Kuala Lumpur, August 14, 2015: Leading content and technology industry representatives from across Southeast Asia gathered in Kuala Lumpur, Malaysia on August 11 and 12 for Fast Track Southeast Asia 2015 (FTSEA Malaysia).
The conference highlighted the latest trends in digital content production and distribution and assessed the opportunities and challenges of developing and distributing creative content in the digital age.

Hosted by the Centre for Content Promotion (CCP), the event posed a clear question to its attendees – “What is the future of quality digital content in Southeast Asia?” – and proceeded to examine this critical question from several angles including content creation, content delivery and content protection, as well as evaluating key opportunities in the Mobile, Pay TV, Music, Film and Social Media markets.

Executives agreed there were many alternatives now for content consumption and that consumer publics are now able to “snack” on content from a variety of devices. In turn, they said, this would mean that content producers and marketers would have to innovate their offering in order to cater their content to these changing consumption habits.

In his opening address, Hasnul Hadi bin Samsudin, Director of the Malaysian Government agency Multimedia Development Corporation (MDeC), said, “Fast Track Southeast Asia 2015 is an exciting platform for digital content creators, producers, publishers and broadcasters to get together to level up, collaborate and create opportunities for each other,” stressing that although increased competition in the content field meant “more people were competing for a slice of the pie, there was every chance that the pie itself would get bigger for all.”
Indeed, collaboration and not confrontation was a theme of the event as a whole. Wing Lee, CEO of YTL Communications, said that in this new digital age “the more partners one identifies and creates value with the larger your pie actually gets.” Meanwhile, a panel focused on the telecommunications industry focused on the opportunities available to telco operators by working with Over the Top (OTT) content providers and supplying content direct to consumers.

While much of the focus of the conference was on content delivery methods, a special panel held on the first day looked at content production and, in particular, content catered to Asian audiences. Hosted by Marini Ramlan, the General Manager of Primeworks Studios, the panel stressed that there is still a lingering need for improvement in the local scriptwriting sectors in South East Asia, underscoring the importance of storytelling formats that cater to new digital platforms.

It was a sentiment echoed by Dato’ Kamil Othman, the Director General of the Malaysian National Film Development Corporation (FINAS), who revealed that, last year, 56% of local films were exhibited for less than four days in theatres and the top six earning local titles could not be exported successfully because of their domestic centricity. The Director General, however, was optimistic on the Content Malaysia Pitching Centre, a new initiative where content creators can gather to attend workshops and master classes, participate in industry and community events, and interact with buyers and distributors. He hoped it would help a new generation of Malaysian content creators and producers to generate content that is of high quality, entertaining and commercially appealing to viewers in both domestic and international markets.

Whatever the current state of the industry, however, hopes run high for the future. As Frank Rittman, Senior Vice President of Motion Picture Association (MPA) in Asia Pacific, noted, the region has swiftly evolved from being ‘off-track’ into entering a confirmed ‘fast-track’ in terms of online content development and delivery. And, with such momentum gripping the region, more investment into Southeast Asia is expected in the near future.

Over 150 industry executives attended FTSEA Malaysia, engaging in intense discussions and Q&A sessions while also attending a networking evening on the 11th of August which provided an important avenue to build cross-industry cooperation.

FTSEA Malaysia builds on the success of the FTSEA Singapore conference, which was held in September 2014. The conference is becoming the leading discussion forum on how digital economies in Southeast Asia are responding to the digital transition that appears to present media companies with exciting new business opportunities on the one hand, yet undeniably significant challenges on the other.

To view the programme schedule, or learn more about the featured speakers and panels, please go to our website at Fast Track Southeast Asia 2015

YBhg Dato’ Kamil Othman, Director General, FINAS; Frank Rittman, SVP Policy and Deputy Regional Director, MPA; Ang Kwee Tiang, Regional Director, IFPI; Norman Halim, Executive President, KRU Music; Asugan Pechi Muthu, General Manager, One Stop Music; Stéphane Le Dreau, VP, Sales, and GM, South East Asia, Nagra; Mark Lay, VP, CASBAA; Chris Slaughter, CEO, CASBAA; Krishnan Rajagopalan, Head, Singtel/Hooq; Wing Lee, CEO, YTL Communications; Fred Chong, Founder and Group CEO, Prodigee Media and WebTVAsia; John Kjellemo, Technical Director, Conax; Takero Goto, Sr. Executive Director, Japan Overseas Content Distribution Association – CODA (Japan); Marini Ramlan, GM, Primeworks (Malaysia); Eric Pearson, GM, Silver Hammer Studios (Thailand); Uday Singh, Chairman, Los Angeles India Film Council; Takayuki Hayakawa, Director, Worldwide Production and Sales, International Department, Fuji Television Network, Inc; Raghav Anand, Segment Leader, New Media & Convergence, Advisory Services, Media & Entertainment, E&Y India; Hasnul Hadi Bin Samsudin, Director, Creative Multimedia, MDec; Candra Darusman, Deputy Director, WIPO Office, Singapore; Sham Norhisham, Motiofixo; John Lai, Head of Planning, KevoKanvas; Clement Gosse, Director, Partnerships, Dailymotion; Haruhiko Miyano, CEO, Crooner; Reuben Verghese CEO, Diagnal; Christine Maury-Panis, EVP and General Counsel, Viacess-Orca; Yangbin Wang, CEO, Vobile; Michael Kwan, Regional Director of Technology, MPA; Kiyoshi Kohiyama, Senior Expert, Fujitsu Laboratories Media Processing Laboratory; Jon Case of Case Creativity.

Motion Picture Association, Centre for Content Promotion Pte. Ltd.; Nagravision; Conax AS; IFPI; Japan Overseas Content Distribution Association; VTL of Vietnam; YES Broadband; Vobile Inc; & Viaccess-Orca

Supporting Organisations
Multimedia Development Corporation (MDeC); National Film Development Corporation, Malaysia (FINAS); Cable and Satellite Broadcasting Association of Asia (CASBAA); Malaysian Screen Industry Association (MSI); LA-India Film Council; Creative Content Association of Malaysia (CCAM); One Stop Music (OSM); VEEDO; Primeworks Studios; Malaysian Mobile Content Provider (MMCP); SGMuso; Yonder Music; Case Creativity; & Motion Picture Distributors Association (MPDA)

About CCP
The Centre for Content Promotion (CCP) was formed as a consortium of industry stakeholders dedicated to digital and analogue content creation, technological standards and innovation, legitimate business models, and secure delivery. As the primary service to all its members, clients and sponsors, the CCP works to generate awareness and education to governments, industry and public. We organise training seminars, public relations campaigns, and cross-industry cooperation that engender respect for content creation and secure delivery. Importantly, the CCP is an avenue to create an understanding and ecosystem between technology providers, service providers, content providers and regulators.



How quality content is driving the digital economy

Through new technology and the massive power and reach of the Internet, we can now enjoy a huge range of quality screen entertainment, music and sport, in more ways, at more times, in more places than ever before. And that’s great news for audiences and content creators and distributors alike. While Southeast Asia has been disadvantaged from a lowly position on the starting grid, it benefits from a massive young population that’s tech’d up and hungry for content. The region is poised to accelerate into the fast track of digital economic growth.

Join digital content executives from around Southeast Asia in an afternoon of engaging discussion and networking here in Malaysia on Aug 11 & 12.

WHEN: Aug 11 & 12 2015

WHAT: Digital Content Forum and Networking Event


Lot C5.02 Level 5 & Lot C6 Level 6,
Pavillion Kuala Lumpur No. 168,
Jalan Bukit Bintang, 55100 Kuala Lumpu


18 Reasons Why..

Hong Kong, July 3, 2012 – CASBAA’s annual flagship event will take place from October 29 to November 1, 2012 at the Grand Hyatt Hong Kong. This year’s theme, “18 Reasons Why,” illustrates how the CASBAA Convention is consistently the industry’s must attend event in the region.

With 18 markets, 18 conference sessions, 18 data snapshots and 18 holes of golf, the CASBAA Convention 2012 will feature a powerful line-up including Opening Keynote Ben Silverman (Electus) with David Zaslav (Discovery Communications), Gerhard Zeiler (Turner Broadcasting System International) as well as Robert Kyncl (Google), Richard Freudenstein (Foxtel), Sheikh Ahmed bin Jassim bin Mohammed Al-Thani (Al Jazeera), along with Mohamed Sharil Tarmizi (Malaysian Communications and Multimedia Commission)*.

Topics covered will range from redefining TV models, the changing modes of media consumption, the impact of over-the-top and digital terrestrial television services, the importance of localised content, socializing TV, and the challenges of regulating an increasingly competitive set of technologies and industries.

Additionally, case studies on how pay TV does maximise ROI along with detailed “market watches” for Myanmar, Indonesia, Thailand, Vietnam and more will be supported by workshops on cross media research, transcoding technologies, integrated subscriber marketing and ring-fencing the pirates providing useable, real world, practical tool kits.

“18 Reasons Why” not only reflects our 18 markets, but is a potent reminder that the CASBAA Convention is much more than just another conference in the diary,” said Simon Twiston Davies, CEO, CASBAA. “It’s the Asia Pacific industry annual general meeting.”

From its beginning in 1991 representing a barebones cable industry, CASBAA has emerged as the primary voice for a sector reaching 420 million connections under a footprint of 18 markets – Australia, China, Hong Kong, India, Indonesia, Japan, Macau, Malaysia, Myanmar, New Zealand, Pakistan, Papua New Guinea, Philippines, Singapore, South Korea, Taiwan, Thailand and Vietnam.

CASBAA also represents diverse sectors with member organisations drawn from pay TV channels, multichannel platforms, technology specialists, the global advertising sectors, the region’s most important regulators, Asia Pacific satellite operators, and a whole world of online and digital service providers.

As our industry recognises the vital role of collaboration, for both market growth or individual success, the CASBAA Convention is the venue where today’s leaders join forces, where ideas are explored and where business is generated.

Added Twiston Davies: “Reasons to attend are myriad but the message is clear – the CASBAA Convention 2012…can you afford to miss it?”

For more information about the CASBAA Convention 2012, please visit

LOGIWAYS comes on board as the Centre for Content Promotion’s Latest Member


LOGIWAYS, the Push-VOD specialists, demonstrates its commitment to secure content delivery and protection through its membership with the regional Centre for Content Promotion

Singapore, Monday 26 September 2011 – The Centre for Content Promotion (CCP) announced its newest member, LOGIWAYS. With the membership, LOGIWAYS is now part of CCP’s consortium of industry stakeholders dedicated to digital and analogue content creation, technological standards and innovation, legitimate business models, and secure delivery.

The new addition will allow CCP to enlarge its ecosystem of technology providers, service providers, content providers and regulators, said CCP’s Managing Director, Isa Seow. “We’re pleased to have LOGIWAYS on board as a member,” said Seow.

LOGIWAYS was founded in 2001 by a group of highly qualified experts in Conditional Access Systems and Middleware for Digital TV, whose earlier work had secured the first Digital PayTV Network launches in Europe.

LOGIWAYS provides a full portfolio of DTV solutions, including SafeAccess (brand new Conditional Access System), Magello (DVB middleware) and Pushvod (solution to offer a Secured VoD and non-linear services on the broadcast). LOGIWAYS SafeAccess is the first content protection system safe enough to get ISO certification (EAL4+/AVA_VAN5, ISO 15408 criteria).


Major content owners and technology providers met in Beijing on the 24 March 2010 for the Digital Future Symposium (DFS) event organised by the Centre for Content Protection (CCP) to discuss the future of digital distribution in China and the Asia region. Amongst the attendees were government officials, technology providers, content protection companies and legal practitioners. 119 people from all over Asia attended, including those from the United States, Europe and China.

The event partnered CDTV, a local Chinese TV publication and entity, with the Motion Picture Association’s representative office in China.

The meeting found that China’s State Council has announced the decision to advance the three-network convergence (Telecom, broadcast TV and internet) to introduce new services and drive consumption. The convergence network solution will enable audience to enjoy more TV programs. New distribution channels are inspiring new revenue streams. Hot discussion remains on how to balance between content owners’ legitimate rights and public interests.

China’s State Administration for Radio, Film and TV (SARFT) opened the meeting with its keynote speaker Wang Xiao Jie. The meeting found a keen interest between Chinese companies to partner with content companies and foreign entities. It was found, however, there are still some misalignments regarding the role of copyright in China and protection of intellectual property. On a more positive note, there are strong indications that piracy and copyright infringement are beginning to be questioned as business models for UGC and Internet sites.

In the New Media panel, the attendees found that new and upcoming media for entertainment include mobile as a key delivery mode for movies and TV in future. Mobile content was seen as the area which would bring new business and revenues to content owners and producers in the Asian region including China.

Another important finding was the possibility of legal recourse for companies seeking court action against piracy in China. The legal panel found that while the process remained significantly complicated for foreign companies to address piracy issues in the Chinese courts, it is not impossible to do so and there are now cases to reflect.

The technology panelists found interest in the China market for content protection. For content companies to invest and participate in China business, strong and dependable content security is required. It was found that content protection enables pay-per-view and other legitimate business models in various platforms. Content protection is provided for by content protection companies in the region who are also members of the CCP.

The increasing occurrences of piracy and “control-word sharing” in content protection inform content producers that there is much work to be done: and that security cannot be overlooked when delivering high value content on broadcast channels. “Control-word sharing” is an example where a hacker obtains the codes to a specific set-top box, and redistributes the code over the Internet to enable larger illegitimate channels.

The conference overall identified that content distribution and delivery very much remains hot topics in China and it is envisaged that new business models will accompany the rise of mobile in China.


Event: Digital Future Series Conference at the Asia Television Forum 

Theme:The Role of Music in Film and TV

Date:Dec 2

Location:Suntec City Convention Centre

Speakersincluded: Film producers and directors; Charles J. Sanders, Esq. SongwritersGuild of America; Nina Ossoff,songwriter; Mike Ellis,President and Managing Director, Motion Picture Association (MPA) – AsiaPacific; Li Qiankuan, Chairmanof China Film Association and Head of the China Film Foundation; Dick Lee, composer; Frank Rittman, Regional LegalCounsel and Deputy Director of the MPA – Asia Pacific; Leong May Seey, Regional Dir(Asia), International Federation ofthe Phonographic Industry (IFPI); MichaelHosking, CEO, Midas Promotions; YeoChun Cheng, Chief Information Officer, MDA; Bernard Lanskey, Director, Yong Siew Toh Conservatory of Music; Isa Seow, Managing Director, Centrefor Content Protection (CCP); PhilipWu, Executive Chairman of GRID MMS Pte Ltd; Allan Nicholls, Department of Graduate Film, Tisch Asia; Lim Sek, Chief Executive, Music andMovement (S) Pte Ltd

Attendance:190 (minus 40 turned away for dresscode)

Main Findings

· Future of film, music and TV business largely intertwined

· Industry is affected by piracy and digital music transformations

· TV and films are potential channels for artists, but also among other channels such as live performances

· Singapore is young and has much room to grow in this space. Particularly, it will take awhile to stimulate music production in this stage of economic development

· Government to play a role to stimulate freedoms, funding and creativity, but cannot be expected to do everything


The Centre for Content Protection (CCP) conducted the Digital Future Seminar Series Dec 2 to engagethe digital distribution industry at the Asia Television Forum(ATF) inSingapore .

“The DFS Series seminar was an opportune moment to discuss digital business models across the film, TVand music industries,” says Isa Seow, Managing Director, Centre for ContentProtection.

Speakers reiterated that paramount to the success of media industries is the role of music. “It iscritical that musicians can earn income,” said Mike Ellis, President, Motion Picture Association(MPA) Asia Pac. Music can help media industries to grow and vice versa. Itcosts USD $200 million to make a movie, yet the majority of movies that go outare losing money. The challenge and opportunity lies in the fact that 16% ofmovie revenues come from cinema, and the remaining 84% from home entertainment.“Our collective futures depend on (our ability to adapt to) the digitaltransformation that’s going on,” Ellis told the industry players gathered atthe conference.

Dick Lee’s personal experience in championing the inclusion of Asian elements in pop music, andfive times Golden Rooster winner Li Qiankuan’s point of view on how musicaffects the theme of film emphasized to the audience of media industry playershow the integration of music with regional and national features was crucialfor a collaboration between western and eastern music. Lee cited Japan forpicking up the best of American pop culture, “refitting it to Japanese size,”and becoming the undisputed leader of Asian pop culture.

Qiankuan and his wife XiaoGuiyun later conducted a film masterclass and workshop Dec 3 with MDA support.The masterclass provided an understanding of China ’s film industry followed byan overview of opportunities for partnerships and proposals in the industry.

Looking to the film industry

Panelist Nina Ossoff, who has been writing successfully for movies and TV, including American Idol, advised musicians inthe audience to “make your master sound awesome.” She bemoaned the fall in thenumber of movies with soundtracks. Philip Wu, Exec Chairman, GRID MMS, conceded that it is a very tough gameto live off music. Go around and get yourself known, he advised, submit yourlyrics to the movie industry and put up your talent for review.

Singapore is one of the easiest places to make networking connections, says the director of Yong SiewToh Conservatory of Music, Bernard Lanskey. He observed that the educationalopportunities here are immense from an international perspective. “Weunderestimate the professional dimension of musical work,” he said. “Trainingin professional awareness and maintaining quality should be your priorities,”he told the listening students of music and film in the audience.

Cutting to the recession,Charles J. Sanders, Esq. Songwriters Guild of America, who moderated a panel,recalled how Hollywood came to the rescue when the Great Depression nearlywiped out songwriting in the 1930s. “Now again we’re looking to the filmindustry,” he stated. Panelist Malcolm Young finds that the challenges areemerging more rapidly than the answers are coming back, with the film industrydownturn predating the current economic downturn. Young is soon to produce The Durian King, a zero-budget filmset in Singapore.

New media are taking eyeballs off traditional media, says Wu. This makes it imperative that themovie industry work across all industries. Creating legitimate business modelsrapidly would enable survival on ever-emerging new platforms.

The Singapore opportunity: Networking and self-belief

Panelists pointed out that Singapore is uniquely placed in world terms. As a modern bilingual society, itis uniquely connected to South East Asian countries. The Singaporean awarenessof the global community is unparalleled, says Lanskey. “What will driveinternal passion is networking and self-belief.” He compared Singapore to whereParis was in 1900, or to Vienna in 1750. “Change can happen fast. The speed atwhich Singapore ’s evolving is phenomenal.”

Wu touched on the country’s three strengths: trust, technology and the financial system. “Wemight not make a Titanic,” hesaid, “but there are nicheareas we can come into with these strengths: post production and songwriting,for instance.” There are many who dare to dream, but many other Singaporeansare pragmatic. Singapore has not reached the critical mass of talent and weshould aspire to reach that, said Wu.

“We are always calling ourselves too small and berating our lack of a long history. We must think big;we must think differently,” observed Joshua Simon, a student at Ngee AnnPolytechnic.

Spell out rights: IFPI

As music is the primary driver of the entertainment business, be it karaoke or nightclubs, it isimportant to clearly spell out rights, concluded the panel on copyright andlegal issues.

Leong May Seey, Regional Director (Asia), International Federation of the Phonographic Industry (IFPI)recommended the ISO standard to identify country of origin and the first ownerin every commercial sound recording, and the embedding of theISWC(International Standard Musical Work Code) to protect composers.

Frank Rittman, Regional Legal Counsel, MPA – AsiaPac, suggested a centralised licensing corporation which would allow a producerto pay a single fee, rather than needing to conform to varying structures ineach country of release. Complicated sets of rights exist separately indifferent countries for the two pieces of intellectual property in music: theunderlying musical composition, and the performance. For instance, saidSanders, US law has so many anomalies, despite being a pro-copyright country.Compulsory licensing exists, but once the song is released, anyone can make acover of it. The licensing also does not extend to synchronization rights.

Embrace local artistes

The panel on Asia strategies recommended that Singapore embrace local artistes. “There’s great music in Singapore; you just have to play it,” observed Allan Nicholls,Department of Graduate Film, Tisch Asia (Singapore). A Stefanie Sun had toleave the country and be endorsed by Taiwan before she got accepted here.

“We are not hungry enough as a nation. That said, I’d rather have the security of Singapore, than professional footballers and recording artistes if they come at the cost ofsecurity,” says Michael Hosking, CEO, Midas Promotions. He suggestedintroducing a radio station that played local music.

To meet the challenge of changing the Singaporean mindset, Lim Sek, Chief Exec, Music & Movement (S)Pte Ltd, said that the Republic of Pop has been started with MDA support. It isan umbrella of local talents and a movement to appeal to the Singaporeaudience. The website will launch in the first quarter of 2010, detailingagents, contacts and a step by step guide for talents.

Talks are on with MediaCorp to get airtime for local talent, said Yeo Chun Cheng, Chief Information Officer, MDA, and the secondround of proposals for music has just opened. “But I don’t think the governmentis the solution to everything,” he said. “Be careful of government officialstelling you what is to be done.” The solution was instead, to be “really,really good at what you do.”

The DFS seminar is an initiative under the MoU signed with the Media Development Authority(MDA) Sept 9, as part of MDA’s agenda to develop a conducive business environment with arobust intellectual property regime and a pro-business regulatory framework.

Contact: Junaidah Arifin, 
Assistant Coordinator, Centre for Content Protection, 21Science Park Road, Science Park 2, The Aquarius, Office Suite11, #02-01,Singapore 117628

Office : (65) 67772854 
Fax: (65) 6255 1838

Mobile :(65) 8201 4421(Isa Seow, Managing Director) / (65)91830593 (Junaidah, Coordinator)/ (65) 91282125(Anna Thomas, Communications Dept)

MoU Signals Singapore Keen on Content Protection Collaborations at Home and Abroad

SINGAPORE, SEPT 9: The Centre for Content Protection (CCP) announced today the continuation of its Memorandum of Understanding with the Media Development Authority(MDA) of Singapore to engage the digital distribution industry at the Asia Television Forum this December.

At the signing of the MoU, MDA Chief Information Officer Yeo Chun Cheng reiterated the media authority’s goal of establishing Singapore as a regional hub for media services. CCP Managing Director Isa Seow stated that the Centre will conduct the Digital Future Symposium (DFS) Series event on Dec 2. Participants will include content owners, producers, technologists, content security companies, artistes, labels, management companies, agents, studios, songwriters and broadcasters.

Earlier, speaking at an international strategy meeting of the Motion Picture Association Sept 2, Yeo commended the CCP for actively driving fresh perspectives and policy discussions in the field of content protection. Representatives from six major Hollywood motion picture studios were present at the lunch.

DFS Series objectives are:

· To better enable composers to reach out to film and TV industries

· To provide a platform for artistes, producers, technologists, labels, studios, song writers, broadcasters, online distributors, government and vendors to interact

· To map and guide the future business of music

· To encourage new business models, partnerships, and solutions

· To build relationships between Singapore and foreign industries in this field

· To address current and new issues in relation to the music industry and future technology in the field of music

· To discuss government – industry cooperation

The Asia Television Forum is Asia’s leading programming market, where international content sellers meet with Asian buyers and partners to sell, buy and network.

Event : Signing of MoU between Isa Seow, Managing Director, CCP and Yeo Chun Cheng, CIO, Media Development Authority of Singapore. The CCP is to conduct the Digital Future Series Dec 2, themed “The Digital Future of Music.”

About CCP: Established in 2007, the Centre for Content Protection (CCP) is a consortium committed to shaping Asia Pacific’s digital future through innovative technologies that provide secure ways for consumers to enjoy anywhere, anytime access to their favourite movies and television programs.

As a neutral yet authoritative source of information on the latest content platforms and protection measures worldwide, the Centre fosters awareness and cooperation amongst various academic, governmental and industry organizations as well as consumer groups in order to implement best practices and solutions region-wide.

Primary Advisory members are Astro, HBO, Motion Picture Association of America, Nagravision, NDS, ST Microelectronics, Thomson, Verimatrix and Walt Disney Pictures.

Contact: Junaidah Arifin
Assistant Coordinator, Centre for Content Protection, 21 Science Park Road,

Science Park 2, The Aquarius, Office Suite 11, #02-01, Singapore 117628
Office : (65) 6777 2854
Fax : (65) 6255 1838
Mobile : (65) 9128 2125 – Anna Thomas

CCP Digital Future Seminar Series – The June Report

Key content industry members of the Asia Pacific Centre for Content Protection (CCP), participated in the International Telecommunication Union – Asia-Pacific Institute for Broadcasting Development (ITU-AIBD) workshop, and at Broadcast Asia, in Singapore June 16-17.

During Broadcast Asia, CCP launched recommendations for outputs on free-to-air (FTA) receiver units as part of the Digital Future Seminar (DFS) Series.

Protecting the Digital Video Broadcasting (DVB) Common Interface and ensuring High Bandwidth Digital Content Protection (HDCP) for digital display outputs, disabling analogue outputs for High Definition (HD) content and adopting the latest version of broadcast signaling for DVB were best practices recommended.

Content industry players, including HBO, Irdeto, SecureMedia, NDS and Nagravision, participated in the seminar to talk broadcast content protection developments and the role of government. Paul Jackson, CTO of NDS, shared insights on regulatory practices for broadcasters in India.

Despite the proliferation of media, a bright future was predicted for FTA television broadcasters, with well-managed and protected HD digital broadcasts. Says CCP Director Isa Seow, “The industry is set to flourish but there are challenges in ensuring the availability of high-value content in Free-to-Air, particularly HD content. Content protection must be in place for HD content.”

Earlier, at the ITU-AIBD workshop on digital terrestrial television broadcasting June 16, Motion Picture Association of America CTO Jim Williams recommended terrestrial broadcasters tap low-cost content protection choices. Broadcasters at the workshop were engaged by CCP members Nagravision, NDS, ASTRO, MPA, Microsoft and Conax who provided updates and a panel discussion on the latest issues in relation to broadcast and content protection.

Participants discussed why free-to-air (FTA) broadcasters may need to make content-protection choices, especially at the set-top box.

“It’s a really exciting time for us as the digital transition begins,” says Seow.

Jim Williams called it digital emancipation when US broadcasters turned off analog signals June 12 this year. Every country is in different stages of the digital transition, he said, and invited delegates from different countries to look at which stage they each were in, and the different types of content protection involved. When you worry about what kind of service data you’re going to have and several other issues, the other thing you must worry about is content protection, he cautioned. “Protect your free TV,” he exhorted.

”Content protection helps broadcasters to obtain high-value entertainment. Content owners can be more confident of channels that they will be licensing content,” says Seow, who is also MPA consultant. “Our CCP Recommended Outputs Publication is a reference for many device manufacturers and broadcasters seeking clarifications for free-to-air set-top box outputs design.”

Williams recommended low-cost alternatives such as High-bandwidth Digital Content Protection (HDCP), where discounts on royalties are available. “Not many organisations are focused on low-cost alternatives,” he said. “One organisation that is focused on it is CCP.”

In Korea, a country with one of the highest broadband penetration rates, 47% of the 33.5 mill users admitted to illegally downloading movies once a week. “If this goes on, we’re going to face what happened to the music industry,” said Graham Stevens, CTO, Astro All Asia Networks plc. He concurred that it might seem strange to talk about FTA and content protection in the same breath, but don’t just go out with open-architecture set-top boxes, he warned, and instead use the opportunity to think about how to do the digital transition well.

NDS Asia-Pac Chief Engineer Paul Jackson described a new broadcast business model that his company supports in Turkey. The Turkish model requires people to purchase a content-protected set top box and register for free access to additional “free-to-view” content. Advertising is targeted to users of these set top boxes. An enhanced version of the service for digital video recorders could in future allow for targeted advertising by demographics. Jackson advised against subsidising unprotected set-top boxes, which may be “effectively subsidising your neighbours’ set-tops,” if your set-tops are compatible with neighbouring countries’ transmissions. He recommended minimum security features in hardware, common to all boxes, as a means both to enable more potential business models and also to discourage unintended cross subsidy.

In the crowd was the Indian regulator amongst the Singapore, Malaysia and other regulators who flew in for the BCA related events.

Jim Beveridge, Director International Media Policy, Microsoft, said the company had several new innovations where high-value content was one constant. The idea of Multiple screens on Media Room, Media Centre and X-Box require content protection, he said, which requires Microsoft to interact with broadcasters on this platform.

Vidar Sandvik, International Product Marketing Manager at Conax AS, advocated “scrambling” for FTA broadcasting. He cited Netherlands and Poland where 100% cable saturation did not prevent terrestrial television from thriving. In Poland where FTA had 30% of the market, FTA broadcasters added video-on-demand in HD, increasing value for consumers, and ensuring no leaks to the Net. Let the pay-TV operator subsidise the set-top box, he said, and then control box quality for content protection. As for cost, set-top box vendors paid nothing for Conax hardware, he said.

Licensing set-top box production and preventing consumers from becoming broadcasters, but enabling them to receive, store and do home networking are some rules that regulators should lay down to protect content, concluded Williams. He recommended making content protection cheaper by going completely digital. “Why do you need analog outputs?” he asks. The combined cost of HDMI (High-definition Multimedia Interface) and content protection on a set-top box was cheaper than content protection alone, he pointed out.

The ITU-AIBD workshop saw 40-50 Asian broadcast regulators in the room. Among the regulators were Singapore, Malaysia, India, Indonesia, and others.

Event: ITU-AIBD Regional Seminar on Digital Terrestrial Television Broadcasting – Making the Right Choices
Location: Suntec Convention Centre, Singapore
Date: June 16, 2009

DFS Broadcast Asia speakers: Bob Zitter, Chief Technology Officer, HBO * Jim Williams, CTO, Microsoft* Christophe Nicolas, Chief Technology Officer, Nagravision * Vidar Sandvik, Intl Product Marketing Manager, Conax * Paul Jackson, Chief Technology Officer, NDS * Dr. Benjamin Lian, Director of Technology, Irdeto * Paul Osbourne, General Manager, R&D, Securemedia* John Enoch, VP, Asia Risk* * Isa Seow, Managing Director, Centre for Content Protection (CCP)

CCP at Convergence India – Article by the Digital Edition DNA

New Delhi: Singapore-based Centre for Content Protection (CCP) is exploring membership possibilities in India to promote legal digital distribution of movies and to prevent piracy. “In India, the IT sector must get together with the film industry to curb movie piracy,” CCP director Isa Seow told DNA.

CCP has already initiated talks with telecom and IT companies based in India. “It will be really wonderful if we find a connect between Bangalore’s IT companies and Bollywood people to better enable new consumer models,” Seow said. CCP officials were in the capital for the Convergence India Summit.

CCP was set up more than a year ago, backed by the Media Development Authority of the Singapore government.

Watermarking and fingerprinting are among the methods used by the CCP to ensure lawful digital distribution of films and for anti-piracy operation.

Ultimately, film companies and TV firms want to reach out to as many people as possible, but at a nominal charge, Seow said.

“Our latest initiative is the proposal to work on the interoperable home-networking environment. So, if you get movies from your satellite, you can move it to your car, your second home, your mobile, wherever. Most of the time, you pay for one copy,” Seow said. “When you buy a licensed digital copy, you can move it to whatever device you have.” This move is meant to prevent illegal downloading of movies from the internet.

Pricing issues are handled by the Motion Picture Association (MPA), which is one of the 22 members of the CCP. Other members include Microsoft, NDS, Astro, Walt Disney and Time Warner.

A digital movie can be watched legally for just $1.5 (less than a ticket price at a multiplex, perhaps), Seow said. “But, one is charged depending on what one wants to do, maybe if you want to burn it, you pay $2. If you want to watch it for 24 hours, you pay $3, hypothetically speaking.” The beauty of a secure distribution system is that one pays for what one wants to do, the CCP official said.

According to CCP, the industry worldwide has responded to its initiatives.

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Convergence India press release

Leading digital industry players at Convergence India 2009 have reiterated the need for content protection technology and content distribution to function collaboratively in India.

The Indian film industry will grow at a compound annual growth rate of 9.1% to reach US$3.34bn (Rs 168.8 bn) by 2013, according to KPMG.(1) However, the media and entertainment industry loses US$4 billion and 820,000 jobs each year due to piracy and counterfeiting.(2)

The Centre for Content Protection (CCP) and the Motion Picture Dist. Association (MPDA) brought together leading digital industry players at New Delhi, March 19, to discuss recent developments in digital protection technology for content distribution and how this relates to monetisation of content.

“Content protection helps consumers in India and elsewhere to purchase content per-view, per-hour and on whatever device that suits the consumer. We are looking forward to engaging the Indian industry more,” said CCP Director Isa Seow.

Participants at the event pointed out that real numbers on the problem of actual piracy at TV set top boxes, as opposed to potential piracy, were not easily found and the methodologies not full-proof.

“It will be really wonderful if we find a connect between Bangalore’s IT companies and Bollywood to better enable new consumer models,” Seow said

NDS sees India as one of the most dynamic markets for the growth of digital pay-TV. “NDS technology, supported by our strong presence in India, enables operators to deliver uncompromised, innovative content, positively impacting the growth of the industry while fighting piracy,” says Warren Pearsall, Director, Major Accounts, NDS Asia-Pac, which is one of CCP’s Primary Advisory members.

Other issues discussed during the event were developments in regulation. There was a general sense that regulatory issues needed more discussion amongst stakeholders and with government.

Also, participants explored potential differences between software and hardware content protection solutions. Proponents defended the viability and security of both hardware-based and software-based solutions for content protection.

Says Rajiv Dalal, Managing Director of MPDA India, “Digital technology enables perfect replication and instant, widespread redistribution of entertainment. In order for everyone to derive the full benefit of such advances, it is important to implement secure content protection solutions that meet international standards. This is not only in the best interests of our consumers and our industry but ultimately, the long term development of entertainment on the Internet.”

Theme: The Future Role of Watermarking and Fingerprinting for Content Distribution

Isa Seow, Managing Director, CCP ; Rajiv Dalal, Managing Director, MPDA India ; Steve Christian, VP, Marketing, Verimatrix; Eric Diehl, Security Technology Director, Thomson, Corporate Research; Gautam Gandhi, New Business Development India – Google; Sanjeev Fernandes, Head of Business Development, NDS India; Sanjiv Kainth, Country Manager, India and Head – South Asia, Irdeto; Vidar Sandvik, International Product Marketing Manager, Conax AS.

Date : 19 March 2009
Place: Pragati Maidan, New Delhi, India
Time : 10.00am – 1.30pm