Satnews

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KBRO chooses Espial MediaBase to power its VOD services

Louise Duffy | 10-10-2012

Taiwanese cable TV operator KBRO has chosen Espial MediaBase for its video-on-demand (VOD) platform.

MediaBase will be installed and integrated at KBRO by broadband system integrator Hwacom, providing KBRO with a single, unified solution for delivering video-on-demand (VOD) content.

C.H. Jih, CTO of KBRO, said: "The Espial MediaBase platform allows KBRO to manage, distribute, and stream high-quality video content to our subscribers across Taiwan.

"By using a high-performance VOD platform, we're able to deliver video cost-effectively to a virtually unlimited number of subscribers and viewing platforms over our managed network as well as the internet."

Espial MediaBase offers commercial off-the-shelf servers, allowing KBRO to cost-effectively stream on-demand video to multiple viewing platforms. Using MediaBase's unified content delivery network, KBRO can deliver MPEG and HTTP content to a variety of viewing devices more efficiently, reducing its capital and operational expenses.

Jaison Dolvane, president and CEO, Espial, said: "Espial MediaBase provides a single platform for managing, distributing, and streaming multiscreen content as well as ensuring an excellent user experience with a low cost-of-ownership for KBRO. As the cable television operator's storage needs increase over time, they can simply upgrade their system via a license key update, providing an unmatched flexibility for future growth."

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BBC World News named Asia’s fastest growing news channel

Louise Duffy | 10-10-2012

BBC World News has been named as Asia’s fastest growing international news channel, according to the latest Ipsos PAX survey (Q2 2012).

It was the only news channel to increase its audience across the board in terms of daily, weekly and monthly viewing during the period. BBC World News also maintained its position as the leading news channel among Asia’s top earners.

The BBC’s digital platform, BBC.com, came in again as the number one media website measured by PAX, among Asia’s top earners, frequent travellers and corporate executives. BBC.com is also ranked number one in PAX among top-earning and high-net-worth individuals in Asia who consume media content on mobile devices such as tablets and smartphones.

Jim Egan, COO of BBC Global News, said: “The PAX results reflect the BBC’s ongoing commitment to and investment in Asia, a region that has long been a key market for the channel and one where we are proud to be enjoying such success. BBC World News has revamped its output in Asia, including the successful launch of weekday programme Newsday, presented live from London and Singapore, and introduced specially commissioned series, such as Mishal Husain Meets and Thailand Direct. And as viewers across Asia demonstrate a growing appetite for global news, they’re increasingly turning to BBC World News and BBC.com/news for trusted and impartial coverage of global and local events.

“Viewers have plenty to look forward to in the coming months as BBC World News moves to its new base in Central London. New HD studios, dynamic presentation and state-of-the-art graphics will enhance the viewing experience and showcase the BBC’s established journalistic credentials in an engaging and compelling way.”

The Ipsos PAX study surveys pan-regional and local media consumption and product consumption among affluent adults and business professionals in main cities in the Asia Pacific region. The latest survey covers Q3 2011 to Q2 2012.

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BBC endorses UltraViolet with first UK DVD titles

Editor | 10-10-2012

The UltraViolet (UV) digital locker project has received a huge boost after BBC Worldwide has confirmed that it will be releasing its first UV-enabled DVD and Blu-Ray titles in the UK in time for Christmas 2012.

The UV-enabled titles will comprise Doctor Who Series 7 Part 1; John Bishop’s new stand up title Rollercoaster; the new Top Gear special commission; and Attenborough: 60 Years in the Wild, a retrospective on Sir David Attenborough’s sixty years in natural history broadcasting. Both the DVD and Blu-ray for each title will be UV-enabled.

The UV project is designed to improve the DVD proposition by allowing a user to save a digital copy in the cloud of a movie he or she has purchased, then be able to access it via compatible devices, such as connected TVs, set-tops, smartphones and tablets. For its part the BBC says that UV technology will give purchasers of its commercial arm’s DVDs the additional right to a free digital copy of the programme or show which can be redeemed and subsequently accessed via connected devices. Streaming and download access are supported to enable both online and offline viewing.

For its initial slate of UV-enabled titles, BBC Worldwide has teamed up with content delivery partner Flixster which will also act as the supporting site for consumers to redeem the digital copy of their purchases.

Commented Claude London, Digital Director for BBC Worldwide Consumer Products: “We’re thrilled to be announcing our first UV-enabled DVDs and embrace this new era for home video - the UltraViolet era. We hope UV will empower consumers to build digital entertainment libraries and continue to enjoy BBC Worldwide releases either at home or on the move. We will continue to work as part of the UV consortium and with our supporting partner Flixster on further releases for early 2013”.

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ESPNcricinfo hits six with T20

Louise Duffy | 10-10-2012

ESPNcricinfo has set new records for audience and engagement following the World Twenty20 Championship, which took place over the past fortnight, with the West Indies being crowned world champions after beating hosts Sri Lanka in the final last Sunday (7 October).

Globally, via all devices and plaforms, ESPNcricinfo has posted its best-ever audiences for the Twenty20 format of the game â€" with fans logging more than 800 million page views and spending 2.3 billion total minutes. These figures represent a 215% and 323% increase (respectively) compared with the 2010 edition of the tournament.

Additionally, throughout the tournament, ESPNcricinfo had an average minute audience of almost 80,000 people across computers, mobile web, and mobile apps â€" meaning that during any given minute of the 18-day tournament, an average of 80,000 people were engaging with ESPNcricinfo. The average minute audience is four times greater than the 2010 tournament. Fans also watched 164,000 videos on average per day on ESPNcricinfo during the tournament (not counting streaming video, which is available in some regions).

The most dynamic growth in audience and engagement for ESPNcricinfo since the 2010 tournament has come on mobile devices. Globally, the brand saw 678% growth in total page views (to more than 445 million) and 981% growth in total minutes (to nearly 855 million minutes) via mobile devices, compared with the tournament two years ago.

Across all platforms â€" online, mobile web, apps and tablets â€" ESPNcricinfo posted its best day of the tournament on the final day of the Super 8s stage (2 October), registering 266 million minutes and 101 million page views. In the tournament that day, highly-regarded India was knocked out of the competition in dramatic fashion â€" despite beating South Africa â€" for failing to restrict South Africa’s batting score to a maximum of 121 runs.

The tournament has also marked a milestone for ESPNcricinfo and ESPN3 in the US, helping expand access to, and exposure for, cricket in the country. US-based cricket fans constituted ESPNcricinfo’s second-biggest audience globally for the tournament (trailing only India), with nearly 17% of global page views and nearly 19% of all minutes spent during the tournament â€" across all devices â€" coming from the US. US-based fans also accessed more videos per day on average (71,171) than any other territory worldwide.

Additionally, for the first time since the tournament started in 2003, US-based cricket fans have been able to watch the entire World Twenty20 Championship live (and on-demand) at no additional cost to fans, courtesy of ESPN3 â€" the sports media company’s multi-screen broadband sports network in the US. ESPN3 is available online at WatchESPN.com, on smartphones and tablets via the WatchESPN app and through ESPN on Xbox LIVE to Gold members.

The Indian subcontinent has contributed more audience to ESPNcricinfo than any other territory globally, with more than 35% of all total global page views and more than 32% of global total minutes coming from fans in India. It also contributed the greatest total mobile Web usage, logging more than 183 million total page views so far in the tournament and almost 324 million total minutes of time spent via mobile devices.

Meanwhile, UK-based cricket fans engaged more via ESPNcricinfo’s mobile apps than fans in any country globally. During the tournament so far, more than one-fifth (21%) of the 8.1 million minutes spent daily (on average) with ESPNcricinfo’s mobile apps came from the UK.

Arne Rees, vice president, digital media, ESPN International, said: “We’re thrilled fans from around the globe chose ESPNcricinfo as their go-to across all platforms to follow the World Twenty20 Championship. We’re proud to be serving a growing audience of US cricket fans while continuing our leadership in delivering for fans across the Indian subcontinent, the UK, Australia, South Africa, the Caribbean and around the rest of the world. ESPNcricinfo prepared for one of its most comprehensive tournament packages to date around the World Twenty20 Championship and fans have clearly appreciated that content and connected to it through the devices they use every day.”

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MIPCOM 2012: TF1 acquires Eyeworks’ Celebrity Splash

Pascale Paoli-Lebailly | 10-10-2012

TF1 has announced in Cannes three format acquisitions as part of its plan to base its entertainment and light shows strategy upon strong worldwide bra$$$ with added visibility to its programming grid.

The French network will thus run the French version of Nordisk’s dating show Babes in the Bus, entitled Coup de foudre au prochain village, produced by affiliate subsidiary TF1 Productions. ITV Studios will also deliver the adaptation of its format The Audience while TF1 Production will also produce Celebrity Splash. This Eyeworks’s format is under threat of a lawsuit from Banijay over concerns that Celebrity Splash is too similar to its own show Stars in Danger.

“Like for fiction, viewers are getting passioned with entertainment series and people in them, both in prime-time as in second evening part, TF1 Deputy Programming Head Fabrice Bailly, revealed at a press conference in Cannes. “Today, TF1 produces 50 prime-time shows a year and has successfully set up four recurring strong bra$$$ which are MasterChef (Shine), Koh Lanta (Zodiak), The Voice (Shine) and Danse avec les stars (BBC, Strictly Come Dancing).”

Bailly also revealed that Shine France‘s adaptation of format One Born every Minute (Baby Boom 2) has been selected to be the international format version available for worldwide distribution.

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Junior to join Teleclub

Jörn Krieger | 10-10-2012

German children's channel Junior is set to broadcast on pay-TV platform Teleclub in Switzerland and Liechtenstein. The Swiss subscription broadcaster has acquired the corresponding rights, according to Junior's parent company Studio 100 Media.

Junior will be available to Teleclub's customers as part of the "Teleclub Family" package. The pay-TV channel which broadcasts on pay-TV platform Sky Deutschland in Germany and Austria shows children's and family programmes such as "Maya the Bee", "Vicky the Viking", "Heidi" and "Pinocchio".

"The partnership with Teleclub sets the basis for further and future co-operations and strengthens our position in the European market", Patrick Elmendorff, managing director of Studio 100 Media, said in Munich.

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TV 2 Denmark to launch lifestyle channel
October 10, 2012 10.22 Europe/London By Julian Clover

TV 2 Denmark is to launch a new channel centred on leisure and the outdoors, garden, hobbies, food and home improvement. TV 2 FRI will go live next spring.

“I am looking forward to presenting our viewers with a channel that is unique in its profile and choice of programmes. TV 2 FRI is a strong alternative to existing channels in the territory. Mixed with a very strong TV 2- DNA, we believe that TV 2 FRI can become a popular channel with Danish viewers, said Maiken Wexø, head of TV 2 Networks, who will also manage the new channel.

The station is currently at the Mipcom programming market in Cannes looking for international content, but will also run local productions, the centerpiece of which will be a two-hour daily magazine that will broadcast from around the country.

Distribution is currently under negotiation, though deals are currently in place with Stofa, Waoo! and Canal Digital, subject to board approval.

TV 2 launched TV 2 News in December 2006, but subsequent launches have been put on hold due to EU consideration of the operation’s restructuring plan.

It also runs TV 2 Zulu, TV 2 Charlie and TV 2 Film. TV 2 Sport is currently in the process of being sold to joint venture partner Modern Times Group.

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Hulu Plus inks deal with Viacom to add Nickelodeon, Tr3s programming

Gabriel Miramar-Garcia | 10-10-2012

Online streaming TV provider Hulu Plus is beefing up its kids' portfolio with the addition of Nickelodeon and the Spanish-language Tr3s kids' programming to its subscription video on demand (VOD) service.

Available immediately, the Nick content with encompass a range of live action and animated series, including iCarly, Big Time Rush, VICTORiOUS, How to Rock, Supah Ninjas, SpongeBob Squarepants, Kung Fu Panda, Penguins of Madagascar, Winx Club, Robot & Monster, the Legend of Korra, T.U.F.F. Puppy, and the soon-to premiere new season of Teenage Mutant Ninja Turtles. The titles will be available three weeks after episodes bow on linear broadcast.

Hulu Plus is creating a new Nickelodeon "destination," which will feature tune-in information and promotional elements to drive viewership of Nickelodeon's on-air lineupâ€"which has been suffering of late. Nick's ratings have been dragging down its Big Media parent Viacom, which has responded by green-lighting 14 new series to replace existing underperforming shows.

In addition to the Nick content, over the next few months Viacom's bilingual network, Tr3s, will broaden the Hulu Latino selection of youth-focused content on Hulu Plus. Series include Ninas Mal, Quiero Mis Quinces, Quiero Mi Boda and Quiero Mi Baby.

The deal is an extension of an existing agreement in which the Daily Show with Jon Stewart and the Colbert Report are available on the free ad-supported Hulu.com service. Hulu Plus subscribers already have access to programming from BET, Comedy Central, MTV, SPIKE, TV Land and VH1, current shows available 21 days after they air and more than 1,500 episodes of archive programming.

Financial terms of the agreement were not disclosed.

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Adobe Pass, Netflix lead Engineering Emmys

Michelle Clancy | 10-10-2012

In its annual homage to the technical side of the magic of television, the Academy of Television Arts & Sciences has announced the winners of the 64th Primetime Emmy Engineering Awards, with winners including Adobe for the Adobe Pass enablement platform for TV Everywhere and Netflix's Watch Instantly online video service. CableLabs Founder Richard Green won a Lifetime Achievement Award.

Adobe Pass has been "embraced widely by major US pay-TV operators and has enabled the rapid development and deployment of TV Everywhere applications and services to their customers and furthering the evolution of the television experience and digital content across multiple screens and device types," the Academy noted.

Adobe Pass went live on CNN.com and via the CNN iOS App in June 2011, and since then more than 150 pay-TV operators in the U.S. (representing more than 97% of pay-TV households) have integrated with Adobe Pass so their customers can access TV Everywhere services. Adobe Pass was used to authenticate the live streaming of NBC Olympics coverage across screens for than more than 88 million authenticated streams. In addition, other major live events that have been enabled by Adobe Pass in 2012 include March Madness with Turner, Euro Soccer Cup with ESPN, the NBA Playoffs with ESPN and live news coverage with CNN.

Netflix won for its instant streaming service. "Today, more than 27 million subscribers regularly access the Netflix streaming service from 800 types of consumer electronic devices," the Academy states in its press materials. "Netflix Streaming Service delivers over 1 billion hours of TV shows and movies each month and accounts for up to 30% of 'last-mile' Internet traffic in the US on any given night. The Netflix cloud infrastructure--cloud-based video encoding and encryption, cloud-based bookmarking, multiple-profile stream encryption, 'Open Connect' content delivery network, adaptive streaming technology, dynamic app updates, and personalization technologies--delivers the service at scale with 99.99% availability. The major patent portfolio that Netflix has developed, combined with the scale of service delivery, widespread market use of the services and the validation of an alternative business model for television distribution has changed the television industry in fundamental ways. Netflix streaming of movies and television shows has been an engine driving digital distribution of television; it is a fundamental spur driving TV Everywhere efforts by MVPD's in response to their game-changing engineering achievement."

And finally, the winner of the Charles F. Jenkins Lifetime Achievement Award--which honors a living person whose contributions have significantly impacted the state of TV technology and engineering--goes to the founder and former president and CEO of CableLabs, Dr. Richard Green. According to the Academy, Green "guided the cable industry through the transition from its analog roots to the broadband architectures of today, stressing interoperability and standardization across a broad range of operators and suppliers."

As for other engineering winners, Colorfront won for Colorfront On-Set Dailies which, according to the Academy, "allowed high-end episodic television shows that switched to digital file-based workflows to process and deliver multiple hours of footage each day so that dailies requirements could remain unchanged and deliver color-graded, sound-sync images with burn-ins in multiple file formats for editorial, production review, DVD's, viewing copies etc."

Filmlight won for the Truelight On-Set and Baselight TRANSFER. According to the Academy, Truelight On-Set "applies ASC CDL standard color correction to the live feed of digital cameras, allowing cinematographers and directors to make color grading decisions while shooting"; and "keeps on-set monitors properly calibrated so ASC CDL metadata can be applied to dailies and final color correction, preserving the creative intent established on-set while retaining the full dynamic range of the camera image." Baselight TRANSFER, the Academy says, "is deployed near-set to handle the end-to-end requirements of dailies workflow, from ingest and review through to the generation of material for editorial, VFX and other deliverables"; and "transcodes raw files from all common digital cameras, syncs sound, applies color and burn-ins and manages metadata."

The Academy of Motion Picture Arts and Sciences won for its Academy Color Encoding System (ACES). According to the Television Academy, the latter is "a SMPTE standards-based color management architecture designed for the production, mastering and long-term archiving of motion picture and television (non-live broadcast) production content." Among other things, the Academy says, ACES "provides a set of digital image encoding specifications, transforms and recommended practices that enable the creation and processing of high-fidelity images," and "offers a larger dynamic range of scene tones, a wider color gamut and greater mathematical precision than is possible with 10-bit Cineon encoding or High Definition Television standards such as ITU-R Rec. BT.709."

The American Society of Cinematographers won for its Color Decision List (ASC CDL). According to the Academy, the latter "enables primary color correction data to be passed from the shooting set to dailies and editorial post, as well as interchanged between different color correction systems and applications"; and "helps communicate scene-specific 'looks' throughout the production and postproduction pipeline in an iteratively modifiable fashion that can also form the basis or starting point for final color grading."

Dolby Laboratories won for the Dolby PRM-4200 Professional Reference Monitor, described by the Academy as "a Grade 1 monitor that offers a new standard for critical viewing applications. The monitor renders true black levels, highly accurate dark detail, and the most precise color possible at all luminance levels and in all formats," the Academy's press materials continue. "Dolby uses their patented process called Dual Modulation: a modulated LCD in concert with a dynamically modulated LED backlight unit which forms the process that gives exceptional image quality. The backlight is a full array of fully modulated LED's and with filtering provides full accuracy of Blacks, Color and Grayscale. Perhaps the most innovative feature of the monitor," the Academy states, "is its ability to accurately display the full latitude of today's high-end digital cameras."

Sony Electronics won for its BVM E250 OLED Reference Monitor which, according to the Academy, "incorporates groundbreaking processing and imaging capabilities designed to truly replace CRT (Cathode Ray Tube) in critical viewing"; and "has transcended the other panels, including CRT's in resolution, colorimetry, black level, magnetism and weight."

Toon Boom Animation won for Storyboard Pro. "Storyboard Pro is the only true storyboarding application that offers all the key tasks that storyboard artists require for any type of project, be it animation or live-action," the Academy states in its press materials. "The software boasts all the necessary tools available: key functionalities include powerful drawing tools, import of existing artwork and photos, camera movement capabilities, sound synchronisation and animatic creation. Storyboard Pro also supports scripting format from Final Draft with automatic parsing and pre-cut, as well as all major bitmap, vector graphic format and audio format, allowing storyboard artists to build boards, shot lists, complex shot sequences and any other idea imaginable, all in one single package."

And finally, the winner of the Philo T. Farnsworth Award--which honors companies and other organizations whose contributions over time have significantly impacted TV technology and engineering--is Eastman Kodak, due to its "long history of contributions to the television industry, among which are innovation and leadership in image capture, processing and manipulation. Known as 'the filmmaker's film maker,'" the Academy's press materials continue, "Kodak has also made many significant contributions that ushered in television production's digital age. The company's pioneering work in creating and deploying Cineon systems for scanning and enhancing high-resolution images paved the way for what is now commonplace in High Definition post production. It also produced image scanning technology still used in the post production and restoration of film-based images for television. Kodak's research in electronic imaging contributed significantly to the invention of digital cameras that now dominate prime time production."

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“Cord-thinning” bigger threat to pay-TV than cord-cutting

Joseph O'Halloran    | 10-10-2012   

The broadcast industry is never at a loss to invent new phrases but the concept of cord-thinning may actually be something a lot more threatening to the industry new research is suggesting.
Based on a survey of over 2000 pay-TV subscribers in North America, the Digitalsmiths Q4 2012 Video Discovery Tre$$$ Report: Consumer Behaviour Across Pay-TV, VOD, OTT and Next-Gen Features,revealed that pay-TV providers have no choice but to invest in new technology to improve the discovery and viewing experience in order to keep existing subscribers and save their “on-the-fence” subscribers.

Even though the data showed that over the top (OTT) offerings aren’t at present an enormous threat, with two thirds (65%) not using them at all, the analysts warned that providers needed to keep a close eye on the services being offered, and understand why and how consumers use those services. At present h 81% were satisfied or very satisfied about the value received from their pay-TV provider but 38% indicated that they were potentially ready to make changes in the next six months.
Around two-thirds of respondents (68%) have not yet changed the level of their service over the last year with 17% actually increasing what they have. Two-thirds of the remainder who did cut back axed premium channels from their bouquets.
As an indicator of the questions that consumers are asking themselves about relatively expensive premium channels, the survey found that over half of consumers surveyed spent over 10 minutes a day channel surfing, and almost a quarter spent over 20 minutes. In these 20 minutes, the survey found that the consumer does not enjoy his or her pay-TV service or engage with content and/or advertising. The bulk of consumers were found to have also watched the same 4-8 channels out of the hundreds for which they pay, which, says Digitalsmiths, negatively impacts the consumer’s perceived value of their pay-TV service.
Digitalsmiths said that another surprising survey result was that over half of respondents spent less than a tenth of their TV viewing time watching recorded/DVR’d content. The analyst draws the conclusion that most consumers channel surf or scroll through the guide in order to find something to watch when they turn on the TV. Therefore, pay-TV providers have a huge opportunity to influence the decisions of their subscribers.
What this means say the analyst is that providers need to improve the video discovery experience as by delivering a better discovery experience, pay-TV providers will decrease the amount of time spent channel surfing and increase the consumer-time spent engaged with the content and help viewers re-discover the value of pay-TV services, resulting in improved satisfaction levels.

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MIPCOM 2012: Warner Bros movies go exclusive to Canal+’s channels

Pascale Paoli-Lebailly


French pay-TV group Canal+ has inked a exclusive deal with Warner Bros. Entertainment France SAS that gives, as of September of 2013, Canal’s theme channels the first pay-TV window on new movies as well as some titles from Warner Bros catalogue.

The content will be available on all platforms as well as in catch-up on Canal+, Cine+, Comédie+ and Jimmy.
New feature films include Ben Affleck’s thriller Argo, Clint Eastwood’s a new xx, Gangster Squad starring Sean Penn, or Cloud Atlas with Tom Hanks and Halle Berry.

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MIPCOM 2012: TV industry should “embrace, not fear” Hulu says Kilar

Pascale Paoli-Lebailly    | 10-10-2012   

From 2013, over the top online video service Hulu will offer to US viewers its first exclusive coproduction with the BBC, CEO Jason Kilar revealed at MIPCOM 2012.
In a keynote entitle ‘Online TV and the evil plot to destroy the world’, Kilar tried to reassure delegates that the TV industry should embrace Hulu rather than fear it.
He highlighted case study Misfits to explain the platform strategy. Hulu acquired the exclusive rights to the UK BBC series to launch it in the US where hitherto it was unheard of. It subsequent success, supported by hard social TV services and recommendation work, was apparent and Misfits is now about the get a US remake. The British political satire The Thick of It, has also found Hulu as a co-producer.
“Our mission is to help people find and enjoy the world’s premium content how, when and where they want it”, Kilar said. “We’re active buyers across the world” he added, with a strong focus at the moment on Latin America and Japan.
Since its launch in 2007, Hulu is available on more than 250 devices, and innovated in advertising formats, such as its ad selector: users can choose from a selection of ads to watch when watching the service. Its library now comprises 55,000 episodes and has shown fast growth over the last five years, 59% in 2011. Hulu also claims 35% of the US premium online video advertising market.
“This year we’re averaging about 30 million monthly users on the Hulu service. Our Hulu Plus subscription service exceeded 2 million users earlier this year… the fastest ramp to 2 million paying subscribers in US premium video history, whether it’s online or offline.”

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France: D8 and D17 have suitable

Source: Inf
D8 and D17 , the new free channels CANAL + Group in France, as previously announced, was launched on Oct. 7, 2012 year at 20:30. D8 replaced the previously transmitted Direct 8 , while D17 turned Direct Star . Rebranding conducted by CANAL + Group is the final result of acquisition of Direct 8 and Direct Star from the Bolloré Group .
D8 to be ogólnorozrywkowym channel, while the subject of D17 will be music , TV series and manga. With the official launch of D8 and D17 , the audience reads await new programs. For example, the D8 will be able to see "Le Grand 8" - the French version of American talk show "The View", the reality show "Amazing Race" (French) and "Nouvelle Star" (a formula similar to the "Pop Idol" broadcast by M6 in France), and many new magazines, serials and movies. D8 can receive in uncoded form of Astra 1L (19.2 ° E) , tp. 108 (12.552 GHz, pol. V, SR 22000, FEC: 5/6; DVB-S/QPSK). The D17 is already encoded from 19.2 ° E to CanalSat , TNT Sat , Bis TV and Orange . Both channels are also distributed with the orbital position 13 ° E and 5 ° W - unfortunately also in coded form (platform Bis TV , Orange , Fransat ). Issue FTA is carried out within terrestrial digital in France. CANAL + Group is the originator of many channels that the French market, including CANAL + , Cine + , Planete + , Planete + Thalassa , Planete + No Limit , Planete + Justice , Jimmy , Comedie + , Cuisine.tv , Télétoon + , Piwi + , Sport + , Infosport + , I> Tele or Seansons . All are offered as part of its platform CanalSat satellite ASTRA 19.2 degrees East .

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TV Persia One of the new parameters at 13 ° E

Source: Inf
Iranian channel music TV Persia One reported on the new frequency. The message appeared on Channel No. 133 transponder satellite Eutelsat Hot Bird 13A of the frequency 11.179 GHz, pol. H, SR 27500, FEC 3/4 (DVB-S/QPSK). So far, the channel transmission was only available with the No. 92 transponder frequency 12.558 GHz, pol. V, SR 27500, FEC 3/4 (DVB-S/QPSK). The appearance of Persia One TV channel on the new parameters may herald a change in the parameters that have been carried out in the next few days.

New technical TV Persia One:
Eutelsat Hot Bird 13A (13.0 ° E) tp. 133 (11.179 GHz, pol. H, SR 27500, FEC: 3/4; DVB-S/QPSK) ID: TVP PID V: 1301 (MPEG-2/SD) PID: 1302 (far) PID PCR: 1301 SID: 4938 Provider: Telespazio Encoding: none Image quality: 720 x 576, 4:3 / 16:9, about 3.5 Mbit / s Sound quality: 256 kbit / s, stereo image resolution, video bitrate and audio bitrate are the same as for the transmission of the current transponder.

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Bahrain International and CNC World on new tp

Source: Inf
Quite unexpectedly the next two channels already broadcast from the transponder 72 satellites Eutelsat Hot Bird 13B zameldowaÅ,y on other frequencies (Bahrain International - 11.642 GHz, pol. H and CNC World - 12.558 GHz, pol. V). Probably will soon issue the channel that the frequency 12.149 GHz is completed. These are another channel with the frequency that appeared on other transponders - previously made ​​a similar move earlier SMTV, who appeared at a frequency of 11.642 GHz, pol. CCTV H and 4, which in turn appears to 12.558 GHz, pol. V.

New technical CNC World:
Satellite: Eutelsat Hot Bird 13A (13 E), (12558, V, 27500, 3/4) ID: CNC-001 PID: 3080 (MPEG-2/SD) PID: 2560 (Eng) PCR PID: 3080 SID: 9343 New technical Bahrain International: Satellite: Eutelsat Hot Bird 13A (13 E), (11642, H, 27500, 3/4) ID: Bahrain International PID V: 1621 (MPEG-2/SD) PID A: 1622 (ara) PCR PID: 1621 SID: 10662