Broadcaster 192 - Enero 2013

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RESALTA LOS VALORES EJEMPLARESDE GENTE COMO TU.

BYU TV Internacional dedica una semana de programacion a los héroes que trabajan silenciosamente en sus comunidades para crear un mundo mejor.

Descubriendo culturas, Inspirando vidas

Consulta el horario local en la grilla de tu cableoperador

Héroes de la

Comunidad

ESPECIALES BYU

Programa Galardonadocon un Premio Emmy

Sumario

p/10 Luis CastroGerente de Producción de Canal 10

p/14 Michela GiorelliVP de Producción de Discovery

p/18 Sergio De ColaDirector de DINATEL

p/22 Sebastián BeltrameProductor

p/38

Rod PerthNatpe CEO

From page 25 through 55 all the information relating to the audiovisual market in the U.S.

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Hay un desafío muy profundo en el mercado de la producción de contenidos en toda latinoamérica. Sin dudas que éste mercado es muy atractivo para las grandes

productoras, señales de televisión y grandes corporaciones, donde se puede llegar a conocer y explotar el gran potencial que los diferentes productores, guionistas y realizadores tiene para ofrecer con una alta calidad de contenidos adecuados para el mercado latino a lo largo y ancho de todo los EE.UU. Varios países de América del Sur como Argentina, Uruguay y Brasil cuentan con un destacado grupo de profesionales en diversas áreas que se encargan de la creación de todos los conceptos de productos audiovisuales, incluyendo la escritura o adaptación de

guiones, la preproducción, producción y postproducción de piezas publicitarias, así como documentales y proyectos de ficción. La interacción con las grandes compañías americanas puede llegar a convertirse en una sinergia importante y con grandes proyecciones para la producción regional de contenidos. Con socios estratégicos en diversos países, la producción de contenidos audiovisuales latinoamericanos ofrecería recursos humanos necesarios para una producción de alta calidad y competitiva en los más exigentes mercados. Solo resta una conexión entre todos los actores de la industria para alcanzar la tan fijada meta.

There is a profound challenge in the market for content production throughout Latin America. No doubt that this market is very attractive for large producers, television signals and large corporations, where they can get to know and exploit the great

potential of the various producers, screenwriters and filmmakers have to offer: a high quality content appropriate for Latino market across all U.S. Several South American countries such as Argentina, Uruguay and Brazil have an outstanding group of professionals in various fields who are responsible for the creation of all concepts of audiovisual products, including writing or adaptation of scripts, pre-production, production and postproduction of advertising campaigns, as well as documentary and fiction projects. Interaction with large American companies can become an important synergy with large regional projections for the production of content. With strategic partners in U.S., the Latin American audiovisual content production could provide human resources to produce high quality and competitive contents in the most demanding markets. Only remains a connection between all industry players to reach the goal.

Mario BossolascoDirector de Comunicaciones y Marketing

Communications & Marketing [email protected]

editorial

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Staff Presidenta María del Carmen Soto [email protected]

CEO Manuel Soto [email protected]

Director de Comunicación e Imagen Mario Bossolasco [email protected]

Sales Executive Romina Sauto [email protected] Sales Executive Horacio Portal [email protected]

Asistente Rossana Ferrari [email protected]

Administración Rosana Ramos [email protected]

Periodista Natalia Revello [email protected]

Editor GeneralMario [email protected]

Consejo EditorEdgardo Liberman (Presidente)Eduardo Tironi Ing. Fabio BaudoIng. Juan C. GuidobonoIng. Cayetano GrossiIng. Pedro NarancioIng. Juan PiaggioIng. Juan Carlos SavoiaCarlos GiacosaDr. Rafael InchaustiHoracio RodriguezClaude ChassaingIng. Luis Endara

Broadcaster es unaproducción de:Diloff Internacional S.AZonamérica/local 102-01Edificio Biotec Plazawww.grupoisos.net

Las marcas mencionadas en esta publicación son propiedad de sus respectivos dueños. Broadcaster no se hace responsable por las apreciaciones u opiniones expresadas por los entrevistados o colaboradores.

La reproducción total o parcial de los contenidos, ya sea por medios tradicionales o digitales, sin expresa autorización de Broadcaster queda terminante prohibida.

Cartas y/o aportes: [email protected] Los textos no deberán exceder los 1.200 caracteres, medidos con los espacios, y contar con la identificación completa del remitente. Broadcaster se reservará el derecho de seleccionar, editar, extractar, resumir y titular los textos enviados, y de desechar todas aquellas que contengan insultos o agravios.

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Castro dio sus primeros pasos con sus estudios en comunicaciones, luego comenzó

directamente en el llamado canal Uruguayo, donde nos conto un poco acerca del comienzo y como logro convertirse en un pilar del medio. “Aprendí mucho trabajando con un grupo de cómicos del canal, que supieron marcar una

La palabra Canal 10, es sinónimo de “Canal Uruguayo”, ese es su eslogan y es lo que representa. Hablamos con una de las personas fundamentales para lograr lo nombrado: Luis Castro. Castro habló con Broadcaster acerca del Canal, de su propia carrera y sus orígenes dentro de éste, y de su llegada e incorporación al mundo de la televisión.

La producción de contenidos en Canal 10 de Uruguay

época en el medio a través de Decalegrón, ellos entre otras cosas me fueron generando la pasión y dedicación por la televisión y sus contenidos”.Castro también nos conto un poco acerca de su labor como Gerente de Producción del canal, en un mundo cambiante y complicado como la televisión, las motivaciones y la dedicación necesaria que

uno debe plantearse para poder seguir generando buenos productos. “La televisión se volvió competitiva y difícil de transitar por los distintos vaivenes y avatares que se van produciendo, pero la pasión y las ganas siguen siendo la mismas que cuando empecé con 19 años, que lo hacen a uno salir adelante”. Es claro que para mantener las expectativas

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Reportaje: Justo Ugartemendía

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de la gente sobre la producción del canal, se requiere un trabajo extremadamente minucioso y selectivo sobre los distintos productos a seleccionar. Agregando la difícil labor de llevar a cabo el eslogan y la frase que representan, que se refiere al Canal Uruguayo, el canal propio de un país y lo que ésto significa. “Por eso es necesario llevar a cabo un plan de producción entretenido rico en contenidos y en variedad de géneros, además de contar con la presencia de figuras con las cuales la gente se sienta identificada y las motive a seguirlas, todo esto es también parte de la motivación personal”

Castro también relato algunos de los beneficios que trae la situación dentro del mercado de Canal 10, su posicionamiento e imagen ganada como el Canal Uruguayo, lo ubica en una situación favorable, “Hay un excelente posicionamiento con mercados internacionales, se reconoce al canal 10, y se lo sitúa a la cabeza en la producción del Uruguay. Por consecuente, esto lleva al contacto con empresas de coproducción que permiten nuevos productos y constantes asociaciones”. Llevar adelante la producción de un canal tan grande es algo de por sí muy complicado, pero una de las cosas destacables de la producción que se desarrolla, es la innovación importante

y destacada totalmente en el medio dentro del sector de la ficción. El género ficcionario, es una rama que requiere contenidos más elaborados y complejos que los productos habituales de la televisión nacional, la tradición marca, por ejemplo, una mayoritaria producción de programas inculcados al humor entre otros claro está, pero la ficción es un género muy poco explorado y trabajado dentro del país. Luis nos comento las razones por las cuales esto ocurre, ya que continuamente hubo una dejadez y una tendencia a ceder este sector de la ficción para el extranjero. Los productos importados ocuparon el mercado, ya sea por medio, por ejemplo, de novelas argentinas, mejicanas, brasileras o las mismas series norteamericanas. Esto no se da por un capricho, sino que estos productos cuentan con una gran ventaja sobre lo que sería producir de forma nacional: los costos. “Los costos que insume llevar a cabo producir ficción son difíciles de soportar en nuestro mercado, no necesariamente por lo que se pueda obtener de la publicidad local. Sino porque la ficción extranjera se amortiza en su país de origen, y llega aquí como un producto enlatado, con muchísimos menores costos, un producto fabricado y ya costeado, hace que competir sea muy

complicado”. La necesidad y obligación de equipararse con los productos importados, es muy difícil cuando uno compara estos costos tan grandes que uno tiene que afrontar, por eso buscar una igualdad sería algo casi utópico. A pesar de estos problemas, no quiere decir que sea algo imposible ni mucho menos. El Gerente de Producción, remarco una gran importancia a llevar una continuidad en el proyecto para que la ficción pueda funcionar, “En Uruguay hubo distintos proyectos de ficción pero nunca uno que sea algo continuo y habitual todos los años, buscamos crear un sello, una marca para que el público se acostumbre y lo espere año tras año, que se pregunten ¿Qué va a llevar Canal 10 como nuevo producto al mercado esta vez?” La ficción como género presenta distintas ramas, la ficción unitaria es la más complicada para poder llevarse en nuestro país, dadas las limitaciones ya explicadas de nuestro medio, requiere de un tratamiento similar al cinematográfico, que es algo que hace que sus costos son muy difíciles de abarcar.

Canal 10, busca algo diferente a lo cual apuntar, busca generar un proyecto el cual mantener a largo plazo, “Es algo que no hay que mirar tanto el día a día, sino ver resultados a

Los productos importados ocuparon el mercado, a sea por medio de telenovelas argentinas, mejicanas, brasileras, o las mismas series americanas.

luis castro

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Los invitamos a comentar esta nota en:

futuro, entendemos la dinámica del rating, la naturaleza de la televisión abierta y lo que esto significa, por eso buscamos una propuesta competitiva y de calidad. El rating diario es importante, pero de lograr que la gente se acostumbre, se acople a nuestros productos, los resultados llegarán, y se sobrepondrán los distintos problemas que puedan presentarse, por eso creemos en la ficción y en la posibilidad del éxito”

Canal 10 presenta una línea de producción propia como ya nombramos, además de una asociación directa con agentes locales, como por ejemplo con AGADU. Pero también se busca de manera importante, generar una coproducción internacional, buscar socios para desarrollar nuevos proyectos. “Logramos hacerlo con Dance el año pasado, y próximamente será Historias de Diván el año entrante, productos nacionales pero con una proyección internacional, donde participen figuras internacionales que permitan la distribución del producto a escala mundial. Concretar este tipo de asociaciones puede ser más importante que el rating en particular, si se logra un circuito que funcione y devuelva la inversión a los socios, el proyecto puede continuar de

manera perfecta, y confiamos en que el rating que por ahora es muy bueno, venga de la mano de la continuación del éxito”.

El prestigio del canal crece y sus relaciones también, las más conocidas con productoras independientes en el medio uruguayo, como son Oz, Oriental Films, o a nivel internacional, Yair Dori, el programa de educación sexual realizado con Alessandra Rampolla entre muchos otros.

Por esto y mucho más creemos que con el excelente trabajo realizado por Luis Castro y sus compañeros, Canal 10 seguirá creciendo y revolucionando la televisión con sus innovaciones tanto en la ficción como en otros aspectos, que año tras años nos hacen preguntarnos, ¿Qué es lo que vendrá?

“La ficción como género presenta distintas ramas, donde la ficción unitaria es la más complicada para poder llevar adelante en nuestro país, dadas las limitaciones ya explicadas de nuestro medio, requiere de un tratamiento similar al cinematográfico, que es algo que hace que sus costos son muy difíciles de abarcar”.

luis castro

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Michela Giorelli, VP de Producción y Desarrollo de Discovery Networks Latinamerica, se reunió con Broadcaster para realizar un balance de las producciones del canal del 2012 y adelantar algunas del año que estamos comenzando.

Discovery Networks presenta un balance del 2012

Giorelli estableció que su departamento se dedica a la “producción para

todos los canales Discovery en América Latina y en español”, y agregó: “Tenemos dos canales de contenidos que transmiten en español, Discovery en español y Discovery familia, que es un lifestyle channel. El departamento se encarga

también de producir todos los productos locales, los que hacemos en español y en portugués directamente para nuestra audiencia”. “Venimos produciendo en América Latina básicamente desde que se lanzaron nuestros canales, pero obviamente, con el aumento de la distribución de cable, estamos también aumentando lo que es la

producción local”, sostuvo la ejecutiva, “nuestra estrategia es producir en América Latina con la misma calidad de contenidos que vienen de afuera, de Estados Unidos u otros fuentes. Por lo tanto, somos bastante exigentes con la selección de las casas productoras con las que trabajamos porque requerimos que ciertos estándares técnicos, de

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michela giorelli

contenidos y de narrativa, sean muy altos. Estamos trabajando con productoras de México, Brasil, Colombia, Argentina y Perú, también con alguna del mercado hispano de Los Ángeles. Hemos trabajado en producciones para Discovery Channel, aproximadamente unas cien obras, también para Home & Health, nuestro canal lifestyle, para Discovery Kids, y para Discovery en español. La producción se dio en los cuatro canales. Por lo tanto, hicimos producciones para la audiencia infantil, para lifestyle y para los canales casual”.

“Este año se hizo por primera vez una serie de sobrevivencia, un survivor show, en América Latina”, explicó Giorelli, “nunca se había hecho, es un formato complicado, un poco más exigente a nivel de recursos. Hicimos la versión brasilera de lo que se llama Dual Survival. Hicimos un casting en Brasil, conseguimos dos expertos en sobrevivencia muy interesantes, con un perfil muy parecido a los de la versión norteamericana. Fue un éxito rotundo de audiencia y estamos haciendo la temporada dos. A pesar de que teníamos dudas de cómo iba a resultar, fue un suceso enorme”. “También hicimos un reality muy importante para Brasil que se llama Águilas de la ciudad, que

está saliendo en América Latina en este momento. Es un formato de seguimiento a un cuerpo de militar de policías en San Pablo, a través de helicópteros. Rescata emergencias policiales, rescata situaciones graves médicas y, por lo tanto, es una serie de mucha adrenalina, muchos momentos peligrosos y con personajes que realmente son héroes de la vida cotidiana. También fue un enorme éxito y vamos a hacer la temporada dos”, puntualizó Giorelli, “se probaron cosas que fueron exitosas y, por ello, para el 2013, seguimos la misma línea”.

“También para lo que es el 2013 vamos a seguir haciendo géneros que han funcionado muy bien, relacionados a ciencia y tecnología. Va a hacer mucha temática de actualidad, tanto para América como para Brasil y para Colombia. Estamos haciendo algo que se acerca un poco al género paranormal pero mezclado con el tema científico. Creo que va a tener un éxito bastante grande, teniendo en cuenta que Puertas al Más Allá, fue una serie totalmente paranormal que hicimos el año pasado en varios países de América Latina fue un éxito rotundo en audiencia”. “Otros géneros que también estamos pensando mucho para el próximo año son aventura

humana, supervivencia extrema, y vamos a tener algunos especiales de historia, relacionados a distintos puntos de la región. Específicamente para Colombia tendremos una serie sobre ingeniería muy interesante. Eso por lo que se refiere a Discovery Channel. En cuanto a Discovery Kids, la serie Veloz Mente, un live action de mucho éxito que se produjo en argentina, vamos a hacer la temporada número tres para el próximo año”, agregó.

“Para la parte de lifestyle, estamos también evaluando algunos formatos de makeover, competencias relacionadas con makeover y el mundo de la moda y la belleza. Se van a grabar en varios países de América Latina” comentó Giorelli, “la otra gran diferencia es que el próximo año vamos a producir aproximadamente 100 horas sólo para Brasil, porque es un mercado muy importante; estamos creando una infraestructura de producción allí, ya que es un mercado que está creciendo y pensamos que necesitamos concentrarnos a full en él”.

En cuanto al funcionamiento de la producción original en América Latina, Giorelli estableció: “hace más de 15 años trabajo en producción para América Latina, siento

Estamos trabajando con productoras de México, Brasil, Colombia, Argentina y Perú, también con alguna del mercado hispano de Los Ángeles.

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que la calidad ha aumentado muchísimo, cada día hay mejor talento a nivel no sólo técnico, de editores, camarógrafos, sino también a nivel de narrativa, de guión. Hace algunos años era un desafío encontrar buenos guionistas, que al fin y al cabo es lo más importante en una producción. Están empezando surgir buenos guionistas y la calidad ha aumentado mucho, aunque es un ambiente más competitivo, porque hay más players que están produciendo en América Latina. Pero Discovery tiene un buen puesto, ya que fue el pionero en producción en América Latina. Hemos tenido relaciones muy fuertes con personas y productoras muy talentosas, y son bastante fieles, trabajan mucho con nosotros. Por lo tanto, en ese sentido, nos sentimos cómodos”, explicó la ejecutiva.

Y continuó: “Hemos hecho un trabajo de desarrollo constantemente. Acabamos de hacer una iniciativa en Colombia que se llama First Time Newsmakers, donde se seleccionaron proyectos de jóvenes cineastas y están pasando por una fase de entrenamiento de Discovery, donde se preparan para ser nuevas generaciones de productores televisivos. Estamos constantemente

ayudando al desarrollo de talento de América Latina, al desarrollo de la industria televisiva y de eso nos sentimos muy orgullosos, ya que fuimos los primeros y seguimos haciendo este trabajo. Además los frutos se están dando, los resultados son muy positivos a nivel de audiencia y la calidad de nuestro producto es cada día mejor”.

“Va a haber un aumento bastante fuerte de producción, durante el próximo año, de nuestros canales, digamos aproximadamente de un 60%, justamente porque el producto local funciona y por eso estamos dándole más importancia. Esto no es nuevo porque Discovery siempre ha producido en la región y siempre ha ido aumentado la producción de forma gradual, sobre todo en estos últimos años. En eso hemos sido consistentes, en nuestro trabajo con la región y la comunidad de productoras independientes”, finalizó.

“La otra gran diferencia es que el próximo año vamos a producir aproximadamente 100 horas sólo para Brasil, porque es un mercado muy importante; estamos creando una infraestructura de producción allí, ya que es un mercado que está creciendo y pensamos que necesitamos concentrarnos a full en él”.

michela giorelli


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El 21 de noviembre del 2015, Día Mundial de la Televisión, dispuesto por las Naciones Unidas, se llevará a cabo en Uruguay el apagón analógico, a raíz del decreto 153/012, aprobado en mayo de 2012. Broadcaster se reunió con el Ing. Sergio de Cola de la Dirección Nacional de Telecomunicaciones y Servicios de Comunicación Audiovisual (DINATEL) para profundizar en los futuros cambios.

El alcance de la televisión digital en el Uruguay

De Cola explicó las principales ventajas que tendría el advenimiento, en el

Uruguay, de la televisión digital: “La televisión digital significa distintos tipos de cambios para los usuarios. Por un lado están los cambios en la calidad de la imagen que se recibe y en la calidad del audio que se recibe, dado que al ser en tecnología

digital las condiciones de recepción son mucho más óptimas que cuando se trata de televisión analógica o por aire. La televisión analógica abierta tiene “fantasma”, la imagen no siempre es perfecta, depende un poco de la posición de la antena y otras condiciones. En el caso de la televisión digital eso no ocurre, no existe el concepto de fantasma, el concepto de

imagen distorsionada, cuando el nivel de señal es apropiado se recibe de forma perfecta y correctamente nítida la imagen; esta es una de las primeras grandes ventajas que tiene respecto a la televisión gráfica analógica”. De Cola agregó que otra ventaja de la televisión digital es “la posibilidad de nuevos formatos, además del formato actual,

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que tiene la misma resolución, la misma cantidad de puntos horizontales y verticales, que la televisión analógica, en televisión digital se puede recibir programas en formato de HD, de alta definición. Existe el formato HD con una relación de aspecto distinta, la relación actual es 4:3, y la alta definición tiene 16:9, más parecido al cine”.Por otra parte, el ingeniero sostuvo que “otra ventaja se da también en el tema del sonido que se recibe en televisión digital, éste puede ser estéreo o de múltiples canales, sistema dolby o sistemas de audio avanzados que existen al día de hoy, tanto en el cine como en el audio hogareño”.“También brinda la posibilidad de interactividad, esto es, la posibilidad de ejecutar aplicaciones de software en el aparato receptor, de las cuales su ejecución, de alguna manera, esté vinculada al contenido audiovisual que se está proyectando en ese momento en la señal de televisión. O sea, por ejemplo, puede haber aplicaciones que complementen la información que se está brindando de cierto programa, el usuario con el control remoto puede acceder a información sobre los personajes de la telenovela, la historia del capítulo anterior o cosas por el estilo, también puede acceder a complementos

para la publicidad de un producto, dónde lo puede comprar, las cuotas en las que se puede pagar. Es decir, habrá una cantidad de información que no estará apareciendo en ese momento en el audio y el video pero que puede ser accesible a través del control remoto mediante aplicaciones de software que se desarrollan, digamos, de forma sincronizada con el programa televisivo. Todas esas son las posibilidades que te brinda la tecnología digital”. A su vez, De Cola aseguró que la digitalización de la señal permitirá un mejor uso del espacio radioeléctrico: “Hoy por hoy para poder transmitir una señal de televisión en el formato estándar, que es el actual formato en el que se están transmitiendo los canales de aire aquí en Uruguay, se requiere un espacio de frecuencia radioeléctrica de 6MHz de ancho. Con la tecnología digital, en ese mismo espacio de 6Mhz, se pueden colocar fácilmente 4 señales del mismo tipo que la actual, o sea, con lo que se llama la definición estándar, o se pueden colocar dos señales en alta definición o una señal en alta definición y dos señales estándar”. “Dentro de ese mismo espacio radioeléctrico se puede, también, transmitir una señal para dispositivos móviles, que

es otra de las características que tiene en particular la norma japonesa-brasileña que es la que adoptamos nosotros aquí, que transmite una señal en formato apropiado para ser recibido por celulares o dispositivos móviles similares que tengan un dispositivo sintonizador de televisión digital. La tecnología permite recibir la señal correctamente aunque estés en movimiento, hasta 200km/hora, ya que está diseñada en Japón para poder ser usada en los trenes bala, con lo cual tiene esa especificación”, afirmó el director de la DINATEL y continuó: “En el mismo espectro, en el mismo ancho de banda espectral que antes colocábamos una señal de televisión, ahora podemos colocar múltiples señales de televisión y también digamos, la interactividad, además de la señal para móviles”. En cuanto a la atribución de dicho espectro, De Cola explicó: “El decreto que establece el marco regulatorio, el decreto 153/012, que se publicó en mayo de este año, siguiendo la directiva que establece la ley 18.232 de radiodifusión comunitaria, separa o reserva parte del espectro en la banda UHF, que es la que se va a usar para la televisión digital terrestre, una parte para el sector comercial, otra para el sector comunitario y otra para el sector

sergio de cola

La digitalización de las diferentes señales permitirá un mejor uso del espacio radioeléctrico.

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público, aproximadamente en tercios iguales. Son siete canales completos para el sector comercial, siete para el sector comunitario y seis para el sector público”. “Las autorizaciones son de 15 años” estableció el ingeniero en referencia a las licencias para el uso del espacio radioeléctrico, “con opción a renovaciones por períodos de 10 años. Esas renovaciones dependen de una evaluación, de un informe favorable que establezca que se cumplió con lo prometido, con el proyecto comunicacional, y eso genera una renovación por diez años más y así sucesivamente”. “El decreto no establece ninguna condición, pero sí sostiene que se promoverá la producción nacional”, aseguró De Cola, pero sostuvo que es de gran importancia, ya que “después, en el pliego de condiciones, que está en este momento en estudio de presidencia y que eventualmente va a ser aprobado, lo que se hace es la valoración o puntuación de las nuevas propuestas de los oferentes, es decir, se les otorga puntos a quienes tengan una cuota de producción nacional alta, cuanta más producción nacional tiene la propuesta, más puntos va a obtener en la evaluación que va a hacer la Comisión Honoraria Asesora Independiente, sobre cuyo informe se va a basar el

Poder Ejecutivo para hacer la asignación”.En referencia al apagón analógico, es decir, al cese de las transmisiones analógicas actuales y la permanencia del sistema digital, De Cola manifestó: “En el 2013, vamos a asistir al comienzo de las emisiones digitales en Montevideo y posiblemente en varias localidades del interior, continuando el proceso durante el 2014. Estimamos que, de acuerdo a las proyecciones, a fines del 2014 debería estar todo el país ya transmitiendo simultáneamente las señales analógicas y sus espejos digitales, además de, eventualmente, nuevos operadores digitales, en caso que se presenten los llamados. En tanto a la transmisión, entonces, proyectamos que en el 2014 va a estar todo pronto. Luego la población va a ir, progresivamente, comprando los aparatos necesarios, ya sea cajas decodificadoras externas a la televisión, que permiten recibir la señal digital y mostrarla en cualquier televisor que se tenga actualmente, o haber adquirido nuevos televisores que tengan el decodificador digital incorporado y vayan renovando su parque de televisores. También hay planes de gobierno para, de alguna forma, facilitar el acceso a estas cajas decodificadoras a

los sectores de la población con menores recursos”.“Estimamos que todo ese proceso se puede completar antes del 21 de noviembre del 2015 que es la fecha prevista para el apagón analógico en el Uruguay”, expresó De Cola, y afirmó que dicha fecha se eligió “básicamente, por razones simbólicas, es una fecha que tiene significado a nivel de las telecomunicaciones, en particular de la televisión. Además está alineada a fechas que han elegido otros países latinoamericanos para hacer su propio apagón analógico. Brasil, por ejemplo, va a hacerlo en el 2016, México en el 2015, Argentina lo hace en el 2018, o sea, todos lo realizarán entre el 2015 y el 2020”. “De alguna forma, nosotros quisimos también que fuera una fecha desafiante para el país, que nos coloque en la vanguardia de lo que es la digitalización en la región y, además, considerando las características que tenemos en el país, tanto las geográficas, las poblacionales, las económicas, permiten pronosticar que son objetivos alcanzables. El tiempo dirá si logramos hacerlo o no, pero en definitiva entendemos que es un desafió exigente pero alcanzable”, finalizó De Cola.

sergio de cola


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Hablar de Sebastián Beltrame, es hablar de éxito. Reconocido productor y director uruguayo con una extensa participación en la televisión, contó a Broadcaster sobre sus gustos, los objetivos que lo llevaron a este medio y su excelente pasar por la industria audiovisual latinoamericana.

Hacemos “Foco” en uno de los grandes productores uruguayos

Siempre me gustó contar las experiencias interesantes que fui teniendo, en especial al

viajar. Además, me gustaba la fotografía, y la TV me permitió desarrollar esas dos actividades a la vez”. Pero es más que claro que uno no consigue una carrera tan reconocida, solamente con talento y pasión por lo que hace. El trabajo inculcado en

los distintos proyectos es algo clave para Sebastián, además de la determinación por lo que uno busca, nunca perdiendo los valores que nos inculcaron “El éxito depende del trabajo. Ser perseverante y consecuente con los principios y valores que cada uno considera fundamentales en su vida. Cuando se trabaja con ese objetivo, pueden haber altibajos pero el resultado

final siempre es positivo” Durante su amplia carrera fue partícipe de una enorme cantidad de series televisivas todas muy relevantes y de gran éxito. Dichas fueron en La vuelta al mundo, Fuera de Foco, Embarcados, La aventura del Capitán Miranda. De sur a sur, Noches Blancas, The Tall Ships Races, El milagro de los Andes, Amazonas, La Antártida:

entrevista

Reportaje: Justo Ugartemendía

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40° bajo cero, Navegando por el mundo, La ruta de los conquistadores, Malvinas y En Foco.Al preguntarle si de tantos éxitos en los cuales fue participe, exceptuando a En Foco, podría destacar alguno, sus palabras fueron “La serie de las Malvinas fue una de las que me dio mayor satisfacción por todo lo que aprendí en el proceso.” Esto marca algo importante de la persona, que destaca ante todo una búsqueda constante de la mejora y del aprendizaje, los constantes viajes que generan relacionamiento con distintas culturas, llevan siempre al aprender, algo que nunca dejamos de hacer y que por lo visto, Sebastián consigue en cada una de sus experiencias lo buscado y destaca sobre el éxito, el rating, el reconocimiento, el aprendizaje del proceso.

Sus constantes búsquedas de nuevas experiencias y de conocimientos, van de la mano con uno de los mayores éxitos de la televisión nacional. En Foco, programa que se emite en más de 250 canales tanto de cable como de televisión abierta, además de Monte Carlo Televesión Canal 4. Programa poseedor de varios galardones que el mismo dirige produce y conduce. Brevemente podemos resumirlo como un programa donde Sebastián recorre las

distintas partes del país en viajes donde nos muestra las distintas costumbres y culturas de las personas de estos lugares. Además no solo lo hace en Uruguay, sino que también el programa viaja a lugares internacionales realizando la misma tarea. Un programa con una continuación de ya siete años es algo verdaderamente impresionante, a lo cual Sebastián explico: “En Foco es una muestra de cómo veo la realidad y los valores que quiero transmitir. Por eso el ciclo fue evolucionando a medida que aprendí cosas nuevas, y es un reflejo de mi forma de ser.”Los viajes son el emblema de En Foco, y para el conductor significan algo muy importante, la esencia del programa está basada en ellos y el explica la motivación que lo lleva a realizarlos constantemente “Los viajes son fundamentales para tomar contacto con otras culturas y realidades diferentes. Enriquecen el conocimiento y nos ayudan a ser más tolerantes. En particular me marcaron los viajes por la India, Nepal y otros países de Oriente, por las distintas formas que tienen de ver la realidad. Hace unos días estuve en el Congo, en una ciudad que hoy está en guerra, donde un millón de personas viven sin energía ni agua potable. Cada vez que vuelvo al Uruguay,

me convenzo más de que somos extremadamente privilegiados.” Un hecho destacable y que muestra las realidades por medio de la televisión una forma clara de hacer llegar la imagen verdadera de lo que pasa, y una forma de vivirlo que sin lugar a dudas cambia claramente la forma de pensar que uno puede llegar a tener. El buen pasar del programa y del productor se vio reflejado con premios y galardones que reconocen el éxito sin lugar a dudas merecido. Reconocimientos tales como dos Premios Tabaré, tres Permios Iris, Premio Uruguay al mundo a mejor programa documental, además de mejor programa cultural, fotografía, producción y serie. El programa fue declarado por el Ministerio de Educación y Cultura, programa de interés cultural y de interés turístico por el Ministerio de Turismo y Deporte Uruguay.

Esto es algo muy importante para él, quien responde a tantos reconocimientos con estas palabras “Los reconocimientos al trabajo siempre son buenos, y en mi caso me impulsan para seguir mejorando cada día. Por lo tanto estoy muy agradecido, y me siento honrado de haberlos recibido.” El continuo trabajo genera metas y objetivos, y la motivación es algo importante para continuar con ellos, dichos

sebastián beltrame

Un programa como “En Foco”, con una continuación de ya siete años, es algo realmente impresionante y de lo cuál estoy muy orgulloso.

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galardones impulsan al trabajo y a la mejora indudable de este. Dicha búsqueda de alcanzar estos objetivos, pueden llegar a cumplirse por más complicados que sean. Beltrame pudo cumplir una de sus metas que más añoraba con su libro Guía en Foco, donde nos relata de forma muy completa información de nuestro país. “Hace tiempo que quería escribir un libro recopilando toda la información, historias y anécdotas que fui acumulando en estos años de viajes por el país. Este año me decidí a hacerlo, está a la venta desde diciembre en todo el país, y estoy muy conforme con el resultado”

Como productor ya remarcamos su notable labor, y una característica importante en su carrera personal es su independencia casi total en el transcurso de su carrera, “Una sola vez, al empezar en la TV, trabajé para una productora (Canal X). Después de eso siempre fui independiente y lo hice por mi cuenta, aunque tuve contacto con otras productoras y todos tenemos puntos de vista diferentes”. Al ser consultado sobre la actualidad de la Televisión y su contenido, fue muy claro y decisivo con sus palabras, “Falta gente que le dedique más tiempo al trabajo, y creatividad

para generar nuevos productos. Muchos se enfocan en adaptar formatos existentes, o hacer copias de programas que funcionan en otros países. Esto, a largo plazo, además de una pérdida de identidad, genera un deterioro en la industria”. Una posible falta de innovación y recurrencia constante hacia otros mercados y programas ya desarrollados con el único fin de cambiarlos, para utilizarlos de la misma manera hace que sea una continua repetición del mismo producto pero con diferente cara. Sin dudas esto es lo contrario a Sebastián quien seguirá teniendo éxito con su popular En Foco, y esperemos nos sorprenda con algún nuevo emprendimiento en los próximos años.

“En Foco es una muestra de cómo veo la realidad y los valores que quiero transmitir. Por eso el ciclo fue evolucionando a medida que aprendí cosas nuevas, y es un reflejo de mi forma de ser.”

sebastián beltrame


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Even amid economic and regulatory uncertainties, several cable stocks are expected to perform relatively well in 2013, according to Wall Street analysts. The major drive for the stocks has been the continued persistence of affiliate fee pricing growth. Some potentially positive regulatory development could help too, they said.

5 Stocks you need to follow in this year

The differences in company performance reside in cost structure and international, at

least for the programmers.

Discovery Communications.According to Bernstein Research analyst Todd Juenger (photo), among the large cap media companies, Discovery

Communications is his favorite pick. The programmer has the “perfect combination of low-cost/low-inflation programming which also happens to be in the sweet spot of audience appeal,” he said. The company has grown audience share 6 quarters in a row but has the lowest cost position of any programmer, he said.

“Discovery can leverage this content globally, where it has the best distribution footprint, generating the most revenue per international household of any cable network group.”

Disney.Disney is another “outperform” stock on Bernstein’s list, thanks to assets like ESPN. The sports

review

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net is “such a unique beast it cannot be compared with any other cable network,” Juenger said. The certainty that comes with the long-term distribution agreements in place with Comcast and others -which lock in affiliate price increases that rise faster than the cost of its major sports deals- is unique in the industry, he said. The recently announced TVE deals for Disney’s sports and kids nets will add another kick to affiliate fee growth. Internationally, no company stands in a better position to disproportionally benefit from the rising middle class, which is starting to spend money on entertainment.

Comcast-NBCU, Time Warner Cable and DISH.While some investors have aired concerns over the potential for unfavorable regulatory change in the cable operator sectors in 2013, Wells Fargo Securities analysts think such concern is unwarranted. “For one, the current administration has actually been quite accommodating, having approved a number of significant transactions as well as loosening a number of requirements (cable ownership caps, cable-CLEC M&A,

newspaper-TV cross ownership rules).” Meanwhile, the analysts don’t expect much change in tone at the FCC even if there’s a new chair(wo)man. The analysts’ other predictions that would benefit these three operators: HSD doesn’t get Title 2 reclassification; the definition of MVPD might be broadened to include over-the-top; clarity on spectrum policy is likely to come more from M&A than from rulemaking (a positive for DISH); retrans consent is likely to remain a “market mechanism”; media ownership rules will eventually be relaxed; Comcast could win the Tennis Channel case; and finally, there will be no change to programming exclusivity clauses for RSNs.

A Caveat.Though things appear to be looking up for cable stocks, a major concern for the pay-TV industry is the prolonged macro-economic fluctuations in the US, according to a spokesperson at Zacks Investment, who noted that TWC lost 140K residential video subs vs. the 128k subs in the prior-year quarter. In the US, cable operators are facing fierce competition from telecom service providers, the research firm said, saying that Verizon

and AT&T are quickly gaining market share from cable MSOs by offering fiber-based TV and broadband services. Moreover, online video streaming providers like Netflix and Hulu have become a “severe threat” to cable TV ops, they said.

todd juenger

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ESPN landed the pole position in one survey of advertising decision-makers who suggested they intend to spend more on the sports network, appreciate its multiplatform opportunities and welcome its programming environment.

The data from Beta Research Corp. had 53% of 200-plus executives saying they

plan to boost spending on ESPN over the next 12 months. Also, 63% gave ESPN and sibling ABC Sports top or near-top marks for offering “creative/innovative multiplatform opportunities.” And 83% did so for providing “a desirable programming environment” to advertise.

ESPN led in all three arenas across cable and broadcast networks. How much the finding has to do with advertisers’ increasing interest in sports programming or the skill of the ESPN sales force is unknown.

In the category asking about plans to increase spending on a particular network over the next 12 months, TBS finished second at 47%, and USA was third at 45%. Discovery Channel (44%) and Food Network (44%) rounded out the top five. (ESPN2 was listed separately in sixth at 42%.) No Big Four broadcaster would have topped one of the top five cable networks; ABC led at 42%, followed by CBS at 40%, NBC at 35% and Fox at 34%. The Beta Research telephone survey of 220 decision-makers (150 at agencies and 70 on the client side) took place from July-October 2012. Research covered 44 basic cable networks and the Big Four broadcasters. Beta’s five-point scale metric was also used to rank networks with a “desirable programming environment” and 83% gave ESPN a 4 or 5, with Discovery Channel in second at 79%, followed by a pair of Scripps properties (Food Network at 78% and HGTV at 75%) and ESPN2 at 73%. Once again, the Big Four would have trailed the group with ABC at 72%, CBS at 68%,

Fox at 60% and NBC at 53%. The Big Four performed considerable better as far as the appeal of their upfront presentations. CBS led the Big Four with 76% giving it a 4 or 5, tied with Discovery Networks among all options. ABC and Fox at 75% tied with Bravo for second. MTV occupied the third slot alone at 74%, with Turner’s entertainment networks (73%) and sibling Cartoon Network/Adult Swim in fifth at 72%. Separately, an annual survey of advertising executives on national TV sales organizations from Jack Myers found among dozens of organizations, ESPN and ABC tied for first. The two Disney units were followed by a trio of Turner businesses: Turner entertainment, Adult Swim/Cartoon Network and Turner Sports. Among eight broadcast networks, ABC was first, followed by CBS, Fox, Univision and NBC. NBC has had some recent management changes. The Myers work determined rankings based on an online survey of 400-plus industry executives, including agencies and marketers. It took into account factors such as “value for the investment,” “multiplatform brand extensions and integration” and “relevant research support and intelligence.”

Ad execs to boost ESPN spend

market

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The Walt Disney Co. extended its string of comprehensive carriage deals, after the programming giant reached agreement with AT&T’s U-Verse service.

It was Disney’s seventh major carriage deal in the past two years, according to the company. Recently, Disney

reached similar agreements with Comcast in April, Cablevision Systems in October and Cox Communications, and Charter Communications in December 2012. As part of the new multi-year deal, AT&T U-verse will introduce several new services, including the full suite of authenticated WATCH products, ESPN 3D, ESPN Goal Line, ESPN Buzzer Beater, Disney Junior and the upcoming ABC News/Univision joint venture. In total, approximately 70 services are covered by the broad scope of this agreement, including: ABC, ABC Family, Disney Channel, Disney Junior, Disney XD, ESPN, ESPN2, ESPNU, ESPN Deportes, ESPNEWS, ESPN Classic, ESPN Goal Line, ESPN Buzzer Beater,

Disney Strikes U-Verse Carriage Deal

ESPN 3D, ESPN GamePlan, ESPN Full Court, ESPN3, The Longhorn Network, and retransmission consent for WABC-TV, KABC-TV, WLS-TV, KGO-TV, KTRK-TV, WTVD-TV and KFSN-TV, as well as more than 10 high-definition networks. AT&T U-verse customers will receive broad access to existing authenticated products like WATCH Disney Channel, WATCH Disney XD, WATCH Disney Junior and WatchESPN (ESPN, ESPN2, ESPN3, ESPNU, ESPN Goal Line and ESPN Buzzer Beater), as well as the to-be-launched WATCH ABC and WATCH ABC Family services, through the networks’ own WATCH sites and apps as well as AT&T’s U-verse.com site and apps. These products will give AT&T U-verse customers more opportunities to access live and video on demand content, both in-home and out-of-home, on their computers, smartphones, tablets and gaming consoles.

ESPN3 will also be available to any residential AT&T High Speed Internet customer, across screens and devices.“We’re proud to deliver more Disney content and services to U-verse customers across the screens they watch most,” said AT&T Home Solutions president of content Jeff Weber in a statement. “Our U-verse customers expect access to content when they want it, where they want it, and this renewal gives them more value and access to a variety of live and on demand content in and outside the home.”Disney & ESPN Networks Group executive vice president, affiliate sales and marketing David Preschlack (photo) noted the deal was the seventh top ten distributor agreement the media giant has made in the past two years. He added the addition of new networks and services extends the value of the multichannel subscription model.“Viewers are increasingly living in a multi-screen world, and with this new deal, they will enjoy such benefits as live access to content via the WATCH Disney and WatchESPN services across platforms,” Preschlack said in a statement. As part of the deal U-Verse customers will receve access to On Demand content from Disney’s ABC and ABC Family networks as well as Disney-branded VOD content like Disney Channel On Demand, Disney Junior On Demand, and Disney XD On Demand. A variety of Disney Channel Original Movies will also be available.

agreements

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Acquisition of Al Gore’s cable channel gives al-Jazeera chance to establish a presence where it has had only limited reach. Al-Jazeera has acquired Current TV, which could extend the channel’s reach beyond a few large US metropolitan areas.

Al-Jazeera, the pan-Arab news network that has struggled to win space on US cable

television, has acquired Current TV, the channel co-founded by former US vice-president Al Gore (photo). The deal is intended to give al-Jazeera greater penetration into the US market. It will close Current and replace it with a new network, al-Jazeera America. Gore will become a member of the new network’s advisory board. Current TV had struggled with viewers but is widely distributed on cable providers and reaches 60 million of the 100 million US households with cable or satellite service. But al-Jazeera America will face hurdles with

Al-Jazeera buys Current TV in bid to expand in US

US distributors and viewers, television industry analysts said. One of its distributors, Time Warner Cable, which accounted for about 12 million of those homes, announced late on Wednesday it was terminating its carriage deal with Current.“Our agreement with Current has been terminated and we will no longer be carrying the service. We are removing the service as quickly as possible,” it said in a statement. Gore and business partner Joel Hyatt, who created the channel in 2005, confirmed the sale in a statement. The terms were undisclosed.

“Current Media was built based on a few key goals: to give voice to those who are not typically heard; to speak truth to power; to provide independent and diverse points of view; and to

tell the stories that no one else is telling,” Gore and Hyatt said.“Al-Jazeera has the same goals and, like Current, believes that facts and truth lead to a better understanding of the world around us.” Al-Jazeera’s reach in the US has struggled to move beyond the few large metropolitan areas, where some people can watch al-Jazeera English.

The network’s managing director, Tony Burman, in 2010 blamed a “very aggressive hostility” from the Bush administration for reluctance among cable and satellite companies to show the network.Al-Jazeera has attracted respect for its ability to build a serious news product in a short time. But there may be a culture clash at the network. Dave Marash, a former ABC Nightline reporter who worked for al-Jazeera in Washington, said he left the network in 2008 in part because he sensed an anti-US bias there. Current, meanwhile, began as a groundbreaking effort to promote user-generated content, and settled into a more conventional format of political talk television with a liberal bent. But it has largely been outflanked by MSNBC in its effort to be a liberal alternative to the leading cable news network, Fox News Channel. Gore worked on-air as an analyst during its recent election night coverage.

Current is expected to post $114m in revenue in 2013, according to research firm SNL Kagan. The firm pegged the network’s cash flow at nearly $24m a year.

acquisitions

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Broadcast networks make many of their shows available on the Internet, but you usually have to wait at least a day after an episode airs on television. A subscription service called “Aereo” breaks those shackles and makes network programs available right away.

That sounds too good to be true, and in a sense it is. First, it works only in New York City for now,

though Aereo said that it will expand to 22 more U.S. regions this spring. Its channel selection is limited to 29 over-the-air channels and Bloomberg TV. It doesn’t include the other cable networks I frequently watch. The biggest caveat is the fact that broadcast networks are suing to shut it down. More on that later.

Aereo is no fly-by-night pirate operation. The startup is backed by big money and a big name -media billionaire Barry Diller (photo). Aereo believes what it

is doing is legal. It has created tiny antennas, each the size of a dime. The company stuffs thousands of them into small boxes at its data center in Brooklyn.

When you’re ready to watch a show, you are assigned one of those antennas, as if you had your own antenna on your roof. You get a second one, too, if you want to record something to watch later. You can also record both shows for later. Shows you watch live or record for later viewing are streamed over the Internet to a Web browser.A day pass costs $1 and gives you 10 days to watch up to three hours of recorded shows. You can pay $8 a month for unlimited live viewing and 20 hours of storage, or $12 for 40 hours. Or you can pay $80 for a full year and 40 hours.That annual price is less than what I pay my cable company for TV each and every month. It’s a great deal for people who mostly watch broadcast television and not a lot of sports. (Regular-season games are typically on cable channels

these days.) Service is now available on Mac and Windows computers, iPhones, iPads, Apple TV and Roku’s set-top box. The company says access on Android devices should come this year. You can watch on up to five devices, meaning you can start watching on your desktop at home and continue where you left off on an iPhone while waiting for the bus. Two people can watch different shows at once, but not the same show on different devices.

Aereo isn’t an on-demand service. So if you hadn’t recorded a show, you can’t go back to watch it. That’s where Hulu comes in. It typically offers the past five episodes of shows from NBC, ABC, Fox and the CW. Where Aereo is particularly useful is in filling the gaps -CBS and PBS, plus local programs such as the news.

Aereo also lets you start watching even before a show ends, just like a regular DVR. Most shows on Hulu aren’t available until the next day, and those on Fox take more than a week unless you pay for a subscription. You get the same commercials that are shown over the air, and you can skip them. Hulu has different ads, which you can’t skip. Shows are available on Aereo until you delete them or run out of space, while Hulu drops the oldest episodes as new ones appear.Aereo is riding high right now after a judge ruled the company is not causing enough damage to television networks to warrant a preliminary injunction. Aereo backer and billionaire Barry Diller told Bloomberg TV the company is going to ramp up its marketing and take on “most major markets” within a year and a half.

Aereo makes it tempting to cut cable TV

broadcasting

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Eric Grilly, Executive Vice President and Chief Digital Officer for NBC Regional Networks, has been named President of Alli Sports, the NBC Sports Group announced. At Alli, the NBC Sports Group’s action sports property, Grilly will oversee a business whose current portfolio includes the Dew Tour, the Red Bull Signature Series and the Lucas Oil Pro Motocross Championship.

A four year veteran of NBC Sports Group and Comcast Sports, Grilly played a vital

role in building the digital business for the NBC Sports Regional Networks – known as the Comcast Sports Regional Networks prior to 2011. Under

Eric Grilly named President of Alli Sports

Grilly’s leadership, traffic for the NBC Sports Regional Network websites increased 282 percent and fortified the NBC Sports Group’s position as the nation’s leading digital provider of regional sports coverage. After a period of transition, Grilly will begin his new duties in the second quarter of 2013, and will report to Rob Simmelkjaer, SVP, NBC Sports Ventures and International.“Eric is a seasoned media executive with an impressive track record of success,” said Simmelkjaer. “I’m looking forward to working with him to grow the Alli business.”Grilly succeeds Wade Martin, Alli Sports’ former President, who has chosen to depart after 10 years with the company. Martin was integral in the growth of Alli, as the property grew from a concept to a business that now includes events, television and digital assets, and e-commerce.

About Eric GrillyPrior to being named President of Alli Sports, Grilly was

responsible for all of NBC Sports Regional Networks digital operations, including strategy, content, new product and business development as well as technology.Prior to joining Comcast in June of 2009, Grilly served as president of philly.com, the website for the Philadelphia Inquirer and the Philadelphia Daily News, where he redesigned the site from top to bottom, and grew site traffic by almost 600 percent, making philly.com one of the fastest-growing news websites in the country. Before taking the reins of philly.com in April 2007, Grilly was President and CEO of MediaNews Group Interactive, one of the country’s largest local media companies.After being raised in Alaska, Grilly earned a Bachelor of Arts in Economics from University of California, Davis. In 2011, he was selected as a member of the Sports Business Journal’s Forty Under 40 and has served as president of the Newspaper Association of America’s Digital Media Federation Board.About Alli SportsAlli Sports, is an action sports lifestyle brand whose mission is to connect fans with athletes and brands through best in class events, media, and authentic branded products. Alli Sports includes: the Dew Tour, Lucas Oil Pro Motocross Championship and the Red Bull Signature Series; Alli Media, which creates, produces, and distributes original content; and Alli Enterprises which includes a partnership with action sports retailer Dogfunk.com. Alli Sports is a division of the NBC Sports Group.

designations

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NAGRA, the digital TV division of the Kudelski Group and HD PLUS GmbH, announced the launch of HD PLUS’ new over-the-top catch-up service of private channels (Mediathek), HD+ Replay, further extending the companies’ content protection partnership from satellite to Internet TV.

Available today, HD+ Replay will use NAGRA’s multidevice and multinetwork DRM

solution, NAGRA MediaAccess PRM (Persistent Rights Management), to secure high-value content delivered “over-the-top” to consumers equipped with an HD+ SmartTV set-top box. “The launch of HD+ Replay is an important step in providing new and innovative services to our viewers and ensuring robust security for our content is key to

HD Plus and NAGRA partner on Internet TV launch

making it a successful, high-quality offer,” said Georges Agnes, Managing Director of Operations and Product Development at HD PLUS GmbH. “With NAGRA solutions, we know we are getting the right technology to ensure the growth and success of this exciting service and in turn provide an enjoyable experience for our viewers.”“HD PLUS has been at the forefront of high definition TV since its creation and we are excited to be a part of their latest initiative which brings Internet TV to the reach of HD+ SmartTV users,” said Holger Ippach (photo), NAGRA SVP Sales & Operations Northern & Central Europe. “Our solutions are designed and built with a high level of openness to support our customers’ growth and address the demand for new services such as Internet TV while fully safeguarding the rights of content owners. Our award-winning and studio-approved MediaAccess PRM

is a critical component in making this possible.” HD+ Replay is based on the HbbTV standard enabling a rich and intuitive user experience. The first HD+ Replay enabled set-top box Inverto VOLKSBOX Web Edition+ is already on the market with further set-top box manufacturers expected to be available soon. HD+ Replay initially includes content from RTL NOW and VOX NOW, with SUPER RTL NOW being added in December. The HD+ satellite service has been using NAGRA’s MediaAccess content protection since its launch in 2009 and has grown ever since. As of September 30, 2012, it served more than 2.8 million households in Germany, a 45 percent growth over the same period in 2011.

About HD+HD PLUS GmbH is a wholly owned subsidiary of SES, a globally leading satellite provider with 52 satellites. HD PLUS was founded in May 2009 and markets the HD+ product, an additional range of channels in high definition which are transmitted via the ASTRA satellite system in Germany. The HD+ platform brings popular free TV channels to the market in high definition quality.

About NAGRANAGRA, the digital TV division of the Kudelski Group, provides security and multiscreen user experience solutions for the monetization of digital media. It offers content providers and DTV operators worldwide with secure, open, integrated platforms and applications over broadcast, broadband and mobile platforms.

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Time Warner Inc.’s Turner Broadcasting System and Warner Bros. Television Group announced a deal with Netflix for complete past seasons of animated and live-action programming from Cartoon Network, Warner Bros. Animation and Adult Swim, as well as the TNT’s serialized drama Dallas. Deal includes full past seasons from Cartoon Network, Warner Bros. Animation, Adult Swim, TNT’s ‘Dallas’.

The first two seasons of TNT’s remake of Dallas, produced by Warner Horizon Television, will

be available exclusively via Netflix in January 2014.The rest of the content will be

Turner, Warner Bros. TV slip into Netflix’s stream

available starting March 30, 2013, for U.S. subscribers of Netflix’s Internet streaming service. That includes complete past seasons of Cartoon Network’s Adventure Time, Ben 10, Regular Show and Johnny Bravo and Warner Bros. Animation’s Green Lantern, which will become available on Netflix’s “Just for Kids” section.Also to be available are Adult Swim shows such as Robot Chicken and Aqua Teen Hunger Force, Sony Pictures Television’s The Boondocks and Childrens Hospital from WBTVG’s Studio 2.0, will be made available.

“The industry has evolved so that TV Everywhere and subscription video on-demand services can coexist with the appropriate windowing strategy, while allowing for more content flexibility to meet consumer demand in the changing digital landscape,” Deborah Bradley, senior vice president of program acquisitions for

Turner Broadcasting, said in a statement. “We’re happy to offer our popular programming to Netflix members, as SVOD services have become another way to grow audiences and can introduce new viewers to our programming.”

The 15-episode second season of Dallas is set to premiere on TNT Jan. 28.As of the end of September 2012, Netflix had 23.8 million U.S. paid streaming subscribers for its $8 monthly service, up 18% from 20.15 million a year prior.“We are delighted that Netflix will become the exclusive over-the-top streaming subscription destination for past seasons of favorite Cartoon Network and Adult Swim titles,” Netflix chief content officer Ted Sarandos (photo) said in a statement. “We’re also thrilled to be able to offer the latest seasons of Dallas, one of the greatest all-time guilty pleasures.”

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Perth also said the number of buyers signed up is also pacing well ahead of

last year. “We are 31% ahead with buyers,” Perth said. “Here’s another astounding statistic, and maybe the most important, there are 28% more reporters coming. In 2012, about 5,100 people attended the NATPE

NATPE is the global content marketplace for a multiplatform world

The 50th anniversary of the NATPE conference this month in Miami Beach is pacing ahead of last year with 300 exhibitors, including 27 first-time exhibitors, already signed up, according to Rod Perth, the group’s president-CEO.

conference. So far, Perth said, the number of attendees signing up is on pace with last year. Perth added he was unsure how many TV station executives will be in attendance, but noted that NATPE is working to lure in more stations. “We have to figure out something that is compelling to TV stations,” he said. “They send group heads and a couple

of people from corporate. That’s just the reality.” But, he said, NATPE is actively working to attract more TV stations to the event. “We do have a fantastic incentive for TV stations,” he said. “If a group signs up, there is one price. We’ll also provide a room for station group meetings. We’re also sending out 30,000 postcards this week

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to remind everyone about the event.” He said every major TV studio will be in attendance, including Sony, which had not been a formal exhibitor at the conference for the previous five years. “Sony is one of our biggest this year,” Perth said. “They have a massive suite.”

Perth also announced a number of new speakers, in addition to those previously announced, such as entrepreneur and Shark Tank judge Mark Cuban. AXS TV’s Mark Cuban will be the keynote speaker at this year’s NATPE Content First conference. The keynote will be in an interview format, with CNN’s Poppy Harlow talking with the cable investor and owner of the NBA’s Dallas Mavericks.

Cuban will launch the Game Changers track at NATPE, while Stephen Lambert, chief executive of Studio Lambert, will serve as the international keynote speaker on the conference’s third day, kicking off the Global Navigators track.

Other speakers who will address international content and programming include Alberto Ciurana, Univision’s president of programming and content;

Jacqueline Hernandez, Telemundo’s chief operating officer; Philip Gurin, president of The Gurin Company; Philip Schuman, High View Media’s CEO and co-founder; and Brad Kania, Samsung Electronics’ head of content distribution.

Other hosts in the Game Changers track scheduled to address NATPE attendees this year include Erin McPherson, Yahoo!’s vice president and head of video; Rhonda Shantz, Norton’s vice president of global brand marketing and public relations; Jamie Byrne, Google/YouTube’s global head of content strategy; and Chris M. Williams, Maker Studios’ chief development officer.

Homeland’s Howard Gordon, Law & Order and Chicago Fire’s Dick Wolf, CSI’s Anthony Zuiker and Touch’s Tim Kring will fill out the “Storytellers That Shape Pop Culture” track.

The “Masters of Messaging” will feature Steve Hasker, Nielsen’s president of global media products and advertiser solutions, Mike Bloxham, the Media Behavior Institute’s executive director; Dustin Garis, corporate innovator at P&G; Jamie Widdoes, director

of CBS’ Two and a Half Men, and others.Speakers discussing “Technologies That Fuel Multi-Platform Content” include Hardie Tankersley, Fox’s vice president of innovation and social media; Will Law, Akamia’s principal architect of media engineering; Ann Glenn, Sony Pictures Interactive’s director of social media; Sean Besser, GetGlue’s executive VP of business development, partnerships and strategies as well as executives from Microsoft and TV Plus.

Finally, Current TV’s Jason Silva; YouTube’s Lance Podell; Simplynew Studios’ Marc Scarpa and Vuguru’s Larry Tanz will offer their views of the future in the conference’s “Visionaries” track.

NATPE is the bridge between content creation and monetization connecting the on-going conversations between Hollywood, International, Digital and Brand/Ad Agency communities. As a trusted facilitator we bring scale and efficiency to the content marketplace by catalyzing the discovery, creation and monetization of the world’s most compelling content.

NATPE Market & Conference, is the only American programming market serving the worldwide television community as well as one of the top new media and technology conferences.

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Evolving to meet the needs of a changing media landscape, NATPE through its many activities including exclusive videos, live streaming events and vibrant annual market is at the nexus of the multiplatform content world. Now held in Miami, a major international destination, NATPE 2013, January 28-30 is the only U.S.-based global digital video content marketplace where creativity meets connectivity and commerce. Now held at the Fontainebleau Resort Miami Beach, NATPE 2013 provides a first look at fresh content and gives industry leaders a jump-start on monetizing projects.

The National Association of Television Program Executives (NATPE) is a professional association of television and emerging media executives. The organization was established in 1963. NATPE implements its mission by providing members with education, networking, professional enhancement and technological guidance through year-round activities, timely directories, and events (like the annual NATPE Market & Conference).

The organization also offers a full complement of online services

to its membership including a propriety industry networking tool, special partner offers, and educational opportunities.

Historically, it is best known for its annual NATPE Market & Conference, which is the only American programming market serving the worldwide television community as well as one of the top new media and technology conferences. The market is recognized throughout the world as one of the key media events. Amongst those in attendance include media buyers, broadcast and cable networks and channels looking to acquire programming, program distribution companies, financiers, advertisers, technology companies, and content producers.

“We are 31% ahead with buyers, and here’s another astounding statistic, and maybe the most important; there are 28% more reporters coming to the event this year. NATPE is also actively working to attract more TV stations to the event. We do have a fantastic incentive for TV stations”

Invite you to comment on:

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In a four-way transaction, Arris Group said it will sell Comcast approximately $150 million in stock in connection with Arris’s proposed $2.35 billion deal for Motorola Mobility’s Home business with Google, which will result in the cable company and Google each owning about 7.85% of Arris.

Arris will issue 10.6 million shares of common stock issued to Comcast. That will

reduce on a share-for-share basis the number of shares of Arris stock to be issued to Google, while simultaneously increasing the cash to be paid to Google by $150 million, Arris said.

As a result of the sale to Comcast, Comcast and Google

Comcast to take $150M stake in Arris with Motorola home deal

will each own approximately 7.85% of the outstanding Arris shares post-closing based on Arris’s current capitalization. Neither Comcast nor Google will have a board seat with Arris; under the original terms, Google wasn’t going to have board representation either.

Comcast is Arris’s largest single customer -representing 33%, or $117.7 million, of Arris revenue for the third quarter of 2012 -and with the addition of the Motorola Home set-top and video assets, the vendor will cover video, broadband and voice software and equipment.

“We are very pleased that Comcast has agreed to make this significant investment in Arris,” Arris chairman and CEO Bob Stanzione (photo) said in a statement. “We believe this

investment by one of our largest customers is a strong indication of customer support for the Motorola Home acquisition and its potential to accelerate innovation to the benefit of the industry and consumers.”If Arris had not opted to sell the stake to Comcast, Google would have held about 15.7% of Arris under the terms of the original agreement.

Neither the total amount of consideration paid by Arris for Motorola Home, nor the total amount of shares to be issued by Arris (now to Google and Comcast) will change as a result of this investment by Comcast.The issuance of the shares to Comcast is conditioned on the closing of the Motorola Home acquisition and other customary conditions, Arris said. Arris’s acquisition of Motorola Home is expected to close by the second quarter of 2013, pending regulatory review.Qatalyst Partners LP is acting as the lead financial advisor and Davis Polk & Wardwell LLP is acting as lead legal counsel to Comcast on this transaction. Evercore Partners is acting as lead financial advisor and Troutman Sanders is acting as lead legal counsel to Arris on this transaction; Bank of America Merrill Lynch also is advising the vendor. On Google’s side, Barclays is acting as financial advisor and Cleary Gottlieb Steen & Hamilton LLP is acting as legal counsel.

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The Open Mobile Video Coalition (OMVC), which has served as the principal proponent for Mobile Television since 2007, announced it will integrate functions with the National Association of Broadcasters (NAB). Effective Jan. 1, 2013, key functions currently coordinated by the OMVC executive director, including OMVC’s technical groups, advocacy efforts and marketing activities, will be integrated into the NAB.

The purpose of the OMVC was to help develop a Mobile TV standard, create an ecosystem for

broadcasters, manufacturers

Mobile TV Industry Pioneer OMVC to integrate functions within NAB

and other interested parties and to encourage device development,” said Anne P. Schelle, who has served as OMVC’s executive director since shortly after it began. “We’ve done that, and with the recent launch of Dyle mobile TV, operated by a consortium of broadcasters known as the Mobile Content Venture, and similar activities by the Mobile500 Alliance, Mobile TV is available in more than 35 U.S. markets covering some 55 percent of the population,” Schelle added. “Integration with the NAB is the logical next step as the commercialization of Mobile TV enters its next exciting phase,” Schelle said.

NAB President and CEO Gordon Smith (photo) applauded the OMVC’s work and pledged the association’s full support for building further momentum for Mobile TV. “The NAB is honored

to assume the duties carried out so successfully by the OMVC,” said Sen. “Through the joint efforts of the OMVC, ATSC and innumerable technical groups, the groundwork has been laid for an exciting new TV experience delivered to mobile devices. The NAB, as the voice of the broadcast industry, is the perfect home for this activity as it blossoms into the next great U.S. technology story,” Smith added.Building on her OMVC leadership and accomplishments, Schelle will continue her Mobile TV evangelism as a senior policy consultant to the NAB to help assure a smooth transition.“Mobile TV is a key part of broadcasters’ future, and the power of the NAB will enable the industry to speak with one voice, to continue our advocacy efforts before the FCC and Congress and to significantly expand the reach of Mobile TV services for American TV viewers. I look forward to working hard to keep the momentum going, while collaborating with the talented NAB staff, Television Board and broad membership on the transition,” Schelle said.Mobile TV, based on the ATSC A/153 broadcast standard, transmits live local news, sports, entertainment and emergency information to a wide variety of mobile devices. By delivering popular video programming to a large audience over existing broadcast spectrum, Mobile TV helps to reduce congestion on less efficient wireless broadband networks.

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Internet Protocol Television (IPTV) in Canada is rapidly gaining momentum at the expense of incumbent cable and satellite services, with IPTV’s share of pay-TV subscriptions in the country rising to nearly to 10 percent in the third quarter of 2012.

IPTV accounted for 9.6 percent of Canadian pay-TV video subscriptions in the third quarter, according

to IHS Screen Digest Television Intelligence, from information and analytics provider IHS. This is up from 6.6 percent during the third quarter of 2011, and from 1.6 percent in the third quarter of 2007. Such an expansion will set the pace for IPTV’s portion of Canada’s subscriber base to rise to 18.1 percent by

Rise of IPTV cuts dominance of cable and satellite in Canada’s Pay-TV market

the end of 2017, in the process causing the combined share of competitive technologies- cable and satellite- to fall to 81.9 percent. “Canadian telcos are adding IPTV subscribers at a rapid clip as Telus and Bell Canada engage in large-scale build-outs of their infrastructure in order to reach more potential customers,” said Erik Brannon (photo), analyst for television research at IHS. “IPTV will continue to make strong gains in Canada in the coming years, eroding the dominant position now held by the cable and satellite services.” Just as in the United States, IPTV’s growth in Canada has come at the expense of cable and, to a lesser extent, satellite. Both cable and satellite continued to lose subscribers in the third quarter of 2012, each experiencing a 2 percent year-

over-year decline in subscriber growth compared to the third quarter of 2011. For example, Shaw Cable is betting on its massive Wi-Fi hot spot rollout to reduce churn for its broadband service, and ultimately its video subscribers. Broadband service at Shaw is becoming a valuable component to its bundled services and will play a pivotal role in retaining pay-TV subs.Bell Canada in the third quarter reported explosive growth for its IPTV service, Fibe TV. Fibe TV added 42,973 net new customers to pass 200,000 for the first time, with net additions in the same quarter of 2011 amounting to 20,297. The company now accounts for 18 percent of IPTV subscribers in Canada, leaving Aliant, SaskTel and Manitoba Telecom (MTS) each with less than 10 percent of the market. Telus remains Canada’s IPTV giant, holding 56 percent of the total Canadian IPTV market, with its service capturing 43 percent of the third quarter’s IPTV growth. SaskTel, the first IPTV operator to enter the market in 2002, together with MTS held nearly an equal share of IPTV subscribers until Telus leapt ahead in 2010. If the rapid uptake of IPTV services from Bell Canada and Telus is any indication, there will be significant pressure upon incumbent pay-TV operators when they enter new markets.As a whole, Canada’s pay-TV industry has been able to fend off the threat from OTT services in large part due to strict data caps and limited OTT options. However, the situation could change if data caps start to loosen up and broadband subscribers continue to increase.

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DeRetta Cole Turner has promoted DeRetta Cole to vp, Human Resources, Technology and Operations. She’ll lead HR strategy for the tech and ops groups, such as Audience & Multi-platform Technologies, network ops, Turner Studios and others. Cole served at the director level prior to the promotion, and before joining Turner in 2008 worked as diversity director for Ernst & Young. She has also held HR roles at ADP, HomeGrocer.com and YUM Brands. DeRetta likes to play golf (“not necessarily well”) and is a member of the Executive Women Gold Association. She loves jazz and wine—two interests that culminate in an annual trip to the Brian Culbertson Jazz Festival in Napa Valley. Additionally, she writes about and teaches leadership at Clark Atlanta University, where as an adjunct professor she instructs sophomores and juniors on leadership and professional development.

Kent Rees Participant Media announced its TV marketing, programming and business affairs team. Kent Rees is now evp, Marketing, Scheduling and Operations. He’ll head up marketing strategies and operations for Participant TV and the company’s YouTube Channel TakePart TV. Previously, he was head of marketing at Bedrocket Media Ventures and prior to that, he held roles including evp, Marketing for Current TV and svp, Marketing for IFC. Kent is an advocate for media and digital literacy and is passionate about helping to bring the best practices of Participant Media to television for the first time.

Belisa Balaban As Participant’s svp, Unscripted Programming, Belisa Balaban will lead production, development and talent deals for Participant TV. She produced the 10-ep documentary series “The Swell Life,” the anti-bullying special “It Gets Better” and the series “Tabloid Wars,” among others. A proud parent of a 3-year-old daughter, Belisa commits her time to supporting the community at her daughter’s preschool.

industry e x e c u t i v e s

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Byron Cantrall Comcast has hired Byron Cantrall as vp, Business Services for the Houston region. Previously, Cantrall was regional director of sales and organizational development for data and IT company MegaPath. He also worked as svp and GM for Integra Telecom and held roles at Eschelon Telecom, ABC Networks, Shared Communications and Pacific Telecommunications. Once a year, Byron travels to London to watch English Premier League soccer games. He has another annual ritual as well: At Christmas he and his daughter buy 25 gifts for children from the Angel Tree at WalMart.

Michael Sluchan Michael Sluchan was promoted to svp, Original Scripted Programming for USA Network. Oversight of production for “Necessary Roughness,” and “Royal Pains,” among others, fall under his perview. Before joining USA in 1999, Sluchan worked in movies and miniseries development at Cosgrove/Meurer Productions and ABC Pictures. Here’s what Michael likes to do in his down time: “I love to cook (I make a mean brisket and a really good turkey) and play beach volleyball every Sunday (year round). I’ve done the same thing on New Year’s Eve for 26 years (it involves a giant rock, fireworks, Central Park and a bottle of champagne) and I co-organize a large-scale LA-based scavenger hunt once a year.”

Joe Waz Joe Waz has rejoined Comcast as Senior Strategic Advisor in public policy and external affairs. After a semi-retirement in 2011, Waz remained a consultant for Comcast and the cable industry. He has been a Senior Fellow at the Silicon Flatirons Center for Law, Technology and Entrepreneurship at the University of Colorado, Boulder. He also is the founding Chair of the Broadband Internet Technology Advisory Group (BITAG). Fun fact about Joe: He has played the accordion for more than 50 years. Additionally, he recently created the Ann Stookey Fund for New Music in honor of his late wife (Ann) to commission new contemporary choral music, which was a passion of hers. Joe has been a lifelong UConn Huskies basketball fan. He’s followed the team since 5th grade.

industry e x e c u t i v e s

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News Corporation announced the appointment of Niklas Lagergren as Senior Vice President, Government Affairs for Europe, Middle East and Africa, effective March 1st 2013. Mr. Lagergren, who joins the company from the Motion Picture Association, will report to Michael Regan, Executive Vice President of Government Affairs.

In his new role, Mr. Lagergren will lead regulatory and public policy efforts for News Corporation and its

broad portfolio of businesses operating across Europe, the Middle East and Africa. He will be based in News Corporation’s new Brussels office. “Niklas brings to News Corporation

News Corporation names Niklas Lagergren Senior Vice President

a wealth of experience in the EU on issues critical to our businesses,” said Mr. Regan. “We continue to build the reach and depth of our government affairs capabilities globally and Niklas’ leadership of our Brussels-based operation will play a key role in maximizing our efforts.”Commented Mr. Lagergren: “I am very excited to embark upon this challenge and look forward to joining a strong government affairs team. For the last 10 years at the MPA, I have been both professionally and personally committed to representing the public affairs interests of media companies and I am now fortunate to be able to take my efforts to a new level by joining the leader in global media.”

In addition, the Company announced that Benjamin King has been named Director, Government Affairs for Europe, Middle East and Africa, reporting to Mr. Lagergren. Mr. King most recently served as Public Affairs Manager for News International and was previously Head of Policy and Communications for

the Publishers Association.Mr. Lagergren served for more than a decade at the MPA, most recently as Vice President for EU Affairs. In this role, he was responsible for the government affairs strategy of the six major Hollywood studios at the EU level, focusing on policies around media, copyright, international trade, Internet governance, culture and e-commerce. He began his career at European Commission, where he held a number of positions at the Secretariat General before joining the FiSystem Web Agency, the team responsible for managing the EU’s Internet portal.

About News CorporationNews Corporation had total assets as of September 30, 2012 of approximately US$60 billion and total annual revenues of approximately US$34 billion. News Corporation is a diversified global media company with operations in six industry segments: cable network programming; filmed entertainment; television; direct broadcast satellite television; publishing; and other.

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According Heather Struck by Reuters, this year might be the one in which more people ask: How much am I paying for all these channels, anyway? And why? With the growth of broadband streaming video and its pay-per-show approach, the idea of paying $50 to $150 a month for 1,000 plus channels via a neighborhood cable provider is no longer a slam dunk.

The cable industry that used to move in one direction -up- is now losing subscribers who

opt for less expensive and more targeted broadband services. Comcast Corp., the largest U.S. cable provider, said it lost 117,000 video customers in the third quarter of 2012. The firm still has more than 22 million paying customers, but the loss shows a change in direction. According to the Nielsen Company, the number of U.S.

households subscribing to pay-TV services declined by 1.5 Percent, or 1.5 million, in 2011.The Internet-streaming alternatives - Netflix, Amazon’s Prime, Hulu and Apple Inc.’s iTunes are leaders - have content that is less predictable than cable television, but it is also more efficient, with customers often paying per episode or show, instead of for the whole big multi-channel menu. On the other hand, according to a survey conducted by Convergence Consulting Group, “2.65 million people have forgone their cable subscriptions for alternative methods between the years of 2008 and 2011” to opt for low-cost Internet video streaming subscription services or other free video platforms.Nielsen reports a similar figure, finding that the number of households paying a multichannel provider last year

declined by 1.5 million. In fact, Nielsen noted a 22.8 percent increase in cord-cutters over the past year. (See chart on next page).

One new product that threatens the cable industry more than ever before is Intel’s new Internet Protocol television (IPTV) service. “For the past year or so, Intel has also quietly been working on a top-secret set-top box that could not only be better than what Apple, Google, and even Microsoft offer today, but also kill the cable industry as we know it,” claims Forbes.What’s different about Intel’s new platform is that consumers, for the first time, will be able to subscribe solely to individual channels or even TV shows-instead of having to buy bundled cable services with hundreds of channels from providers.

Here is how you should review your family entertainment budget for 2013, and how to manage it.

Pay for what you watchIt’s hardest to give up cable if you love sports, news or other specialized offerings (like that addictive HGTV) that cable reserves for itself. And if you are hooked on a particular

Is 2013 the year to cut the cable cord?

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new show, don’t expect it to be readily available everywhere else -or maybe anywhere else. The first step is to make a list of what you want to view, find each program and its cost.Recent episodes of many shows are available on services like Hulu Plus ($7.99 per month) and iTunes (starting at $1.99 per episode), but the chances that every desired program is available through one provider are slim. When one goes to Hulu and searches for the latest episode of the CBS program, “How I Met Your Mother,” for example, disappointment follows. The show is available on CBS’s ad-supported website, but it is not available on all streaming devices.If you want to watch old and new episodes of a show, you may need more than one service. For example, fans can find the first four seasons of the AMC series “Mad Men” on Netflix, and watch all of them in a snowy weekend or two. However, a fan of the show would have to use another service, like iTunes or Amazon Prime, to watch current episodes of the program, which are available one day after the air date.

Sports and news are specialWhile many sports events are streamed online, fans who want to consume a lot of action across multiple teams or sports, or who want to save games for later, are probably best served by sticking with their cable provider. However, for people who never switch on the football game, the sports channels are part of what makes the cable bill so expensive. Cable sports account for about 20 percent of the fees that providers must pay to carry channels like Disney’s ESPN and ESPN2, according to Bernstein Research analyst Craig Moffett. Those fees are passed onto all customers in subscription costs, including the sports indifferent.Those who want to simply stream one team or one sport or one game should hunt for the smoothest running service, like fromBAR.tv; they aren’t found at the usual show-streaming providers. News hounds face the same quandary, because you can’t get 24-hour news from a station like CNN without subscribing to a cable package. CNN allows users to stream live audio from its broadcast, but no video.

Choosing your hardwareIf you still want to watch on your big-screen TV and not limit viewing to your computer, tablet or phone, you’ll need to spend more money on hardware, too. Many new TVs are Internet enabled; they can run Netflix, Hulu or Google TV. Others require an intermediary box, like a Roku ($49.99-$99.99) or a Boxee ($99), that you’ll have to wire to the TV. (One more reason for technophobes to stick with tradition; streaming services won’t send a cable guy if your system stops working). You can even hook up your laptop to your TV, and your added investment would be limited to a couple of cables.Finally, once you’ve made all these decisions, you will likely have to re-evaluate, again and again. The cable industry is constantly working to stay out front of the alternatives, and may continue to block first-run episodes from appearing outside subscribing households -or find other ways to discourage cord cutters. For example, NBC reserved a lot of its streaming Olympics content last summer for those viewers who were already cable subscribers.

Comcast Corp., the largest U.S. cable provider, said it lost 117,000 video customers in the third quarter of 2012.

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Univision Communications, the leading media company serving Hispanic America, announced the formation of the Univision Agency. Overseeing a media inventory of more than $500 million across all of Univision’s broadcast, cable and radio properties, the Univision Agency will be responsible for all cross-channel promotions as well as research and creative services for clients and internal divisions.

With its ever-expanding portfolio of networks and platforms, and in keeping with its

well-established reputation

Univision Communications creates full-service internal agency

as an industry innovator, the company has established a new centralized team that will be part of Univision Networks. This totally self-contained Agency will define the promotional priorities and drive the creative advertising strategy and execution for the entire Univision family of networks. Leading the Univision Agency is newly promoted senior vice president Joni Fernandez, reporting to Jessica Rodriguez, executive vice president of Program Scheduling & Promotions, who has spearheaded this effort over the past few months.

“We have created a first-of-its kind Agency to instill one voice and one vision for Univision, UniMás, Galavisión, and all of our media properties – something no other media company has

done,” said Univision President and CEO Randy Falco (photo). “Forming the Univision Agency is a strategic step towards developing a promotional and creative vision that will set the standard in our industry.”

The Univision Agency’s responsibilities will include:

1) Creating consistent messaging during commercial breaks across all platforms for Univision networks and properties;

2) Prioritizing all promotional inventory;

3) Developing research and creative for clients and partners;

4) Supporting and collaborating creatively across divisions and teams to define and execute cross-platform initiatives;

5) Elevating promotional and creative efforts while increasing efficiencies and maximizing inventory.

To meet these goals, the Univision Agency brand managers will be responsible for the strategy and execution as they relate to the company’s core genre-specific verticals, i.e. novelas, sports, news, and entertainment, across each Univision brand and all their various platforms. Media planning across the company’s extensive portfolio of assets will be lead by Silvia Garcia, whose responsibilities will include oversight of strategic planning, campaign management and prioritization, supporting traffic and master control divisions, overseeing break architecture, and managing messaging strategy for secondary events and radio.

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Trying to make it easier for subscribers to find stuff to watch across a range of devices, Time Warner Cable is using Digitalsmiths’ personalized search and recommendations in its TWC TV apps and plans to extend the capabilities to its set-top boxes as well.

Digitalsmiths have announced that app developer i.TV selected the

Digitalsmiths Seamless Discovery system as its primary video-search solution, including for the recently launched Nintendo Wii U game console. Time Warner Cable has been working with Digitalsmiths for more than a year. The search and discovery engine spans live TV, on-demand, DVR and TV Everywhere content, according to Digitalsmiths CEO Ben Weinberger (photo).“You can do any sort of search you can imagine,” Weinberger

Time Warner cable smartens up TV search with Digitalsmiths

said. That includes searching by actor, director, genre or description , or even a snippet of dialogue in a movie. Digitalsmiths offers individualized search and recommendations and incorporates dozens of data sources. The company will expand its database for Time Warner Cable to include additional data sets over time.

“We are committed to providing our subscribers new and improved ways to discover content, and our partnership with Digitalsmiths will help us create better experiences for our customers,” Mike Angus, Time Warner Cable senior vice president and general manager

of video, said in a statement.The operator’s TWC TV service, which delivers up to 300 live channels over in-home Wi-Fi to Apple iOS and select Android devices, computers and soon Roku set-tops, already incorporates the Digitalsmiths-powered search and recommendation functions. The MSO today uses an internally developed search engine for its set-top guides, which it will enhance with the Digitalsmiths platform.

Separately, Digitalsmiths has partnered with i.TV, developer of TV guide apps for iPhone and iPad and other social TV and second-screen apps. Last year i.TV announced a partnership with Nintendo to co-develop Nintendo TVii, a built-in service with the new Wii U game console that lets users find programming in pay TV listings and online video sources, and control their cable or satellite set-top box.

Weinberger declined to provide revenue figures or say whether the customer wins have made privately held Digitalsmiths profitable. However, he said, in 2012 the company more than doubled revenue year-over-year and has already prebooked revenue for 2013 that is twice last year’s tally, he said. Digitalsmiths investors include Cisco Systems, Technicolor, .406 Ventures, Aurora Funds and Chrysalis Ventures. The Durham, N.C.-based company has about 100 employees. Other Digitalsmiths customers include Cisco, Warner Bros., Paramount, Technicolor, Univision, Turner Sports, the NBA, the PGA and NASCAR.

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The National Association of Broadcasters Education Foundation (NABEF) announced that entries are being sought for the 2013 Celebration of Service to America Awards.

Re c o g n i z i n g o u t s t a n d i n g community service by local broadcasters.

Winners will be honored at the Celebration of Service to America dinner held Monday, June 3, 2013 at the Washington Convention Center. Entry deadline is March 5, 2013. Categories for the Service to America Awards include:

Service to America Community Awards for Radio and Television: honoring broadcasters for individual campaigns, projects or programs that serve the public good or otherwise provide exemplary service to their local communities.

NABEF now accepting entries for Service to America Awards

Service to Children Awards for Radio and Television: recognizing broadcasters for outstanding programs, campaigns and public service announcements that serve the children of their communities.Service to America Television Award: acknowledging a television station for the totality of its efforts and commitment to excellence in serving its community.

About The Celebration of Service to America AwardsThe Celebration of Service to America Awards are sponsored and produced by NABEF with major support from Hubbard Broadcasting, Inc., Bonneville International Corporation, and the National Association of Broadcasters. In recent years, multiple award-winning actress Glenn Close, Oscar-winning actor Jeff Bridges (photo), entertainment industry icon Quincy Jones, legendary rock star Sir Elton John, former President Bill Clinton, First Lady Laura Bush, among others have been presented with

the Celebration of Service to America Leadership Award at the event.

About Hubbard BroadcastingBased in Minneapolis-St. Paul, Hubbard Broadcasting now operates 20 radio stations in Chicago, Washington, DC, Minneapolis-St. Paul, Cincinnati and St. Louis, as well as twelve television stations in Minnesota, New York and New Mexico.In addition to radio and television broadcast stations, other Hubbard Broadcasting companies include the satellite and cable networks ReelzChannel and Ovation TV, F&F Productions and the Hubbard Radio Network.About Bonneville Int.Founded in 1964, Bonneville International owns and operates 12 radio stations in the Los Angeles, Seattle, Phoenix, and Salt Lake City markets, as well as KSL-Television (NBC affiliate) in Salt Lake City. About NABEFThe National Association of Broadcasters Education Foundation is a non-profit organization dedicated to reinforcing the future of broadcasting through a commitment to education and to advancing excellence in the diversity and community service efforts of our industry.About NABThe National Association of Broadcasters is the premier advocacy association for America’s broadcasters. NAB advances radio and television interests in legislative, regulatory and public affairs. Through advocacy, education and innovation, NAB enables broadcasters to best serve their communities, strengthen their businesses and seize new opportunities.

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Comcast Corporation, a global media and technology company, and Crossings TV, a privately held, Asian-oriented, multicultural television broadcaster, announced an agreement to expand distribution of Crossings TV into three additional Comcast Xfinity TV markets: Chicago, Seattle and San Francisco.

Crossings TV is currently available to Xfinity TV customers in the California Central

Valley, serving a multicultural audience which includes Chinese, Vietnamese, Filipino, Hmong, South Asian and Russian language speakers in Sacramento, Stockton, Fresno and surrounding areas. As it

Crossings TV and Comcast announce expanded carriage on Xfinity TV

rolls out in Chicago, Seattle and San Francisco in 2013, the programming will be designed specifically for each of these communities’ unique needs and will provide in-language information and entertainment programming that will consist of international news, talk, drama series and movies.

“Crossings TV is excited by this new distribution and its enhanced relationship with Comcast,” said Frank Washington, CEO, Crossings TV. “We are confident that our locally focused, Asian-community-friendly approach in these key markets will enhance viewer choices and advertiser efficiency.” “Crossings TV provides one-of-a-kind programming directly tailored to a multicultural audience in the communities they serve,” said David Jensen, Vice President of International Content Acquisition, Comcast Cable. “We’re very pleased to expand our carriage of Crossings TV in these three markets, connecting our customers to content pertaining to their home countries and cultures.”

About Crossings TVCrossings TV is an information/entertainment provider meeting the needs of underserved but substantial non-English/non-Spanish speaking multicultural communities in key U.S. cities. Crossings TV can currently be found on Time Warner Cable in New York City and on Comcast Cable in California’s Central Valley. The company’s website is www.CrossingsTV.com.

About Comcast CorporationComcast Corporation is a global media and technology company with two primary businesses, Comcast Cable and NBCUniversal. Comcast Cable is the nation’s largest video, high-speed Internet and phone provider to residential customers under the XFINITY brand and also provides these services to businesses. NBCUniversal operates 30 news and entertainment cable networks, the NBC and Telemundo broadcast networks, television production operations, television station groups, Universal Pictures and Universal Parks and Resorts. Visit www.comcastcorporation.com for more information.

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Televisión de América (TDA), no sólo es una plataforma de canales de televisión, también

es una calificada productora de contenidos audiovisuales. Un destacado grupo de profesionales en diversas áreas, se encargan de la creación de todos los conceptos de productos audiovisuales, incluyendo la escritura o adaptación de

guiones; la preproducción, producción y postproducción de piezas publicitarias, así como documentales y proyectos de ficción. La interacción con compañías de actores y el acceso a diversos recursos de doblaje y “voiceover” los convierten en una productora óptima para la realización publicitaria, donde TDA apuesta a la producción

regional integrada. Con socios estratégicos en diversos países de América, TDA es la mejor opción para la producción de contenidos audiovisuales y posee los recursos tecnológicos y humanos necesarios para una producción de alta calidad, competitiva en los más exigentes mercados. Broadcaster tuvo la posibilidad de charlar con Oscar Estévez,

Televisión de América: contenidos de alta calidad para todos los mercados

La producción “a medida” se está haciendo cada vez más necesaria para satisfacer la demanda de nuevos formatos. La televisión digital interactiva, la televisión en Internet y la adaptación de contenidos a dispositivos móviles son solamente algunos de los servicios que ofrece TDA.

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Director Ejecutivo de TDA, y uno de los más experimentados directores audiovisuales de la región. Guionista de “La casa muda”, película estrenada en la Quincena de los Realizadores del Festival de Cannes 2010 y con una remake en Hollywood a estrenarse en el corriente año; “Futbol -Club Uruguayos Campeones”, la primer serie de ficción uruguaya en ser comercializada al exterior; “Charly en el Aire”, primer ficción uruguaya en tener dos temporadas, y de trabajar directamente para BYU Internacional en la tercera temporada de “Héroes de la comunidad”, una serie documental rodada en Uruguay, Paraguay, Brasil y Argentina, ratifican la calidad del trabajo de Estévez y el aporte que TDA puede brindar a la industria audiovisual de la región.La coloquial entrevista comenzó con la consulta a Estévez de cómo se inició TDA y cuáles son sus principales objetivos, a lo que el productor aseguró: “TDA surge mediante la necesidad de generar contenidos audiovisuales para llegar a públicos específicos de manera más eficiente. Cada contenido audiovisual tiene sus propias marcas anunciantes de referencia, por eso TDA ofrece dentro de sus señales canales con una orientación clara para un público bien determinado.

Nuestro objetivo es el desarrollo de varios canales de televisión; desde su concepción, su puesta al aire y la generación de sus contenidos”, aseguró Estévez.Sobre el tipo de productos y servicios que ofrecen, el Director Ejecutivo aseguró que “Hacemos todo tipo de productos audiovisuales, piezas publicitarias, documentales, ficción y programas de televisión, desde la creación del concepto hasta la realización del mismo. Nuestro equipamiento HD de última generación no solo nos permite elaborar programas de una calidad óptima, sino también ofrecer servicios tercerizados en el área de producción audiovisual, animación y diseño gráfico”.Dada su vasta experiencia en el mercado audiovisual, no podíamos dejar de reflexionar sobre cuál es su visión sobre la convergencia y la producción de contenidos originales. “Es indudable que el mercado en la actualidad apunta a que los contenidos lleguen al espectador de muy distintas maneras, desde la concepción y la realización de cada producto audiovisual se debe tener en cuenta su aplicación final en diversas plataformas. Yo considero que hay avidez de contenidos en cualquiera de las plataformas, y que la originalidad puede ser un

diferencial a la hora de elegir por parte de los consumidores. Pero solamente con eso no alcanza, ya que muchas historias ya han sido contadas y vuelven a contarse con el devenir del tiempo; el desafío es encontrar los formatos y la creatividad para contarlas de una manera distinta”, afirmó Estévez.Sobre esta innovadora concepción, le consultamos qué puede ofrecer TDA en este campo, a lo que el ejecutivo aseveró; “TDA cuenta un equipo de realizadores y productores con vasta experiencia en publicidad, documentales y ficción tanto en cine como en televisión. Este equipo, puesto al servicio de la productora, ha hecho de los canales que se están gestando sólidas vías de comunicación con mensajes claros, programas entretenidos y funcionales al público que cada canal apunta”. Y en tiempos donde “el contenido es el rey”, le preguntamos qué valor agregado puede ofrecer TDA a los operadores y programadores. “Es sabido que la televisión por cable permite segmentar los consumos y ofrecer al público ofertas específicas ajustadas a las necesidades de cada grupo: películas, deportes, entretenimiento, cultura, arte e historia, entre otros. Nosotros creamos programas específicos para públicos

TDA surge mediante la necesidad de generar contenidos audiovisuales para llegar a públicos específicos de manera más eficiente.

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específicos. Desarrollamos canales temáticos para una audiencia segmentada que genera fidelidad con las respectivas señales. No somos entonces, para los operadores y programadores, un proveedor de señales más”, afirmó Estévez.Para finalizar, el Director Ejecutivo nos explicó cuáles son las principales señales que están implementando. “En este momento estamos desarrollando varias señales con distintas fechas de lanzamiento. El buque insignia del proyecto es “Opinión TV”, un canal que trata la opinión desde el punto de vista de grandes referentes, posee una estética y una lógica comunicacional basada en resaltar el carácter y la importancia de la opinión. Para lograr nuestro objetivo se generaron alianzas con canales de TV abierta a nivel mundial, quienes proveen contenidos, así como corresponsalías. Es un canal orientado al análisis, dotado de una personalidad constructiva, modernista en su dinámica, educativo en sus conceptos, e innovador en su performance televisiva. También tenemos “UTV”, una señal netamente Uruguaya, desde su concepción hasta sus contenidos. Surge frente a la necesidad de globalizar al Uruguay tanto hacia adentro como hacia afuera ya que en el mundo actual, los medios

de comunicación tradicionales, Internet y las redes sociales nos acercan a lo que tenemos lejos y nos alejan de lo que tenemos cerca. Además, dentro de las señales tenemos dos que enseñan idiomas, “Yes Institucional” y “Mandarin Channel”. En el primero tomamos lo mejor de YES Channel y lo adaptamos a las necesidades de cada institución, así nace YES Institucional. Un canal de enseñanza de inglés a través del método de inmersión completa, que se ajusta las necesidades de cada cliente. Sin lugar a dudas, el inglés es uno de los idiomas más utilizados en el mundo entero; es el idioma de los negocios y de Internet. Lo mejor es que ¡nunca es tarde para aprender inglés! Por otra parte, Mandarin Channel, es un canal 24 horas de enseñanza amena y efectiva del idioma Mandarín. La meta principal de Mandarin Channel es la enseñanza del idioma Mandarín en Estados Unidos, para luego ser extendido a nivel global y afianzar los lazos de ese país con el planeta.

Interactiva, original, adaptada a cada público y con amplias ventanas de acceso; TDA, sin lugar a dudas, es una experiencia con valor agregada a tener en cuenta dentro de cualquier parrilla de cable.

“Hacemos todo tipo de productos audiovisuales, piezas publicitarias, documentales, ficción y programas de televisión, desde la creación del concepto hasta la realización del mismo. Nuestro equipamiento HD de última generación no solo nos permite elaborar programas de una calidad óptima, sino también ofrecer servicios tercerizados en el área de producción audiovisual, animación y diseño gráfico”.


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Broadcaster 192 - Enero 2013

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