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DISCOP Markets and ONGEA! Africa announce music driven event

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The Los Angeles based DISCOP organisation is excited to announce a new
programme, dubbed DISCORE, that will bring the world of music production closer to
the African editions of the DISCOP Film, Television, Digital Content Markets.

With the inaugural event to kick off at Cote d’Ivoire during the next Abidjan edition of
DISCOP (29 to 31 May 2018), DISCORE will be co-organised with Nairobi-based PHAT!
Music & Entertainment – a celebrated authority on African music since 1999, under its
social enterprise arm, ONGEA! Africa.

DISCORE will be launched at DISCOP Johannesburg, taking place from 25 to 27
October 2017, at the Sandton Convention Centre.

Designed as a knowledge-transfer and matchmaking programme, DISCORE will
specifically target African-based creative, production, and technical experts from
within the expanding Pan-African music industry.

These African music producers and experts will be offered the unique opportunity to
learn from the pros, as well as to build relationships with international music
supervisors and film, television and digital content producers seeking original songs
and scores that can accompany entertainment content destined for global audiences.

Given the ever-increasing range and diversity of audiences, the selection of music for
content is playing an increasingly decisive and important role in establishing
atmosphere, tone, and even the appeal of original content.

“The conflation of the music, film, television and digital content industries continues at
a rapid pace as storytelling recipes change to adapt to the commercial imperatives of
an increasing global market for diversified content’, explains Patrick Zuchowicki,
general manager of DISCOP.

Founding Director of ONGEA! Africa – Mike Strano, concurs: “It is clear that within this
global context, the time is right for African music creators and producers to stake
their claim, as the demand for more original scores, and particularly for African
sounds, is rising fast.’

This increased appetite for African sounds is demonstrated by the growing number of
collaborations with African artists hitting the global airwaves. From the likes of
Britain’s Ed Sheeran collaborating with Ghanaians Fuse ODG and KillBeatz on Bibia
Be Ye Ye that has over 37 million views on YouTube, the 2016 collaboration
between the highly acclaimed Canadian Hip-Hop sensation Drake and Nigeria’s Wizkid
on One Dance that became one of the top selling songs globally, to the 2017
hit from Tanzanian artist Diamond Platnumz and American RnB Superstar Ne-Yo,
Marry You; African artists and sounds are reaching new heights.

Other developments such as content streaming are also adding to this demand,
according to the International Federation of the Phonographic Industry (IFPI) 2017
report, the global music market grew by 5.9 per cent in 2016, with streaming as the
clear driver of this growth due to a 60 per cent increase in revenue. Interestingly,
there was a 334 per cent growth of streaming in Africa, driven by increased
smartphone penetration on the continent and forward-thinking partnerships between
tech companies and music corporates.

The IFPI further reported that the global music synchronisation market grew by 7 per
cent in 2015, and by another 2.8 per cent in 2016. Midem 2016 even featured a panel
exclusively dedicated to African music, titled: Tapping into Africa – an Emerging
Music Sector, that echoed the sentiment that there is a growing global demand
for African music and its licensing.

The time, therefore, is now for DISCORE – a unique platform that will bring together
all relevant players in the industry for a focused B2B meeting and business
environment.

DISCORE will be an interactive experience, bridging the worlds of music and filmed
content, to:
– Give creative, production and technical experts in Africa’s music industry a unique
chance to break into the global content production market, while learning from the
world’s most visionary entrepreneurs.
– Provide key music supervisors, from the global film, television, digital content and
advertising industries, unparalleled access to creative and production talent in Africa,
with a proven aptitude to captivate the ears of multi-cultural audiences.

From 2018, all DISCOP African markets will include a full-day DISCORE programme,
that will provide participants with valuable, actionable information and tools, along
with unparalleled access to networking and meetings.

The proposed programme will include:
1. Knowledge-transfer: Designed expressly for composers, music publishers,
independent producers, agents and lawyers, as well as for recording, sound-mixing
and post-production studios aspiring to play a role in the fast-evolving, cross-border
film, television, digital content and advertising global ecosystem.
2. Sync Connect: Enabling leading composers and publishers from Africa to pitch
their works to established international music supervisors working on the production
of film, television, digital content and advertising.
3. Matchmaking: Providing qualified creative, production and technical talent
access to key music supervisors, through scheduled meetings.

In order to ensure a continued momentum, and to bridge strategic Regions of Africa,
DISCORE will take place three times in 2018 and four times a year at the four African
DISCOP markets from 2019: Nigeria (March), Abidjan (May), Zanzibar (July), and
South Africa (October).

Brendan Gabriel appointed as VP of Creative and Production for The Africa Channel

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Brendan Gabriel appointed as VP of Creative and Production for The Africa Channel

South African Brendan Gabriel, former head of Creative for Endemol Shine Africa – the largest independent content production company in Africa – has joined The Africa Channel (TAC) as vice president of Creative and Production.

No stranger to the industry, Gabriel has enjoyed a remarkable career thus far in both television and digital platforms across the African continent. After achieving his Bachelor of Arts in Media & Communications, Gabriel took a gap year to travel and as fate would have it, landed a job as a writer and producer of a kid’s radio show in Taiwan – and the rest (as they say) is history!

“After two years in Taiwan and travelling through Asia I decided to come back to get serious about my career – I really wanted to be a genius creative director of an advertising agency. I ended up coming back to Durban and working for African Mediums Advertising for two solid years as a Creative Strategist,” he shares.

Thereafter, a then 27-year-old Gabriel worked as creative director at FinePoint Productions, an above the line Johannesburg-based agency which ultimately led to him joining Endemol Shine Africa: “My former senior producer, now at Endemol South Africa, had told them about me,” he explains. “Endemol South Africa decided to take a calculated risk by hiring me – this young creative director from the TV commercial world. With that said, I took equally big a risk in jumping ship into an industry I knew very little about. In fact I didn’t know much about Endemol South Africa until I sat in their reception and realised that these guys were giants in the television content world,” he expands.

“When I got the position as key creative I soon realised that I was working for the world leaders in television content development. Endemol was television – the definers of reality television, game shows and scripted content. I realised I wanted to be a part of this industry and most importantly I wanted to make an impact in the world of content.”

In his time at Endemol, Gabriel pitched and realised his first original development ever commissioned Step Up or Step Out, which he cites as one of his career highlights: “I learned about going with gut feeling with this particular project – I knew it was going to be a success as dance and Africa are a match made in heaven. Though I never anticipated that it would out perform its competitors in the most coveted Sunday reality primetime slot. Ever since my break with Step Up or Step Out it’s just been success after success.”

Today, Gabriel’s impressive portfolio of work includes both scripted and non-scripted production development, including award-winning dramas like Tempy Pushas on SABC1, the reality TV series Reality Check on e.tv, the local format adaptation Clash of the Choirs South Africa, to pan-African hit adaptations such as Big Brother Africa and Survivor South Africa.

Having enjoyed almost eight successful years at Endemol Shine Africa, Gabriel says that when the opportunity to join TAC came, he was itching for a new challenge. “It just so happened that I had a meeting with The Africa Channel at DISCOP Africa which turned out to be a discussion about our future collaboration together,’ he explains. This discussion resulted in Gabriel’s current role as VP of Creative and Production for TAC.

In his new position he will be taking up a more executive role on the production and creative front: “I will still have my hands involved in the creative process however I will also delve more into the business strategy of The Africa Channel with particular focus on building TAC studios which is our production and creative development division.”

The Los Angeles-based TAC Studios, launched at DISCOP Johannesburg last year, gives African producers that coveted Hollywood outlet “to realising local ideas on a global scale,” says Gabriel. “My purpose is to constantly engage with local producers and talent with this mandate in mind. I do believe that the next big idea will come out of the developing world and the one thing that Africa really brings to the fore is our passion for creativity and the arts. Our oral history lineage makes us natural story tellers, our innate rhythm makes us born entertainers and our expansive biodiversity creates the ideal stage for untold stories.”

Gabriel says that for him, the key to African producers unlocking international audiences is “thinking out the proverbial box”. He explains: “One really has to think big. If you want to compete on the same level as the writers of Veep and the creators of Big Brother, then you have to start thinking like them. Far often we have restricted ourselves by conservative broadcasters and nervous commissioning editors who would much rather take a safe editorial approach to content. Now this doesn’t mean ideas need to be expensive and over the top because no one is just going to bet their money on an African producer with the next Jurassic Park idea. I’m particularly referencing creative development by writing characters that are different and that push your reader’s expectation. Our continent is thriving with inspiration and unimaginable possibilities.”

Despite coming from a previously disadvantaged township, Gabriel says that he never limits himself in anything he does, and that is partially what he attributes his success to: “I never really saw myself as limited in opportunity. In fact I have always felt that I was given the upper hand by experiencing so many more textures of life in a working class household and community. Though I believe that the true key to my successes has been driven by my curiosity to discover more and this has in turn resulted in me discovering so much more about myself and my true potential,’ he concludes.

– Chanelle Ellaya

Pay-TV analytics market set to double

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ABI Research has forecast the market for analytics within pay-TV services will grow by 105 per cent in the next five years, from $1.8 billion this year to $3.7 billion in 2022.

Rapid TV News reported that the analyst says that the likes of Comcast, Netflix, Sky, Telstra and other video companies can differentiate themselves from their peers by their strong use of analytics to optimise and improve operational metrics. Pay-TV companies are starting to transform products to support an analytical focus, moving in the direction of artificial intelligence and machine learning to enable self-optimisation.

Video companies sell today’s products in a host of point-solutions, including content and metadata engagement, customer management, network optimisation and consumption measurement, the firm noted. Larger network-oriented business support systems and business intelligence vendors also play a significant role within these markets.

“Today’s siloed solutions mean that each business unit may rely on separate sources of data in solutions coming from different vendors, especially as small and mid-size video services,’ said Sam Rosen, managing director and vice president at ABI Research. “Best-in-class OTT companies and Tier 1 operators with multiple services in diverse geographies started to build unified data platforms that centralise data and then provide access to every group based on their functional requirements.’

Investors are already latching onto the analytics opportunity in pay-TV services. Conviva, historically a strong technology-player in the QoS/QoE market, just announced $40 million of funding in a relaunch to test building more complete analytics solutions. Samba, an automatic-content recognition (ACR)-based measurement platform for Smart TsVs, similarly completed a $30 million round to disrupt the measurement space. ABI Research finds Samba to be unique in its ability to capture total device viewing, not limited to a specific service.

“Offering an analytics dashboard is table stakes for technology companies offering any component of a video distribution service,’ added Rosen. “The ability to charge for the solution derives from moving from descriptive to predictive analytics, as well as offering modules for new roles within the video service provider. True next-generation solutions must offer comprehensive data architectures, as well as offer tools to enable prescriptive analytics or self-optimisation via artificial intelligence and machine learning.’

Source: Rapid TV News

SABC CFO James Aguma resigns

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The South African Broadcasting Corporation’s (SABC) Interim Board recently announced that it has accepted the resignation of James Aguma as Chief Financial Officer (CFO) of the corporation. At the time of his suspension, Aguma was the Acting Group Chief Executive Officer (AGCEO).

The announcement of Aguma’s resignation was made at his disciplinary hearing on 19 July and the resignation was with immediate effect. The charges against Aguma in relation to his disciplinary hearing will therefore fall away.

The charges levelled against Aguma, amongst others were the following:
• Breach of fiduciary duties;
• Dishonesty in entering into an agreement with Lezaf and Lorna Vision;
• Dishonesty by attesting to an affidavit, in the Motsoeneng disciplinary hearing, contrary to what he told the Interim Board.

Carl Houston Mcmillan wins Jameson Music Video Grant 2017

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The winner of the 2017 Jameson Music Video Grant is Carl Houston Mc Millan, who won R200K to shoot a music video for “Impepho’ by Trap Funk & Alivio feat. Morena Leraba & ManKind!

THE CONCEPT

The video is a visual exploration and celebration of Basotho shepherd culture in the highlands of Lesotho.

To be shot on location, the music video will take us to the heart of Lesotho, where the sun rises to reveal a barren mountainous landscape. On this particular day, a clay hut is burning. Smoke peels out. Flames erupt. A group of Basotho shepherds watch, proudly. They’re dressed in signature grey blankets, customised balaclavas, handmade jewellery. Some are holding dogs, others have livestock on their shoulders.

Then the shepherds head to a dirt racing track. Against this surreal mountain backdrop a local horse race is about to start. More and more shepherds gather in the icy wind. Money is being passed around, bets are being placed. Horses are checked; teeth, hooves, legs. Jockeys get ready. They line up. The atmosphere intensifies.

The signal goes. A thunderous sound. Muscles bulge, there’s dust everywhere. The shepherds cheer, walking sticks raised in celebration.
As the sun sets and the sky turns pink the shepherds find a tavern, where a group of flashy visitors from the city arrive. They seem out of place, territorial. A dance battle ensues. The visitors perform series of energetic break dance moves. Unimpressed, the shepherds respond with a traditional Sesotho dance. They simply move their chests to the beat, majestically. Thump, thump.

Exploring the tensions between rural and urban, traditional and modern, African and Western, the music video will offer a refreshing and honest look into an authentically African subculture that’s seemingly survived external influences.

THE SONG & MUSICIANS

“Impepho’ is a powerful high-energy track with lyrics fusing slang phrases in Sotho, Pedi, Tswana and Zulu. The song that was created through inter-continental collaboration:
Trap Funk & Alivio is a DJ from Salvador, Brazil.

Morena Leraba is a musician and shepherd from Lesotho whose lyrics, sounds and aesthetics are deeply rooted in tradition. His delivery is influenced by the poetic freestyles that the shepherds perform. ManKind is a fresh voice hailing from and making waves in the heart of Jozi.

THE DIRECTOR

Carl Houston Mc Millan is a director and writer living between South Africa and Lesotho, the majority of his work explores the latter.

Download the free Mediatech Africa app now

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Mediatech Africa – a trade show that pulls over 7 500 visitors, showcases close on 800 brands and is all flashing lights, pumping music, live demos, and events – needs a mobile app; it’s the only way to navigate an expo of this size and magnitude. That’s why Mediatech Africa has launched a new and updated show app which is now live.

Developed as a means to enhance the visitor experience, while it’s an extension of the printed guide – its electronic scheduling features will ensure visitors can design and optimise their show experience. With so many attractions and new events included in this year’s line-up – the app will make certain visitors keep track of what’s on to avoid missing attractions they have identified as absolutes on their agenda.

The app includes a detailed on the hour schedule of what’s on during the show – from the demos to presentations and events; there’s has a full breakdown of what each activity covers and who’s hosting or staging the session. When visitors opt-in in for an event – they can set a reminder to make sure they don’t miss it. Interactive maps that zoom in and out and a detailed floor plan will facilitate easy exhibitor location; you can also tap on pins for exhibitor information. There is also an arrival and departure schedule for the bus that runs between the Ticketpro Dome and Monte Casino.

Mediatech show director Simon Robinson says that this is by far best show app the team has ever developed. “By drawing on insights gathered from the previous nine shows, we could narrow down what’s important and include the kind of content and features that our exhibitors and visitors want access to,’ says Robinson. “It’s very easy to navigate and we are confident users will see the app as a tech enhancement that adds value to the management of their show experience.’

The Activity feed allows attendees to toggle between three streams of content. All Activity is a complete stream inclusive of all event activity; My Feed is a personalised stream tailored to each individual based on the attendee’s interactions with the app and Plus Notifications are listed to help attendees stay on track.
Adding to this Robinson says that the smart social sharing capabilities are likely to be popular – enabling visitors to simultaneously share photos and comments to the Activity Feed and social networks outside of the app.

“When visitors create personalised schedules, they can be exported from the app to the native calendar on any mobile device and they can use the app to message other attendees directly. No phone number or email address needed. Message threads are saved for each attendee, making it easy to manage conversations.’
This year the Mediatech Africa 2017 mobile app is the most user friendly app and anyone can download it free from their respective App store. Simply search for ‘Mediatech Africa 2017’. Only people who have registered to attend Mediatech Africa 2017 will be able to login, create a profile and experience the interactive parts of the app. App login invitations will be sent by Mediatech Africa to people who have registered.

Register for Mediatech now or SMS your email address to 30529 to receive a link for easy registration on your mobile device.

JAYCOR sells 53 per cent stake to black owned equity firms

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JAYCOR International, provider of specialised cables, connectors, infrastructure and related active components, has announced the introduction of new investors, Moshe Capital, and follow-on investment by Sanari Capital in a transaction that facilitates over 51 per cent black ownership and more than 30 per cent black women ownership in the company. JAYCOR founders and executive directors hold the remaining stake.

The transaction paves the way for sustainable and inclusive growth, and economic transformation for the business, the staff and shareholders.

Founded by Jeff Pokroy in 1987, JAYCOR celebrates its thirtieth anniversary this year. From humble beginnings and a family legacy in the cables and connector industry that dates back to 1954 and now spans three generations of the Pokroy family, the JAYCOR team has taken a leap forward, expanding its team, its offering and its investor base.

Mametja Moshe, CEO of Moshe Capital, said: “We are very pleased with our partnership with JAYCOR as we believe it is a remarkable niche market player in the cabling industry and also has long standing business that spans over three decades. Our team was attracted to JAYCOR management team’s experience and vision as well as the company’s international distribution partners which gives us both an urge to explore further opportunities in the information technology sector and transport. We look forward to unlocking value and growing together to become a global cabling player of reference.’

The equity deal also cements a long-standing partnership with Sanari Capital, whose strategic investment and involvement at JAYCOR over the past few years has helped set the company on a new and accelerated growth trajectory. Sanari Capital principal, Moushmi Patel, said: “In JAYCOR, we continue to see tremendous potential to tap into the growth of the “Connected Enterprise’, automation and Industry 4.0. We have been extremely pleased with our investment to date and management’s creative avenues to unlock new growth opportunities in a traditional industry, not the least of which is its smart e-commerce platform.’

Jeff Pokroy, managing director of JAYCOR said: “We thank and acknowledge all our staff involved in making this a reality and welcome our new partners in the business. JAYCOR is a proudly South African business and is deeply committed to B-BBEE, economic growth, social and skills development for the benefit of all. For three decades in business we have supported communities and families inside and outside of our organisation. The empowerment transaction further affirms JAYCOR’s commitment to inclusive ownership and transformation. The JAYCOR family is becoming bigger and more diverse.’

Barnard the movie – celebrating 50 years since the world’s first heart transplant

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Sunday, 3 December 2017 will mark the 50th anniversary of what has been called the greatest medical achievement of the 20th century. The world’s first ever heart transplant, performed at the Groote Schuur Hospital in Cape Town, South Africa, by the pioneering surgeon Professor Christian Barnard. The story of Barnard’s success is the stuff of legend. Fighting an uphill battle against the apartheid regime, ethical questions over the time of donor death, and a comparatively under-equipped hospital, Barnard performed the successful operation against all odds.

Due to the success of the operation, the world’s media thrust Barnard into the spotlight, making him an international superstar overnight and linking him to prominent figures such as Pope Paul VI, Sophia Loren and Princess Diana.

Now, to celebrate this monumental achievement, South African-owned international production company Karoo Films has announced – through its CEO, Diony Kempen – that it has started production on a movie about Professor Chris Barnard and his monumental, world-renowned feat.

The film will be shot on location in and around Cape Town, with pivotal scenes taking place inside the original theatre in Groote Schuur Hospital, in which the now famous operation took place and which has been restored to its original condition.

Thanks to the significance of the event and continued worldwide interest in Chris Barnard, the movie has attracted a number of international partners. As a result, Karoo Films has secured worldwide distribution through a London based company, ensuring that the movie and the iconic deeds of Barnard will be seen and celebrated globally. In addition, the movie has found a home with a local theatrical movie distributor and is currently being considered by a local television broadcaster.

Producer Robert dos Santos and director Byron Davis have announced that shooting will commence in September 2017 and that casting is currently underway. The company has partnered with the Organ Donor Foundation, the Western Province Blood Transfusion Service and the SANBS to raise awareness of blood, organ, and tissue donation, all of which enabled Barnard to achieve the impossible.

Barnard is set for release in 2018.

Introducing Black Box – a Mediatech first

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What do you get when you combine the most creative minds in the media and entertainment technology industry with the hottest trailblazing technology? Mix in high energy music; a dancer, powerful lighting, projection stances, and pixel mapping and you have a taste of Mediatech Africa’s Black Box. A first for the show – this fully automated light and visual experience is set to be a show stopper that demonstrates how ideas can be brought to life using the latest tech.

A collaborative effort between 10 suppliers and eight manufacturers; the bulk of the production is being directed by Joshua Cutts and Christ Bolton from Visual Frontier. There will be six shows on the hour for the entire show duration and each performance will be followed by a 30 minute interactive presentation; a learning experience that details what went into creating the seamless synchronicity and pin point accuracy of the show, the tech and design elements and how to create decent workflows in design.

According to Mediatech show director Simon Robinson, nothing like it has ever been done at the show before. “Prepare to be amazed. The way Visual Frontier has taken large amounts of technology and scaled it down to focus the audience’s energy on single points, with incredible accuracy, is quite awe inspiring. This show demonstrates, yet again, the magnitude of South Africa’s talent in this industry. Some of the country’s best lighting and show designers have contributed to the show’s development and we are incredibly proud to showcase this event.’

Talking about what went into the high tech production Cutts says, “We wanted to create a vibrant space where people can experience and interact with the technology we use in the industry. We specifically wanted to focus on some of the new technology that’s being used in LED. The majority of the lighting rig being used is all LED-based – there’s just one lamp source which is incredibly exciting.’
In preparation for Black Box, over 2 000 man hours went into controlling in excess of 8 000 different parameters. Over a ton of rigging is used in the show, 3km of tech cabling, 1000s of individual LED diodes and 140 moving lights.

“We have also incorporated moving objects into the space which is synchronised with lighting, music, video and a dancer who will interact with different types of light sources from the projection to beams of light,’ adds Cutts. “All the tech we use during the show will be on display afterwards for the industry to review – from Martin Show Design to VPUs for Pixel Mapping. This is an exercise that’s all about information sharing.

“Black Box is more than just education and entertainment. It’s an experience that will leave you invigorated and inspired by the possibility of opportunity and a fast forward glimpse into the arrival of the future,’ says Robinson, adding that it’s not the only new creative being showcased this year. “There will also be an opportunity for visitors to experience the immersive world of Virtual Reality – as presented by New Reality. Showcasing a variety of applications from gaming and training, to cinematics, entertainment and more, these hour demonstrations will propel you into a new form of reality. Spots must be reserved for these showings which are without doubt a new form of engagement and immersion.’

Another first at Mediatech is the drone cage demo area which will showcase the best cameras and drones the industry has available. Although visitors will not be able to operate the drones themselves, they can control the cameras attached to them. These interactive experiences will highlight the power of this emerging technology that’s reshaping entire industries. A short presentation will follow each demonstration and include best drone practise guidelines.

The Time Slice 360 Camera Experience is yet another creative element that has been added to the show this year and will give visitors an opportunity to experience how technology enables creativity to play, create and live.

For those in the live events industry – the popular outdoor sound demo will again be a show highpoint.

Register for Mediatech.

Local suppliers and manufacturers who have contributed to the production of Black Box – to be showcased for the first time at Mediatech 2017:

Local Suppliers
Collective Works
Keystone Productions
Gearhouse
SA Draping
TrackIt
LXFX
CCPP
Blue Array Productions
Stage Effects
Stageworks

Manufacturers
Robe
Clay Paky
Phillips Varilite
Ayrton
Martin
MA Lighting
Green Hippo
MDG

Sub-Saharan Africa OTT revenues to hit US$640MN by 2022

Simon
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Over-the-top (OTT) movies and TV content revenues will reach US$640 million in Sub Saharan Africa by 2022 up by a factor of 12 on 2016 ($52 million), according to Digital TV Research.

Rapid TV News reported that the lion’s share of revenues in this immature OTT market will go to South Africa (40%), with Nigeria accounting for 21%, as mobile video takes hold across the continent.

Subscription video-on-demand (SVOD) – already the main driver for OTT TV and video – will see revenues increase to $475 million by 2022. This equates to 74% of the total, and is 22 times higher than the total in 2016, which represented 40% of total OTT revenues.

“It is very important to stress the power that mobile operators have over the future of Sub-Saharan African OTT TV and video,’ said Simon Murray, principal analyst, Digital TV Research.

“Although the total will triple from 2016, we only expect 13 million fixed broadband households by 2022. Fixed broadband is clearly not big enough to sustain a viable OTT sector. However, there will be 486 million smartphone users by 2022.

“The mobile operators know that they are in a powerful position. Not only can they give OTT players access to their extensive subscriber pools, but they can also conduct the billing – thus foregoing the need for SVOD platforms to insist on credit card payments,’ added Murray.

OTT service operators could make services more appealing to consumers by cutting high data prices through a distribution partnership with a mobile operator.

There will be an estimated 10.12 million SVOD subs by 2022, up from 525,000 at end-2016 in Sub Saharan Africa. South Africa will remain the market leader, with 2.7 million SVOD subscribers by 2022, closely chased by Nigeria with 2.64 million subscribers, said Digital TV Research.

Source: Rapid TV News

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