, marketing of award-winning news and entertainment brands in India and South Asia including CNN International, Cartoon Network, POGO, Toonami, HBO and WB. Turner Asia Pacific is the parent company of Turner International India Pvt. Ltd. (“Turner India”), which operates 63 channels in 13 languages in 37 countries in the region. It manages the business of Pay- and Free-TV-channels, as well as Internet-based services, and oversees commercial partnerships with various third-party media ventures; it teams with Warner Bros. and HBO to leverage Time Warner’s global reach. Turner Broadcasting System Asia Pacific, Inc. (“Turner Asia Pacific”) is a Time Warner company.

About IndiaCast:

IndiaCast is a joint venture between TV18 Broadcast Limited (TV18) and Viacom18 Media Private Limited (Viacom18) and is India’s first multi-platform content asset monetization entity. IndiaCast brings quality Indian content to viewers across the globe and inter-alia manages channel distribution, advertising sales, digital media distribution and content syndication. IndiaCast distributes various TV channels spanning across several genres including general entertainment, kids, news, music, infotainment, movies etc. in India. Internationally, IndiaCast distributes various channels that are viewed in over 80 countries as linear services. Rich content library syndicated by IndiaCast is viewed nearly in 100 countries in more than 20 languages. To learn more about IndiaCast visit www.indiacast.com.

For further information, please contact:
Turner International India Pvt. Ltd.
Deepa Sridhar, Director Corporate Communications
Deepa.sridhar@turner.com
+91 9930976977

Genesis Burson-Marsteller
Richa Patel / Saadia Memon
Richa.patel@bm.com / Saadia.Memon@bm.com
+91 7506069455 / +91 7045009375

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