It’s official. The Swedish-owned DTT Pay TV operator NGB which runs the Smart TV brand seems to have quietly slipped out of Africa, having offloaded off its three existing operations. Russell Southwood rakes over the still glowing embers from this week’s news.
“The Sixth Swedish Pension Fund (AP6), investors in NGB Africa have decided to refocus their Digital Terrestrial Television (DTT) investment plan from Africa," NGB said in a statement on Friday, 5 August 2011.
UEFA announced that the 2012-15 free-to-air media rights for sub-Saharan Africa have been awarded to Chinese pay TV operator Star Times. It has come from nothing two years ago to becoming a player to watch. Russell Southwood looksat the implications of the deal for what it may do in the future.
UEFA announced that the 2012-15 free-to-air media rights for the UEFA Champions League and UEFA Europa League in sub-Saharan Africa have been awarded to Star Times. The unusual thing about the deal is that Star Times is a Pay TV operator, not a Free-To-Air broadcaster.
Africa’s TV content market DISCOP is coming back to Nairobi in September. Since 2008, it has not only made it easier for African TV buyers to do deals for content but has become an international meeting point for those involved in the development of the industry. Before Discop launched in Africa, broadcasters on the continent had limited options to buy TV content. Sithengi closed in 2006, leaving only MIP-TV and the small MICA market held during Fespaco.
The front-runners in the race to make the transition to digital broadcasting are now facing a range of issues including: who runs the signal carrier?; how those who can’t afford a decoder will pay for it; unrealistic deadlines and the absence of any public campaign to explain the process. The politicians seem scared by a process that could affect their citizen’s ability to watch television and are seeking to control the discussion about what’s going to happen. Russell Southwood looks at the early news from the front-runners.
Africa’s broadcast and film sectors continue to grow. There are more channels, more local content and a growing professionalism. But margins on advertising remain low in many of the more competitive markets and too many companies are still run by managements who don’t understand how to run things as a business. Broadcasting is a prestige profession and therefore attracts many “wannabe’s”. This years Broadcast and Film Africa Conference in Nairobi (see details below) combines presentations, panels and workshops to look at how to build a world class electronic media industry in Africa.
The ITU deadline agreed by most African countries for the transition from analogue to digital broadcasting is only four years away. Elsewhere in the world, the transition has taken between 3 to 14 years to complete so time is running out. Knowing the difficulties of rolling out terrestrial digital (DTT) broadcast equipment, the satellite companies are putting forward DTH satellite as an alternative. Thus far no Government has yet taken up the idea but as the deadline nears it’s worth thinking about.
One stepping stone from buying international content to producing more local content is the use of TV formats that have established themselves elsewhere. Reality and game shows have already established themselves in the market but there is a wider range of formats out there. Africa Interactive, a fast growing multimedia press and content agency in Africa, has put together some interesting TV formats aimed at the African market and Africa lovers globally. Sylvain Béletre from Balancing Act interviewed Pieter Van Twisk, CEO of Africa Interactive to find out more.
Russian-owned General Satellite Corporation threw its hat into the ring to become a contender in the race to provide a credible DTH Free-To-Air satellite service across the continent. Others are in the wings and so this will be a race to watch over the next 12-18 months. Balancing Act’s Sylvain Beletre talks to General Satellite Corporation’s Head of Project Management Ms Polina Potapova about looking for joint ventures with African companies to realise its plans.
Ghallywood almost certainly came before Nollywood but somehow Ghanaians are too modest for their own good. This week sees the opening of Shirley Frimpong Manso’s Adam’s Apples, an innovative ten-part film series full of Wahala (that’s trouble, to you and me). But the innovation doesn’t stop there as her partner Ken Attoh of Sparrow Films has devised a way to cut down piracy when the film is shown in cinemas. Sylvain Beletre and Russell Southwood spoke these Ghanaian film innovators.
African films producers have often found it hard to get global distribution. The low road through international film festivals and the high road through attending Cannes (see Distribution below) are both time-consuming and expensive. Now the digital revolution offers film-makers the opportunity to reach out globally to both the African diaspora and all those interested in movies from the continent. VoD platforms offer this new opportunity to African film makers.