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Riedel creates Zurich IP engineering hub

Underlining its commitment to standards, Riedel is making continued investments in new technologies with its acquisition of Swiss engineering pioneer Archwave. This new partnership will create a strong research and development (R&D) hub in Zurich and increase Riedel’s global engineering team to over 100 engineers while expanding its R&D capabilities for IP and standards such as AES67, which will further boost interoperability in the broadcast world. Archwave is an audio-networking and streaming specialist that vigorously promotes open standards for the interconnection of audio and video equipment in professional environments.

“At Riedel, IP standards are vital not only for our intercom portfolio but also for all of the other Riedel product lines,” said Thomas Riedel, Founder and CEO of Riedel Communications. “By collaborating with Archwave, we are taking another important step towards providing complete networking solutions that allow broadcasters to work the way they want to work. With our new engineering team in Switzerland, we now have all the tools we need to create the plug-and-play workflows that our clients need for their transition to IP.”

As part of this agreement, Riedel will also acquire Cymatic Audio, an audio specialist within the music industry. This move allows Riedel to enter new markets and get closer to musicians, who already rely on Riedel technology in the background.

“It is not often that such a strong and obviously strategic fit presents itself, but that is what I found with Riedel. Riedel’s strength, operational excellence, and commitment to open technology were the factors that drove the development of this new relationship. We also appreciate that the deal offers new channels to markets within the existing Riedel organization. The team and I are extremely happy and excited to move forward as part of the Riedel family,” said Arie van den Broek, CEO of Archwave Technologies B.V.

With this cooperation, Archwave and Cymatic Audio will remain an autonomous unit within Riedel, while Riedel will adopt Archwave technology solutions for its own product portfolio.

Media businesses will look to data at a time of huge instability, predicts the DPP

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The Digital Production Partnership (DPP) launched its 2018 Predictions for the media industry. The predictions show a strong focus on business thinking at a time when a transformation in media economics is creating great uncertainty. The DPP 2018 Predictions was produced with the support of DPP Member company Equinix, and generated from a working session with experts drawn from across the DPP Membership.

“The strength of the annual DPP Predictions is that they are drawn up in consultation with people who know the day to day reality of doing business in the media sector,” says DPP Managing Director Mark Harrison. “Our experts were immune to hype around particular technologies; they told us what will really make a difference.”

The DPP has created eight predictions for 2018. Here are three that will have particular impact:

Transformation in media economics will cause huge instability

The media industry is going through a seismic change in business models, with a shift from fixed to variable costs, invited by cloud-led services. Companies will seek to evolve appropriate governance models to manage their costs in the face of unpredictable market conditions; but many will struggle to adapt.

Businesses will better understand and manage their data throughout the value chain

Right at the heart of these transformed media economics sits data. There is now the potential to gather data at almost every point in the media supply chain. Companies will seek intelligence about their operations, market and customers. And the need for speed will mean a strong demand for real time analytics.

Where there are people there will be automation

This was also a prediction for 2017 – but this group of experts felt it will continue to be a powerful business driver in 2018. Machine learning is enabling automation to be rapidly applied to many people heavy processes – reducing costs, increasing performance and providing valuable data.

“The media and broadcast industry is in the midst of digital transformation. As the global interconnection and data centre leader, Equinix sits at the heart of many of these paradigm shifts and are pleased to contribute to this insightful report,” said Matt George, Sr. Manager, Solution Marketing, Equinix EMEA.

 

Tedial to bring major breakthrough in sports production

Tedial, the leading independent MAM technology solutions specialist, has revealed plans to introduce Smart LIVE at NAB 2018, as a major breakthrough in sports production.

Smart LIVE, a totally unique development in the industry, leverages Artificial Intelligence (AI) tools to increase the number of highlights created automatically, thus reducing production costs and boosting revenues for production companies. Demonstrations will be held in Booth N 1420.

New and Unique – Smart LIVE

What makes Smart LIVE unique in the industry? Before any action happens, Smart LIVE ingests a LIVE data feed and automatically creates an event inside its metadata engine. Simultaneously Smart LIVE automatically creates the corresponding log sheets, the player grids and a schedule of the event.  All these preparations are linked and organised by collections, so an entire season of sports events can be prepared automatically in advance.

During events, live data is ingested, and the system can be configured to automatically create clips based on actions, keywords or logged occurrences. Smart LIVE automatically pushes content to AI engines; video and audio recognition can be leveraged to generate additional locator data and annotate the media proxies. And the system can automatically publish clips or push content to social media platforms.

Smart LIVE is agnostic to any sports or data providers.  Its powerful metadata engine can be easily configured to create an automatic metadata ingest process addressing the more demanding and the more complex sport workflows. Smart LIVE dramatically increases the utility of the MAM GUI interface, bringing the MAM much closer to LIVE production than ever before.

Smart LIVE is 100 per cent compatible with PAM providers such as SAM or EVS, which makes it the perfect tool to orchestrate all business processes on top of an existing PAM. It can then manage the media life-cycle or media movements between different sites, thanks to Tedial’s award-winning AST storage management system, or simply manage historical sport archives.

At NAB 2018 Tedial will demonstrate Smart LIVE’s automatic highlight creation feature, its integration with AI engines, speech to text integration annotating incoming live media, and the automated publish feature with TELLYO – provider of a cloud-based video production, editing, streaming and distribution platform, and a Tedial technology partner.

Jerome Wauthoz, VP of Products for Tedial commented, “We couldn’t be more excited to bring broadcasters, rights holders, clubs, federations, or any organisation involved in live production, a ground-breaking paradigm that will dramatically transform the way they automate clips and deliver content across numerous platforms including social media. By tightly integrating with AI tools, Smart LIVE can generate an increased number of highlights during or after an event, and deliver to a very targeted audience increasing the potential for significant growth in fan engagement.”

Esther Mesas, CSO/CMO for Tedial, added “Another Smart LIVE benefit for customers, that can’t be minimised, is the substantial financial gain. Thanks to the automatic highlight engine and AI integration, preparation time and production costs are reduced with more highlights being created with the same or less staff. And more content published means more revenues for these customers.”

Award-winning Highlights

Tedial Hyper IMF: At NAB 2018, Tedial will also be highlighting its Hyper IMF, the industry’s leading end-to-end IMF workflow leveraging IMF methodologies to save users up to 25 per cent – or more – in storage and versioning costs. Hyper IMF is a true IMF solution that supports IMP and supplemental file ingests and creation of unique CPLs for archive, versioning and delivery. This complete solution can leverage IMF markers for soft-parting and pre-mid-post roll insertions.

Tedial Augmented Storage (AST): Tedial’s award-winning Augmented Storage (AST) system takes its place as the new paradigm in hierarchical storage management (HSM). AST expands traditional HSM into a multi-site, multi-tier heterogeneous storage enabling cloud deployments, multi-site operations or hybrid clouds with minimal impact on upper layers. Fully AXF Compliant!

Version factory for distribution: Tedial’s highly scalable and flexible content publishing to linear and non-linear platforms are based on IMF CPL component definitions and OPL delivery profiles for automating the creation and distribution of thousands of versions.

 

Directors’ Vision: The 15:17 To Paris

The 15:17 To Paris by director Clint Eastwood, tells the real-life story of three men whose brave act turned them into heroes during a high-speed railway ride.

In the early evening of 21 August 2015, the world watched in stunned silence as the media reported a thwarted terrorist attack on Thalys train #9364 bound for Paris—an attack prevented by three courageous young Americans traveling through Europe. The film follows the course of the friends’ lives, from the struggles of childhood through finding their footing in life, to the series of unlikely events leading up to the attack. Throughout the harrowing ordeal, their friendship never wavers, making it their greatest weapon and allowing them to save the lives of the more than 500 passengers on board.

The heroic trio is comprised of Anthony Sadler, former Oregon National Guardsman Alek Skarlatos, and former U.S. Air Force Airman First Class Spencer Stone, who play themselves in the film.

In the above clip, Clint Eastwood speaks about his vision in making the film and working with and casting the individuals who took part in the real-life event.

Canon’s new LEGRIA HF G26

Canon Europe recently announced the launch of the LEGRIA HF G26, a Full HD camcorder to satisfy video enthusiasts’ creative needs and instil confidence when capturing content. Taking filmmaking to the next level, the compact and easily portable LEGRIA HF G26 offers a 28.8mm wide-angle lens with 20x optical zoom, superb optics, low-light capability and 8-blade circular aperture, which can create beautiful circular bokeh effects. Video enthusiasts and filmmakers alike can capture exceptional Full HD 50p footage for all creative pursuits with the simple, yet powerful, LEGRIA HF G26.

Cutting-edge features for precise, high-quality footage

With a range of cutting-edge features, the LEGRIA HF G26 assures precise and high-quality shooting in the most challenging of conditions. The Intelligent Image Stabiliser (IS) compensates for five axes of camera movement, which is crucial for steady filming whilst on the move and capturing shake-free smooth footage even at extreme zoom, thanks to Powered IS. To support Full HD clarity, the LEGRIA HF G26 features Instant Autofocus for the rapid and precise identification of the subject position and distance. Capturing pin sharp Full HD video has never been easier.

Using the three-position switch, users can easily alternate between Manual, Auto and Cinema modes without changing individual settings. With up to 20x optical zoom, the LEGRIA HF G26 enables the creative capture of video from wide shots to extreme close ups, capturing even distant subjects in brilliant Full-HD quality. Using a Wide Dynamic Range of 600 per cent and Highlight Priority looks, the LEGRIA HF G26 records Full HD 50p at 35Mbps delivering high-quality footage, while evenly distributing tones and managing areas of brightness. This produces beautiful video footage straight from the camcorder.

The combination of a 2.91MP 1/2.84-Type HD CMOS Pro sensor and DIGIC DV4 processor delivers incredible light sensitivity, contrast and wide dynamic range without compromising Full 1080p HD. This allows filmmakers to capture content in conditions with light as low as 0.1 lux, ideal for video enthusiasts capturing nighttime documentaries. Similarly, the LEGRIA HF G26 offsets overexposure in bright conditions with its built-in ND Filter reducing the amount of light that reaches the sensor.

Easy operation and compact design

The customisable settings empower video enthusiasts to mould the LEGRIA HF G26 to their own shooting preferences; perfect for those committed to shooting in a specific style. With highly responsive and state-of-the-art controls, the LEGRIA HF G26 is a compact, simple-to-use, hand-held device that is perfect for capturing on the go. Fitted with a professional grade zoom rocker, lens ring with fingertip light sensitivity and custom dial and buttons, the LEGRIA HF G26 provides content creators with maximum artistic control when shooting.

A highly responsive 3.0-inch capacitive touch screen ensures the image can be framed perfectly, with the ability to adjust tracking, focus and exposure for a high-quality outcome. For full visibility when capturing footage, especially in bright conditions, aspiring film makers can adjust the 1.56 million dot electronic tilting viewfinder up to 45° for low-angle shooting and to reduce glare. This is particularly useful for video enthusiasts capturing content in variable lighting conditions, such as whilst travelling or on outdoor shooting locations. This simple operation, and compact design, make the LEGRIA HF G26 suited for moments when mobility and speed are essential.

Simple workflow, advanced recording

Whether simply distributing the stunning 1080p/50 footage straight from the video camera or editing later, the LEGRIA HF G26 unlocks choice and workflow flexibility. Simultaneous AVCHD and MP4 recording gives you the freedom to capture Full HD resolution up to 35Mbps MP4/28Mbps AVCHD and as low as 3Mbps MP4/5Mbps AVCHD. With several advanced recording options, such as slow and fast capture with a maximum speed of 1200x, the LEGRIA HF G26 provides reassurance that you will never miss a moment.

A dependable companion for any filming, the LEGRIA HF G26 delivers peace of mind with dual SD card slots for continuous shooting and thorough back up. The LEGRIA HF G26 boasts a HDMI terminal for a range of advanced interfaces, including connectivity to a 3.5mm headphone and 3.5mm mic jack, plus Mini Advanced Shoe input. The built-in headphone output with 16 volume settings for accuracy and the microphone input, both enhance audio functionality to support video enthusiasts recording interviews and vlogs. With this extensive range of features, content creators can confidentially fulfill their creative needs.

 

Fourteen SAFTA nominations for Penguin Films and Paw Paw Films

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Penguin Films, and its sister company, Paw Paw Films, have scooped up fourteen nominations for the 12th Annual South African Film and Television Awards (SAFTAs).

Acclaimed directors and creative producers, Roberta Durrant and Mandilakhe Yengo, are thrilled with the nominations and congratulate the cast and crew, while wishing them all the best for the awards ceremony.

The second season of the popular telenovela, Ring of Lies, has been nominated in five categories, including:

  • Best Achievement in Original Music or Score/ Telenovela: Composer: Ngane Sikobi;
  • Best Achievement in Post Production/ Telenovela: Post Production Team – Stash Couvaras, Maryke Kruger, Talya Jay Kahan, Ambonga Mfundisi and Tanya von Abo;
  • Best Achievement in Cinematography/ Telenovela: DOPs – Ntobeko Dlamini and Marc Brower;
  • Best Actor/ Telenovela: Mpho Sebeng; and
  • Best Telenovela by Public Vote.

Critically acclaimed local box office hit, Krotoa, secured three nominations in the following three categories:

  • Best Actress/ Feature Film: Crystal-Donna Roberts;
  • Best Supporting Actress/ Feature Film: Roeline Daneel; and
  • Best Achievement in Costume Design/ Feature Film – Wardrobe HOD: Emma Moss.

Three of their popular drama series, Isikizi 2, Z’Bondiwe 3 and Sara se Geheim 1, scooped up another five nominations in the following categories:

 Isikizi 2:

  • Best Achievement in Original Music or Score/ TV Drama:

Composer – Murray Anderson

Singer – Phila Madlingozi; and

  • Best Supporting Actress/ TV Drama: Tina Jaxa.

Z’Bondiwe 3:

  • Best Actress/ TV Drama: Zola Nombona; and
  • Best Achievement in Makeup and Hairstyling/ TV Drama:

Hair & Make-Up HOD – Ellaine Ngubeni.

Sara se Geheim 1:

  • Best Supporting Actress/ TV Drama: Quanita Adams

While former Best Children’s Programme SAFTA-winner (2017), Disney Cookabout, produced by Penguin Films and Disney UK, has been nominated once again in the same category. It has also been nominated for an International Kids Emmy Award this year.

The official SAFTA Awards Ceremony will be held at Sun City and will take place over three days, from 22 to 24 March 2018.

For more information about the nominees, visit the SAFTAs Facebook page.

 

Realness Residency announces award winners and a new partner 

Realness Residency is a Pan-African screenwriting initiative seeking diversity in contemporary African perspectives while encouraging risk-taking, originality and authenticity. This ethos has been demonstrated once more by the success of alumnus Luck Razanajaona (Madagascar) at CineMart in Rotterdam where his Realness project Disco Afrika won the Wouter Barendrecht Award of €5,000 given to a director under 35-years-old last night.

“We have once again achieved our target of over 120 submissions and are excited to start the evaluation process. We look forward to welcoming our 2018 residents to their home-away-from-home at Nirox in June,” said Realness co-founder Elias Ribeiro. “Since its launch, the residency has nurtured ten African writers from eight countries on the continent, growing into an impactful centre that fosters emerging talent and that is recognised throughout the film community,” co-founder Cait Pansegrouw went on to say.

Ribeiro and Pansegrouw’s production company Urucu Media produced Inxeba (The Wound), the most awarded South African film ever made, which was shortlisted to the top nine in the 2018 Best Foreign Film category of the Academy Awards. The Wound has found distribution in over 30 countries around the world and has been acquisitioned by the likes of HBO, Netflix and Mnet. They also co-produced the Mozambican Oscars entry, The Train of Salt and Sugar.

“It’s very good to start your project in this kind of residency programme. It has a great reputation so it gives you more credibility and introduces you to potential producers and funders,” said the 2017 Resident, Rama Thiaw from Senegal.

Through Realness’s partnership with other labs and development platforms, its residents are considered for various scholarship awards to platforms that will further their creative progress. The 2017 results are as follows:

  • Locarno Filmmaker’s Academy: Miles from Nowhere, Samantha Nell (South Africa)
  • TorinoFilmLab: The Kingdom of Casaurinas, Fradique Mario Bastos (Angola)
  • EAVE Producer’s Workshop: Miles from Nowhere, Samantha Nell (South Africa), attended by producer Bongiwe Selane

The award to attend La Fabrique Cinema de L’Instituit Francais in Cannes will be announced in March. Swiss production company Cocoon, lead by producer Simone Soleil, awarded each participant with a 1000 euro stipend to assist with their real-world costs while in residence.

Realness is also proud to announce a new partnership with Toronto International Film Festival (TIFF). The festival will award a resident with a flight, festival pass and personalised itinerary allowing them maximum professional development during their time at TIFF.

Realness was founded in 2015 by Urucu Media, presented under the mentorship of Berlinale Talents, in partnership with Nirox Foundation, Durban FilmMart, The French Institute of South Africa and La Fabrique Cinema de L’Instituit Francais, TorinoFilmLab, Locarno Filmmaker’s Academy, Cocoon, Toronto International Film Festival, The CNC, EAVE and Fairbridges Attorneys.

New Panavision Millennium DXL2 camera

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Panavision recently introduced the new Millennium DXL2 8K camera. The large-format camera is the heart of a complete imaging ecosystem designed from filmmakers’ perspectives, seamlessly incorporating Panavision’s unmatched optics and camera architecture, the Red Monstro 8K VV sensor, and Light Iron colour2 science (LiColour2). The DXL2 builds on the success of the Millennium DXL and benefits from Panavision’s unique and storied partnership with cinematographers, whose real-world experience and input are manifested in the DXL2’s many significant advances.

“The Millennium DXL2 8K camera system was conceived with the goal of maximum creative control from the moment of capture through delivery and display,” says Michael Cioni, senior VP of Innovation at Panavision and Light Iron. “Panavision’s vast inventory of advanced large-format and anamorphic optics combined with Red’s Monstro imager expands what’s possible, allowing filmmakers to create radically inventive and powerfully cinematic images, customised for the needs of the project and the vision of creative teams.”

As a camera and lens manufacturer that also serves filmmakers as a trusted rental house, Panavision is uniquely positioned to respond to the needs of the community. Since its introduction, the DXL has been used on over 20 feature films, and countless television shows, commercials and music videos. Oscar nominee John Schwartzman, ASC photographed two features on the DXL and is among those who have tested the DXL2, providing input that has guided the design.

Schwartzman says, “When you take an 8K image and super-sample it, it only gets better. It’s absolutely beautiful to look at. For me, the Millennium DXL2 is a no-brainer. It’s something I would use on anything. It does it all. And in fact, I’m currently planning to shoot my next feature with it.”

The Red Monstro 8K VV sensor in the DXL2 offers healthy 16-plus stops of dynamic range with improvements in image quality and shadow detail, a native ISO setting of 1600, and ProRes 4K up to 60 fps. Images are presented on the camera in log format using Light Iron colour science. An integrated PX-Pro colour spectrum filter custom-made for the DXL offers a significant increase in colour separation and dramatically higher colour precision to the image. Built-in Preston MDR, 24v power and expanded direct-to-edit features are also standard equipment on the DXL2. An anamorphic flare attachment (AFA) offers a convenient, controllable method of introducing flare with spherical lenses.

New to the DXL2, LiColor2 streamlines the 8K pipeline, smoothly handling the workflow and offering convenient and quick access to high-quality RAW images, accommodating direct to edit without delays.

“We are proud to provide an ecosystem of tools that gives filmmakers more choices to express their vision,” adds Panavision CEO and president Kim Snyder. “We have been listening to feedback from cinematographers and the results of our collaboration are directly manifested in the DXL2. We remain committed to the continuous technological development and are excited to bring this new camera to market.”

 

DXL2 cameras are now available to rent exclusively from Panavision on a worldwide basis.

For more information, visit the Panavision website.

 

ARET upgrades RAI studios and OB vans with Lawo V__pro8 video processors

Italian public broadcaster RAI, a long-time user of Lawo products and solutions, has just taken delivery of 37 Lawo V__pro8 8 Channel Video Processing Toolkits. The new Lawo equipment will be employed in a nationwide technical upgrade and renovation of studios and OB vans located all over Italy. System integrator and Lawo partner ARET Video and Audio Engineering, headquartered in Milan, won the tender after participating in a test procedure which scrutinised prominent brands’ ability to process video in broadcast environments.

Alessandro Asti, ARET’s VP of Sales comments: “The unique features and flexibility of V__pro8 – its ability to synchronise, convert, embed/de-embed and apply delay to both audio and video, as well as monitoring eight inputs at once – received the maximum technical marks in the tender. Thanks to the outstanding performance of the V__Pro8, it is the perfect tool for signal monitoring in RAI’s studios and OB vans.”

The RAI project is the latest in a number of successful joint projects between ARET and Lawo. Another notable project, from 2017, was the outfitting of Italian production company NVP’s OB4 OB Van. The heart of OB 4’s audio systems is a pair of Lawo mc²56 production consoles, a Nova router and DALLIS interfaces. The complete OB Van is controlled using Lawo’s VSM (Virtual Studio Manager) system; Lawo’s V__pro8 eight-channel video processing units give producers control of the complete broadcast production workflow using just 1 RU of rack space. Together, these Lawo systems deliver the versatility required for multiformat operation on Europe’s most challenging productions.

About V__pro8 eight-channel video processing toolkit: V__pro8 is a compact, fully digital eight-channel video processor with all of the “glue” features needed for today’s broadcast production workflows. It works as a flexible matrix system: using its 8 x 8 video matrix and 384 x 384 audio matrix, it is possible to switch any signal to any other. A modern GUI (based on HTML5) provides an intuitive interface for fast handling of day-to-day work.
V__pro8 connects differing video formats, with high-quality format conversion, colour correction and audio embedding/de-embedding capabilities. It also combines video and audio management, with a high-density MADI audio connection providing efficient video-to-audio bridging within the studio infrastructure. This combination of video and audio management in a single unit guarantees maximum operating efficiency by significantly reducing required space, wiring infrastructure and cost.

MultiChoice pulls the plug on ANN7

MultiChoice admitted on Wednesday that “mistakes” were made in contractual negotiations with the formerly Gupta-owned 24-news channel ANN7 and that the agreement will be terminated when the deal expires in August 2018. The channel will no longer be carried on DStv after that date.

MultiChoice South Africa CEO Calvo Mawela said at a press conference at the company’s Randburg, Johannesburg head office that it would not be appropriate to renew the ANN7 contract considering “ongoing controversies”. He said MultiChoice will issue a tender to appoint and fund a new, black-owned commercial news channel soon.

“This has been a humbling exercise for MultiChoice,” Mawela said. “…We fully understood the outrage of the public given the endemic corruption in the country. We should have dealt with the concerns around ANN7 more swiftly.”

We fully understood the outrage of the public given the endemic corruption in the country. We should have dealt with the concerns around ANN7 more swiftly

Naspers CEO Bob van Dijk said the allegations regarding ANN7 have “caused me a great deal of concern”.

“Reading the news coverage in November, that is not the kind of messaging you want to see about your company,” he said.

In early December, MultiChoice said that it was aware that its deal with ANN7 had caused “real public concern” and instructed its audit and risk committees to probe the contract.

In a statement at the time, MultiChoice independent nonexecutive director Don Eriksson, who chairs the board committees, said: “The MultiChoice board has read the various media reports alleging that MultiChoice has entered into an irregular relationship for the carriage of the ANN7 channel. The board is aware that the ANN7 channel has caused real public concern because of the allegations of corruption levelled at the former owners of the channel.”

ANN7 was owned by the controversial Gupta family, which has been accused of using its close association with President Jacob Zuma to win state contracts. Zuma and the Guptas have denied the allegations of “state capture”. The Guptas sold the business in 2017 to Mzwanele Manyi, a former government spokesman, in a “vendor-financed” deal — in other words, the Guptas loaned Manyi the money to buy the channel.

Asked by TechCentral if Manyi has been told about the decision to terminate the channel, Mawela said: “We explained the whole situation to him and he has accepted our position and he is considering what we have shared with him.”

Comprehensive review

At Wednesday’s press conference, Mawela read out a statement that said that the board-appointed committee conducted a “thorough and comprehensive review” of the deal with ANN7.

“They met several times, studied all relevant contracts, reviewed five years of related payments information and e-mails, interviewed those involved and did various objective contract and cost comparisons.”

The committee found “procedural shortcomings, but found no evidence of corruption or other illegal activity”.

It found that the commercial terms of the ANN7 contract were within acceptable parameters associated with the establishment and cost of producing a news channel.

“The negotiations with ANN7 began at a time when MultiChoice wanted to add local black voices to reflect more diverse local news coverage on the DStv platform. In addition, annual payments to e.tv (which produces the eNCA news channel) had escalated substantially, heading towards R500m/year,” the statement said.

“The commercial rationale was to assist in the development of the new ANN7 channel by contributing to their costs and allow it a reasonable term of three to five years to develop. Should it fail, MultiChoice would let the agreement lapse at the end of the period, as allowed for in the contract.

“The payments made to ANN7 were not abnormal relative to other local news channels carried on the DStv platform. MultiChoice paid an amount to ANN7 for a start-up 24-hour local news channel that was substantially lower than that paid to e.tv. The terms of the agreement were renegotiated and payments increased when it became apparent that ANN7 needed to improve quality of the channel.”

MultiChoice made an upfront payment to ANN7 of R25m on 15 September 2015 but denied this was abnormal or even unusual. Critics had accused MultiChoice of paying the money to try to influence government policy on set-top box encryption.

“The process of negotiating the ANN7 agreements was a collective MultiChoice management process and not that of an individual,” the company said in the statement.No one will be fired over the ANN7 deal, Mawela and Van Dijk emphasised at the press conference.

“No correlation was found between payments made to ANN7 and the MultiChoice lobbying effort,” it added.

However, there had been “procedural shortcomings”, including failure to conduct a due diligence test on ownership of the channel. It said it has never done this for any channel.

“Given the experience with ANN7, the committee is of the view that in future such due diligence should be instituted and be made compulsory for all new start-up channels,” MultiChoice said.

The committee also found that MultiChoice should study international best practice and formalise its lobbying processes. “The new process should be adhered to by all involved to ensure that an acceptable line is not crossed in such activities.”

It added: “When concerns were raised about the owners of ANN7, MultiChoice management should have acted more swiftly to escalate issues to the board for formal consideration and decision.”

Remedial actions

It said it will immediately implement several remedial actions. These include:

  • Ensuring that robust due diligence processes will always be followed for start-up channels;
  • Requiring management to highlight issues of controversy and reputational risk at the quarterly audit and Risk committee meetings; and
  • Formalising MultiChoice’s lobbying process. In the absence of national guidelines on lobbying and interaction with regulators and government, MultiChoice management will develop guidelines for approval by the board.

MultiChoice will begin the process of sourcing a new commercial news channel that is black-owned and that “represents the majority of people in this country,” it said.

The successful bidder must be owned, managed and run by a black South African company, free from any political or other interference, it said. It must be able to provide independent, non-partisan and critical news coverage of current affairs. And it must take into account South Africa’s history, diversity of cultural backgrounds, language and socioeconomic circumstances in the way it produces content.

Mawela said MultiChoice managed its communication with the public about ANN7 poorly.

Democratic Alliance MP Phumzile Van Damme, who lodged a complaint against MultiChoice with communications regulator Icasa over the ANN7 payments — and over a controversial channel-supply agreement between the pay-television operator and the SABC — said Wednesday’s press conference “left many questions unanswered”.“While I am pleased that the investigation into the ANN7 contract did not discover any corruption or other illegal activity, the questions we have faced have been sobering,” he said. “We made mistakes and must now embark on a path of restoring public trust.”

“While we welcome MultiChoice’s efforts in conducting its own review of its carriage agreement with Gupta-owned ANN7, it is difficult to objectively assess the findings of its investigations without sight of the full report,” Van Damme said.

“A press statement, scant on detail, vaguely admitting ‘mistakes were made’, and holding no one accountable for those ‘mistakes’, simply does not cut it,” she said in a statement. “The public needs to know the whole truth about the dealings between MultiChoice, ANN7 and the SABC.

“It is quite clear now that the Icasa probe is more important than ever to ensure that the full facts are put on the table, and those responsible for any wrongdoing are held accountable.”

Van Damme also decried MultiChoice’s decision to pull the plug on ANN7.

“The DA supports a plurality of voices in the media space, and do not believe in shutting down of those we do not agree with,” she said. “This matter was never about whether ANN7 should be on air, but about the exchange of money allegedly to influence government policy.”

 

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