Lenka Hrivnáková, Author at The Association of Commercial Television

TV NOVA STAYS IN DVB-T2 FOR NOW, FOLLOWS TRENDS IN DISTRIBUTION

Technical director of the media group Nova Josef Uher talks in the second part of an interview with MediaGuru.cz about trends in the development of television broadcasting and unfulfilled expectations with Ultra HD.

To remain relevant to their viewers, broadcasters must constantly innovate. Nova has to be doubly vigilant in this area given that it operates pay channels under the Nova Sport banner alongside its free-to-air channels. Is there any other direction you have planned in terms of innovation?

At the moment we have 24 channels, including Markiza, of which six are sports channels. De facto, we can say that there are actually nine sports channels, because we also broadcast three of them in Slovak version. There are different commercials, different graphics and from a technical point of view it is a different playlist. Without automatic delivery we would not be able to function. Next year we plan to deploy asset management on Markiza as well. So it will be a new technology that will be used internally, which probably won’t be seen by viewers, but will be very useful for us.

As far as signal distribution is concerned, do you foresee any change there in the near future? When you have transmission backpacks, are there still classic SNG vans needed?

We still have SNG vans and use them because they still have their uses, whether for long sporting events or for places where there are a lot of people and mobile networks might be unreliable . But to build 14 SNG cars so that we have one in every city, of course we can’t. We can have a backpack in every regional city and we can have a journalist who is in Brussels or anywhere else. We have a dedicated independent internet line to receive SRT streams because, for example, the NHL started this year primarily over SRT, over the public internet, and satellite is just a backup. But of course the content is protected and it’s not like anyone can catch it. ,. And we have a direct data line to the government office and to parliament, for example.

Czech Radiokomunikace had a press conference on 5G Broadcast at the end of October. Is this technology of any interest to you on the production side, or is it really purely a distribution channel and nothing is changing on the production side?

So far, I would say that nothing is changing on the production side, but in the future it could help, for example, when there is just a problem with data connectivity, in terms of signal distribution. So in the context of 5G Broadcast we could use the backhaul channel because it has significantly lower latency than standard streaming.

Isn’t 5G Broadcast a dead end like DVB-H (TV to mobile, ed.) proved to be about fifteen years ago? Does the technology have a future?

It will depend a lot on how handset manufacturers grasp it, whether it becomes widespread or not. It is not about the technology itself, but about what will catch on with people. We have several cases in history where, for example, a slightly inferior technology has taken off and the better one has ended.

In the last two years in particular, we have seen IPTV and Internet TV steadily gaining ground in the broadcast technology market, while satellite is heading in virtually the opposite direction. You are practically everywhere – in terrestrial broadcasting, in satellite, in cable, in Internet and IP TV. In your opinion, is this distribution mix going to change in any way?

IPTV will increasingly enter the whole mix because it brings other services, and probably satellite and maybe a little bit of that terrestrial will fall further. In the Czech Republic, however, terrestrial broadcasting is very popular and will remain so I would expect a decline in this case really only in the order of one percent, nothing significant. Satellite has a huge disadvantage in that you have to have a big dish outside your window or on your balcony, and so the significantly higher added value as before, i.e. a significantly larger number of channels, is no longer there.

There used to be four channels on terrestrial and on satellite you could catch over a hundred and it made a difference. But today the situation is different, so satellite will still decline a bit and will continue to maintain its position primarily in those areas where there is not good terrestrialization and perhaps weaker internet. In those areas it will have its meaning, but in the city it loses its meaning when, for example, in Prague you put an aerial outside your window, or any rod, and you catch 60 channels. But satellite retains its importance as a source of signal reception for small cable operators.

When do you think conventional terrestrial television will make sense?

That’s a good question. I think it will survive to the horizon I see. That is, beyond 2030. I don’t want to speculate what will happen in 2040. When you look back at what we knew in 2015 and we were wondering what we were going to be doing in 2020, of course we didn’t know. The same is the case here. It’s clear that the very youngest grades don’t watch linear TV anymore. The question is what will happen when they have children themselves, if perhaps they do not start. We have a terrestrial licence until 2037, so we trust terrestrial broadcasting. We have plenty of time to watch the trends and see how it continues to develop.

A technology that has been expected a lot in recent years, and in the end has virtually not caught on in linear broadcasting, is the Ultra HD format. Instead, it is headed to online video services like Disney+, Prime Video and others. Why was everyone so excited about this technology a few years back, and in the end those expectations were not met at all? What happened?

Simply a lack of a business model, and I’ll add one more thing to that. The whole transition is very technology intensive. The transition to 4K is not as easy as the transition between SD and HD was. It is not just the 4K format itself, but also HDR (high dynamic range, ed.), for example. So the whole thing is at least ten times more demanding in terms of bitrate, all the capacity, archives and everything. And for 4K to be applied in linear broadcasting, the business model is not there yet. However, technically, we can already handle 4K production and we already archive the shows that are produced in 4K and we will be able to use them when we need to.

When it comes…

I think it will come, it will just be linked to the transition that we are preparing for. Gradually we want to flip production to 1080p, and then of course the road to 4K will be easy, because the transition from 1080p to 4K is similar to the transition from SD to HD , and that’s a thing we’ve already learned.

From my point of view, I can say that I have a 4K OLED TV at home that is 65 inches, and it has such a good conversion from HD to 4K that, even if I’m just watching a YouTube video, for example, I often wonder what format it’s actually in.

The TV manufacturers are a little bit ahead of us. The line would have to have ten times the capacity for Ultra HD. That would be a problem not only in terrestrial broadcasting, but also in IPTV, for example. The processor that the TV has will largely do it for you. And incremental steps are already happening. We’ve already upgraded the playout so we’re able to play 1080p resolution.

So the step you’re currently taking will only be of interest to pay-TV operators, because in terrestrial you’re only in standard definition.</strong

So the business model is set up and it works. And the 1080p format is better for linear broadcasting on the internet.

You mentioned that you already have some higher resolution 4K material available. Are you going to be playing around with HDR or Dolby Vision formats in some way, for example, or is that not an issue for you at all at the moment?

In terms of Dolby Atmos or Dolby Vision, that’s not really defined for broadcast television yet. Internally, we operate in Dolby E format. In the future it might be interesting for Voyo, but certainly not in linear broadcasting. In linear broadcasting, we broadcast above standard especially football, formula and other sports, which we only broadcast in Dolby Digital. You can make a lot out of the Dolby E format, because if you have a show produced in Dolby E, it has the advantage that it can be decoded and re-encoded. Even the football replays that we do, we repeat and broadcast in Dolby Digital.

Source: mediaguru.cz

THE ASSOCIATION OF COMMERCIAL TELEVISION CELEBRATES WORLD TELEVISION DAY WITH A JOINT SPOT AND A VARIED PROGRAMME FOR PARTNERS

The Association of Commercial Television (AKTV) is celebrating World Television Day for the eighth time this year. As part of the celebrations, a special promotional spot has been prepared for viewers to air on AKTV member television stations on Thursday, 21 November. Additionally, AKTV has organised an engaging programme at the headquarters of its members, culminating in an entertaining show offering a behind-the-scenes look at television—this year with the subtitle “Hell’s TV”.

World Television Day celebrates not only television itself but also the philosophy it represents. The United Nations General Assembly declared 21 November as World Television Day in 1996, following the first World Television Forum held under the auspices of the UN. This forum discussed the growing importance of television. The goal was to acknowledge its increasing impact on society and culture, its influence on decision-making, and its ability to inform and shape public opinion.

“World Television Day provides us with an annual opportunity to recognise the uniqueness and significance of this medium not only for viewers but also for society as a whole. At any given moment, it can reach millions, delivering information, entertainment, or inspiration. Despite a rapidly changing world, television continues to be at the forefront of attention, thanks to its capacity for immediate impact and engagement,“

says Klára Brachtlová, President of the Association of Commercial Television

The Association of Commercial Television will celebrate this year’s World Television Day with a joint TV spot from the television groups Nova, Prima, and Óčko, featuring highlights of what commercial stations offer. The spot emphasises the significant role of television, which connects people and brings them entertainment and current news in today’s hectic world. It will be broadcast on all member company channels and available on websites and social media.

You can watch this year’s spot here, and all spots from previous years are posted at aktv.cz/svetovy-den-tv.

The celebrations will also include open days at the individual TV stations. As part of the evening programme, an event dedicated to business partners will take place. The entertaining show Hell’s TV, set against the backdrop of the culinary show Hell’s Kitchen, will be concluded with a DJ session provided by Óčko music television.

The aim of the varied programme jointly prepared by AKTV and commercial broadcasters for World Television Day is to raise awareness of the crucial importance of television as a medium and its enduring social and cultural impact.

THE BEST THING FOR TV AND VIEWERS WOULD BE FOR PRIMA TO RAISE PRICES AS MUCH AS POSSIBLE

An excessive number of commercial breaks in television broadcasting is not good for television or TV viewers. CCO Vladimír Pořízek explains that increasing the price of TV advertising is the only way Media Club can counter this situation.

Media Club will increase TV advertising prices by an average of 18 to 22% for 2025. The increase reflects both the rise in the base CPP price and the increase in certain seasonal and footage coefficients. However, the portfolio of stations represented by Media Club will stay the same next year. Alongside the Prima group’s stations, which will add two new channels, Media Club will continue to sell advertising for the TV Óčko, TV Barrandov, Atmedia, and Paramount Network groups. The primary buying target group of 18–69-year-olds also remains the same. Secondarily, clients can also use 24 defined target groups.

Prima’s CCO, Vladimír Pořízek, explains in an interview that Media Club has no other option than to increase the price. “This autumn, and also in spring, we were forced to extend the length of advertising breaks to meet demand. Unfortunately, the long breaks prevent us from achieving higher ratings. That’s why we have to increase prices and optimise the space for advertising to accommodate as much demand as possible, not putting viewers off at the same time,” he explains.

At the end of August, Prima estimated that it would increase the prices of TV advertising on the stations represented by Media Club by 20%. The increase is ultimately in the range of 18-22%. Is it true again that the higher price increase applies to larger clients?

We are continuing our strategy of the past years and increasing prices more for clients with higher volumes and lower CPT. For smaller clients, the price increase is smaller, which is why we are averaging between 18-22%. The price increase is necessary because our advertising space is sold out all the time, demand is growing and there are fewer GRPs on the market. In the 18-69 target group, it is a 5% decrease, in the 15-54 group, it is a 7-8% decrease.

Increased demand for TV advertising has persisted for several years in a row. What is the cause? If we look at the performance of the economy this year, it is not growing significantly – at 0.3% and 0.4% in the second and third quarters, respectively, household consumption is up just under 2% this year. Is the growing demand driven by the changes in demand for advertising media space brought about by multinational platforms Google and Facebook?

The demand for TV advertising is growing because TV advertising works. Online alone is more likely to attract clients when people know and are aware of the brand. Online does not build a brand. You need TV and long video advertising for brand building. TV is also good at activation, and we have a number of clients who use it for activation campaigns. That’s why clients are going from online back to TV. In addition, it is television in conjunction with online that most easily delivers the desired results to clients.

As for seasonal coefficients, you mainly increase some off-season months such as January, February, June, or August, and leave the peak season months unchanged. Why?

We are changing the seasonal coefficients where we were most sold out this year – which are the months of May, June, and August, and we are adjusting July. On the other hand, we were not sold out in March and April, so we kept the coefficients for these months.

How much is Prima sold out this year?

We are 108% sold out for the autumn, which is not good for TV or the audience. There are more SVOD services on the market, and that brings more opportunities to watch ad-free audiovisual content. Viewers are getting used to it, and long commercial breaks don’t put TV in a good light. We may have shorter breaks than our competitor Nova this year, but this is mainly because Nova’s advertising space has also sold out. The number of GRPs in our buying target group has fallen by 5-6% this year, while the TV market is growing by 5-6%, taking us to a 12% “deficit”. On top of that, we are extending the break by 8%, which we need to settle, getting us to our required 20%.

Does this mean that about 12% of GRPs are not being placed in broadcasting? Or how big is the excessive demand?

The excess is around 8-10% of GRPs. We have been stretching out ad breaks all autumn, which will help us get more GRPs. Even after the rules on commercial break lengths were relaxed, we have continually strived to keep our breaks from extending. But now we are not succeeding.

Even after the rules on commercial break lengths were relaxed, we have continually strived to keep our breaks from extending. But now we are not succeeding.

Vladimír Pořízek

Has the change in legislation contributed to a greater number of advertising spots in prime time? [Editor’s note: Since September 2022, the 20% limit for the 6 am – 6 pm and 6 pm – 0 am time zones has been used instead of the hourly limit.]

Exactly, this legislative change has made it possible. This allows some of the spots or ad minutes to be moved to higher-rated times and the number of GRPs we are able to deliver will increase.

Will a price increase of around 20% bring the necessary balance?

It is always a matter of supply and demand. Agencies are telling us that if we increase prices, clients will go to other media types and Google or Facebook. We know that Google or Facebook don’t build a brand the way TV advertising does. However, some clients may shift some of their budgets, which may have an impact on us, so we need to look for imaginary intersections between demand and supply. We have to increase the price, and to be honest, it would be best for us and for the viewer if the prices were as high as possible. The advertising breaks could be shorter. But it’s always about some kind of agreement with clients and agencies.

Media Club’s commercial policy for TV, 2025

You entered this year with a modified 18-69 purchase target group replacing the 15-69 group. The 18-69 target group will also be the primary trading group at Media Club in 2025. What has the transition to 18-69 revealed?

We are always trying to identify the needs of our customers and at the same time, we see that the productive group is shifting, and the population is aging. If we shifted the start of the buying target group to 20 years old, we would cover what customers want even more. Their target demographic usually starts at the age of 20, sometimes 25 years. Of course, there are clients who demand an 18-35 year old audience, but these are relatively few. However, in addition to our primary target audience, we have 24 sales target groups defined that we are able to affinity-target. With these secondary target groups, we can further improve the affinity of our campaigns. In addition, we anticipate even higher usage of online eGRPs in the coming year. We are increasing their capacity by engaging individual operators in the issue of ad fast-forwarding in time-shifted viewing, and we have also fine-tuned targeting in HbbTv and smart apps with Nielsen.

Has the group of major TV advertisers changed? The e-commerce group seems to be strong, are there any others?

There are no major changes. More and more people in the e-commerce group want to use TV to build a strong brand.

Will the Barrandov TV group be part of the stations represented by Media Club next year?

We have a preliminary agreement with Barrandov TV and we are finalising the wording of the agreement.

You are leaving Prima, and Media Club as well, in the first quarter of next year. Is your successor already known?

The selection process for my successor is still ongoing.

Do you know what your future plans will be after you leave Prima?

I’m definitely planning a long vacation, at least six months to a year. I’ll be bound by a competition clause for a year, so if I want to continue in media, it will be possible in March 2026 at the earliest. But I’m thinking more about the financial sector. After all, I’m more of a man in finance and I would like to move somewhere else and try something new.

Source: mediaguru.cz

MATEJ ŠEMŠEJ, TV NOVA: CORPORATE CULTURE BASED ON COMMUNICATION IS ESSENTIAL

Being empathetic towards viewers requires empathy within the company, says Matej Šemšej, HR Director at TV Nova.

Is Nova an attractive employer?

Absolutely. Since the acquisition by PPF Group, we have undergone an intense transformation, which accelerated with Daniel Grunt’s appointment as CEO. The company is developing dynamically and has much to offer not only to candidates for traditional television roles. As I tell every newcomer: Nova has options for everyone.

How are you building your employer brand, and what image should Nova have?

We are currently working on our employer branding strategy. Before starting, we conducted a survey to see how people perceive us as an employer. It revealed a gap between our perception and theirs. So, we started building the strategy around how we want Nova to be seen: as a friendly company with a supportive atmosphere, rooted in open communication and dialogue with employees and viewers alike. This aligns with our overall corporate strategy.

30 years together

What activities aim to change the perception?

This year, we received the international Top Employer certification, which serves as a detailed audit of our internal policies, programmes, and processes. The real start will be a campaign to be launched next year, followed by a series of other activities. We aim to rebrand our career pages, conduct regular surveys among potential candidates to gauge Nova’s attractiveness as an employer and engage with our viewers. However, it’s not just about outward communication, it must align with reality. We don’t want to fall short of the expectations set by both parties at the start of the relationship.

Daniel Grunt has recently emphasised that in times of rapid technological development, it is necessary to go against the tide and invest in top-quality people who create content that differentiates the company. Do you share this view?

This aligns with our strategy of being the most attractive employer with the best team. We often discuss how to attract the best talent. There are two key groups to be attracted: those already in the industry, for whom Nova is a recognised name. Their interest grows with the quantity and quality of our content. We see untapped potential in the positions that people may not widely know we are hiring for. Dan talked about going against the tide but of course, we are developing internal AI competencies. It is uncommon for traditional TV, but today’s times bring such challenges.

Most people associate TV jobs with roles directly tied to broadcasting.

Viewers only see the end product of the entire ecosystem, such as a series on Voyo or the evening news (Televizní noviny). As part of our culture, we emphasise that everyone contributes to a common goal. We have a detailed strategy and frequently remind our people that we are one team and every position matters.

What’s the current state of the job market?

A few years ago, the main challenges were in IT and tech roles, but we have seen some “progress” and now it’s hard to fill almost every position. Companies need to offer more, such as quick recruitment processes. You must be fast and have KPIs in place to contact candidates within two days of application and complete the process in weeks, not months. Candidates need to be impressed and feel they are entering a friendly corporate culture that provides sufficient flexibility, which is now a standard expectation.

And once you have attracted talent?

What matters is what you offer as an employer. People stay for the team, the culture, and meaningful work, not just for benefits. We recognise that linear TV is declining, but Nova, with its comprehensive production capabilities, offers a promising future with a vision.

We are talking on World Television Day. Is this an opportunity to popularise careers in TV?

Absolutely. Many people associate TV work with roles like actors, reporters, editors, cameramen, or makeup artists, but the core of TV is different. The scope of professions is much broader. World Television Day is a chance to showcase behind-the-scenes roles and reveal that we do much more than what is seen on the screen. People will learn that TV is full of ordinary people.

Is there a misconception about that?

Research shows that potential candidates believe Nova is competitive and lacks collaboration. This is why our employer branding strategy emphasises our excellent workplace environment, where colleagues support each other rather than backstabbing each other.

You mentioned a transformation in corporate culture. What does this entail?

The transformation began with Daniel Grunt’s arrival and the creation of a new corporate strategy. For the first time in years, Nova has clear goals, values, and a vision. Many aspects focus on understanding and approaching our viewers. We want to empathise with them, seeking a deep understanding of their needs and life story. And you can only achieve that as a company if you are also internally empathetic and interested in what’s going on in the next office or the floor above. That’s why we are fostering a culture of trust, communication, and collaboration based on values. We have defined four: creativity, passion, respect, and innovation. They are so natural for human existence that we can easily identify with them, but at the same time, they are unique to us. We say that we are creative, that we do what we do with passion, but also with respect for ourselves and our colleagues, and that we are innovative. Transforming a company culture is an abstract concept, but when it is tied to specific actions, a vision, a goal, and daily interpersonal interaction, it is much more tangible to people.

How has this been received by employees?

When developing our corporate strategy of empathy, we partly used employee feedback. With the help of an external partner, we conducted a several-month-long round of internal workshops that involved about two-thirds of the company. Though it was challenging, this process was vital for addressing realities. While the work was going on in the background, we were posting regular news and now in the autumn, we have come up with a more detailed report of what has been done and what is going to happen. It is important to keep showing people how important feedback is and that what you are doing is based on their input, which hasn’t gone to waste. If you involve employees from the start, keep them informed and they see that something is happening, they are more likely to accept the changes.

Last year’s second place of the Nova team in the charity Adraběh

You rely heavily on surveys. How critical is data in HR?

Data is very critical. Most of our decisions are data-based. Internally, we conduct a monthly feedback survey that doesn’t take longer than a minute. It includes a few questions. It’s sort of a hygiene check to find out how the organisation is doing, monitor trends and identify problems. In addition, we use other surveys and tools, as a culture based on open communication and feedback is one of our guiding principles

Does monthly feedback help sustain high motivation?

It works for us. In the companies where I worked before, we did the survey once a year. Then we created slides, communicated them for two months, and defined action steps, and by the time summer came, the measures were often no longer relevant. Even though employees may not like it at first, it’s good to collect feedback all the time because you can immediately translate it into action steps and communicate it all the time. Because communication is the biggest challenge. In my opinion, there’s never enough of it – even though some people will always think otherwise. It’s just about finding and changing different channels of communication.

We started by talking about Nova’s attractiveness. How attractive is Nova to younger talent?

Recruiting talent from students or graduates is one way to address the market situation. But everyone is doing it today and you need to differentiate yourself here too. One of our flagship programmes is the two-year CME Content Academy, which aims to nurture talent in television production. A shorter-term activity is the Nova News Academy, which targets final-year journalism students and offers internships. It is a week-long programme where they go through everything they could possibly be responsible for as presenters or reporters. Successful applicants are given a green card and can start a probationary period after graduation, perhaps leading to employment. We also organise high school internships – this year, dozens of students were here for a week or two. It’s an administrative burden, but we’re building our reputation and sending information about Nova to places you might not expect.

CME Content Academy

How many academy graduates end up working at Nova?

In the Nova News Academy, four out of eleven participants received green cards. The first graduates of the CME Content Academy will finish in December. There are thirteen students in the class, and I think we will be able to place more than half of them either on Nova or on Markíza.

How do you retain academy graduates and other talents in the media industry?

You need to ensure they feel comfortable and their work is meaningful. Media has a unique advantage over other firms, typically IT corporations. It clearly shows people their value added. That is fascinating. We are producing or contributing to the production of something that a million people will put on and say it’s cool. Or that it has impacted their lives. Of course, you also have to ensure that their basic needs are met and constantly monitor whether your wages are competitive.

What are the current HR trends?

I can see five key trends: working with data, digitalisation, flexibility, motivation, recruitment (including finding talent), and diversity (which does not have to include just gender diversity). The upcoming EU regulation will require companies to report data on unequal pay. This can become very challenging for companies.

Source: mam.cz

PRIMA WANTS TO PRESERVE TERRESTRIAL TV UNTIL AT LEAST 2050

FTV Prima and Digital Broadcasting have expressed their long-term support for terrestrial TV broadcasting through comments on the Spectrum Management Strategy.

FTV Prima and DVB-T2 multiplex 24 operator, telecommunications firm Digital Broadcasting, have expressed their joint support for the preservation and development of terrestrial television broadcasting in the Czech Republic. They responded by comment form to the draft Radio Spectrum Management Strategy published by the Czech Telecommunications Office (CTU), stressing the importance of this platform for access to TV content. For Prima, the DTT platform is crucial, as it operates all its TV programmes on it.

Terrestrial digital television is used by 53% of Czech households on a conventional antenna on at least one receiver, according to surveys argued by Czech Radiocommunications (CRA). Both entities therefore consider it necessary to maintain terrestrial broadcasting in the coming years. The CEO of FTV Prima, Marek Singer, even appeals to the CTU to ensure that the operation of all existing nationwide networks will be possible at least until 2050 to ensure the long-term stability of the competitive environment.

Prima wants two new stations thanks to reserved capacity

There is a logical explanation for the perhaps surprisingly long period for which FTV Prima wants to maintain terrestrial broadcasting. Prima not only operates all of its full-screen channels in the DVB-T2 multiplex of Czech Radio Communications, but it is also planning two additional stations – one of them is known as Prima Case. FTV Prima has reserved data capacity in this television network, which it can use according to its needs. In the past in DVB-T2, therefore, it started broadcasting its programmes in 1440 x 1080p resolution.

Pressure from pay-TV operators later forced Prima to switch these programmes to the basic 960x540p format, leaving only CNN Prima News in HD resolution with a 1280 x 720p ratio. The argument was better readability of the accompanying graphics for the news channel. Unlike Nova, Prima does not operate any pay channel; instead, the latter has six. These are the premium stations Nova Sport. It is worth noting, however, that it is Nova that has spread the broadcasting of its programmes over two multiplexes, with CRA entrusting Nova Cinema in addition to its flagship channel.

CRA has channels available for non-launched networks

Also playing in favour of terrestrial TV broadcasting and its future may be the so-far unused frequencies for the planned DVB-T2 multiplexes 25 and 26, which were never actually launched. According to Martin Roztočil, director of external relations at Digital Broadcasting, which operates DVB-T2 network 24, multiplexes 25 and 26 represent one of the possible safeguards for the future of terrestrial TV. Roztočil, like Singer, points to the long-term stability of the terrestrial platform’s position as a traditional and popular choice for many Czech households, thanks to the possibility of watching TV programmes free of charge.

Digital Broadcasting is also proposing to use the frequencies of multiplexes 25 and 26 to test innovative technologies such as 5G Broadcasting, which has so far been pushed exclusively by rival CRAs. This technology offers the potential for future use in terrestrial broadcasting, allowing for experimental verification of operations and preparing for the challenges associated with technical innovation. The available frequencies could also be used for regional broadcasting or for one-way transmitters, referred to as SDLs. This flexible approach would allow alternative technologies to be experimentally tested without interfering with existing services, which may help to improve the availability of television broadcasting in remote areas or in the transition to new standards.

Long-time PDTV chief also warns of free frequencies

On the basis of the published draft of the “Radio Spectrum Management Strategy” and the opportunity to submit your opinion, expert consultant Petr Formánek suggests several changes to the text. Formánek worked for years at PDTV, which operates Prague’s Regional Network 4. After it was taken over by the CRA, he has gone freelance. Formánek said it was essential to consider that a time-limited individual licence to use frequencies in so-called “white spaces” could lead to a negative public reaction if service was interrupted after expiry.

Formanek also recommends the use of the frequencies of networks 25 and 26, like Roztočil, primarily for experimental validation of new technologies such as 5G Broadcast and DVB-I, in order to allow these frequencies and standards to coexist on the same radio frequency channel. He also proposes that the phrase “The UHF band is technically and economically optimal for ensuring coverage of the territory by mobile services” be amended to reflect the use of the UHF band for DTT (terrestrial TV), which would support the maintenance of a competitive environment and the development of the industry.

Source: mediaguru.cz

ONLY 10 PERCENT OF CZECHS AGREE WITH THE USE OF AI IN NEWS

Czech users of news content do not trust artificial intelligence in news. They fear it makes it impossible to distinguish fiction from reality, according to a new study by ResSolution Group and Nielsen.

Only 10% of the Czech online population agree with the use of artificial intelligence (AI) tools in news, across all media types. The highest level of agreement (15%) is for news websites and 12% agree with the use of podcasts. That’s according to a new non-public study by research agencies ReSSolution Group and Nielsen titled Newsroom in the Age of Media Fragmentation, which was presented by Tereza Šimečková and Tomáš Hynčica at the Czech Internet Forum 2024 conference last week.

The research, which involved 1,012 members of the online population over the age of 15, also found that 80% are familiar with the term “artificial intelligence”. Half of Czech news content recipients, specifically 51%, but do not trust news content that uses AI, and 53% expressed disapproval of the use of AI in TV news. This is because the majority of news consumers fear that AI will make it impossible for them to distinguish fiction from reality. Three quarters of users expressed this view.

On the other hand, users rank faster news delivery and easier consumption of foreign news among the positives of using AI. At the same time, they acknowledge that AI is a useful tool for simplifying the creation and consumption of news.

Source: mediaguru.cz

JOSEF UHER, TV NOVA: AI IS NO SUBSTITUTE FOR HUMANS IN NEWS REPORTING YET

While technology simplifies work, the internal rules of the Nova group require that broadcast content is exclusively overseen by humans, says Chief Technical Officer, Josef Uher.

The Chief Technical Officer of the Nova group, Josef Uher, speaks in the first part of an interview with MediaGuru.cz about the new news production system and the integration of artificial intelligence into news reporting.

The Nova media group has implemented a new production system within its structures. However, many people probably have no idea what this technology entails or even what it is about. Can you briefly explain?

It is essential to clarify at the outset that it is a news production system. Essentially, it is a collection of technologies designed for producing news, encompassing a full suite of tools. This includes editing rooms, disk arrays, playout servers, ingest recording systems, and also field cameras. In other words, it involves both hardware and software, and everything must work seamlessly together.

So, you have acquired new software that oversees all of this, making it more manageable?

Yes, it’s like visiting a library and using a catalogue to help locate books. In asset management, you search for a clip and locate it on the disk array. It’s not like going through six thousand clips one by one, just as you wouldn’t browse through every book in a library. Instead, you check the catalogue and learn that a particular book is on shelf 3B. The advantage of the news production system is that everyone who needs access can get it, not just in the building but potentially from outside as well. All of this is, of course, secured. You can preview clips in lower quality and download them in full resolution if required.

Another key benefit is that you can start editing in one editing room one day and continue in another the next. Access to the archive is straightforward. There are predefined rules for naming clips. We also have archivists who describe the content of clips, making searches easier.

But what you have described sounds like something every TV station has and cannot operate without. What distinguishes the new version of your system from the previous one? Does it have features the older one lacked? Or was the update prompted by natural technological obsolescence?

It was a natural progression. The manufacturer stopped developing the previous system last year and will cease supporting it next year. The main motivation was not to stagnate but to adopt something that could evolve and grow. The news production system is linked to several other systems.

If any of these four components — journalistic system, production system, archival system, or studio automation — receive an update, the risk arises that unsupported elements could stop working or prevent the utilisation of new features. The upgrade was absolutely necessary.

I can’t claim that we have gained spectacular new capabilities or made a three-year stride forward in development, but the system is naturally capable of enhancement and capacity. Our entire operation now runs on a unified technology, and we use the same production system at Markíza. This means we can get connected with Markíza and seamlessly share files instead of converting them laboriously. This year, Markíza replaced its journalistic system, aligning it with Nova’s. Building a second data centre at Markíza would have been too expensive. Now, in case of an emergency like a fire at their data centre, Nova can provide backup.

Our entire operation now runs on a unified technology, and we use the same production system at Markíza. This means we can get connected with Markíza and seamlessly share files instead of converting them laboriously.

Josef Uher

So, the news production system is a comprehensive solution, encompassing both software and hardware, and it can be gradually upgraded…

The hardware primarily consists of disk arrays that store materials, playout servers for contributions to news programmes, and editing rooms with their respective workstations. There is also a set of control systems known as PAM (Production Asset Management), with higher-version software to manage file indexing, archive communication, journalistic system communication, and more.

Of course, everything must be interconnected. For example, if Lucie Borhyová announces a story about Plzeň, we mustn’t inadvertently show footage of Bulgaria. Unique identifiers ensure everything is correctly aligned, delivering interesting and relevant news content to viewers.

In discussions like these, people often ask where you see this technology in ten or fifteen years. Rather than looking into a crystal ball and speculating, could you reflect on how it has evolved over the past decade? What has changed?

The availability of data capacity has undoubtedly improved. For instance, we now have more editing rooms that enable direct high-resolution editing, eliminating delays. Technologies have also advanced, allowing editors to tag specific points in footage for easy reference. These markers are imported into the system for subsequent work and editors know immediately what to choose.

Looking further back, we previously used tapes for news production, editing from one tape to another. Then came Blu-ray discs, which required entire discs to be uploaded. Today, we use memory cards in cameras, and technologies now allow content to be transmitted directly from cars in cases of tight deadlines. Thanks to news backpacks, we can broadcast from the field without a dedicated line. With increasing data capacity, we can accommodate higher video quality demands. Our news delivery now extends beyond the main channel to include TN Live, which operates under an official internet licence. This necessitates a greater capacity to deliver content promptly and at the required quality.

Since your system allows remote access from anywhere you need a firewall or a similar protection. How do you ensure security?

We have a specialised firewall tailored to broadcasting technologies. It combines hardware and software solutions, but I won’t provide any more details.

Does your new technology integrate with other systems such as graphics or other components in your broadcasting workflow?

Yes, it does integrate with our graphics system, as it did previously. Thanks to studio automation, we can manage playout servers that play contributions as well as graphic units, such as those controlling the visuals behind presenters. This integration also synchronises the output of the control room, which is particularly advantageous when Nova International cannot broadcast all content due to licensing restrictions and we don’t have two editors. In such cases, automation handles secondary output based on rights information within the journalistic system.

The editing system includes plugins for tasks like subtitling, creating mosaics to block inappropriate content (for example for children under 18), and even virtual graphics. For example, we can integrate a sponsor’s bottle into the frame as part of product placement. When we first installed the system, our team experimented by placing a Mars module in the studio. However, creating such graphics is difficult and requires programming. It cannot be mass-produced. For news graphics, pre-designed templates allow journalists to fill in the necessary information.

The growing use of artificial intelligence (AI) in everyday processes is a major topic. How has Nova dealt with this phenomenon?

AI initiatives are mostly in the testing phase to verify their effectiveness before committing to long-term agreements. We currently use speech-to-text and translation tools internally, for example, when preparing content for CME (Central European Media) that needs to be translated.

We are testing speech-to-text primarily because we don’t yet provide live subtitles for the hearing impaired. These tests are being conducted in both the Czech Republic and Slovakia. AI has also delivered promising results in football coverage, for example, identifying key events like goals, yellow or red cards, and generating preliminary reports. This reduces the need to watch entire ninety-minute matches, you have it all laid out in advance to work with it further. And then we had a borrowed server for semantic search, where users input queries, and AI locates relevant content in the archive. We would like to evaluate our experience and then deploy the technology in full operation.

However, it’s important to note that without a professional agreement, AI providers could use the data we submit, which is unacceptable to us. This may slow our testing a bit, but addressing these concerns is essential.

That said, we are already using AI to engage with viewers. For instance, we have introduced Luna, a virtual presenter created with AI, who delivers daily horoscopes on TN.cz.

We are testing speech-to-text primarily because we don’t yet provide live subtitles for the hearing impaired. These tests are being conducted in both the Czech Republic and Slovakia.

Josef Uher

From what you have shared, human oversight seems to remain central to your processes, with AI facilitating some tasks. Is there any scenario where AI might take a more dominant role in station operations?

In traditional linear broadcasting, this seems unlikely for now. Many materials undergo checks by what we might call AI, but in reality, these are specialised software tools designed to detect technical errors, such as excessive sound levels or visual glitches. For technicians, this means that they can rely on the software’s analysis and reduce their reviewing time from, let’s say, ninety minutes to just twenty. Another aspect is that this technology is used for shorter, locally produced content, where we already expect high quality but need to ensure consistency so that the content is suitable for broadcast.

Technology makes human work easier and saves time, but of course, we have internal rules that everything in primetime is completely controlled by a human. But we have a variety of series and other shows reviewed by this robot. At the end of the process, a human reads the reports, checks the critical spots and either returns the content for correction or confirms that the issues found don’t affect picture or sound quality, allowing us to proceed. It’s also employed for international content we receive, which must be reviewed within a 30-day window to be returned if necessary. Given that a programming director acquires 400 episodes of a series, it is impractical for human staff to review every second within 30 days.

Josef Uher, Chief Technical Officer, TV Nova

Josef Uher oversees the development of technologies for TV programme production and broadcasting, including their integration with internet activities. His responsibilities include organising procurement and implementation of these technologies and ensuring technical support. He played a key role in transitioning from DVB-T to DVB-T2 broadcasting, expanding HD broadcasting on various platforms, and advancing internet broadcasting. A graduate of the Czech Technical University in Prague, he has been with TV Nova since 1995 and holds the same position at Slovakia’s Markíza.

Source: mediaguru.cz

TV RATINGS: IN OCTOBER NOVA TOOK THE LEAD

The Nova group recorded the highest share of viewership in October and was the only one of the top three groups to improve. Among the smaller stations, Television Seznam grew and managed to improve its prime-time share thanks to Czech films and the series Professionals.

The Nova TV group achieved the highest share in all major audience groups in both full-day and prime-time in October. It was also the only one of the top three domestic TV groups to improve year-on-year. This is according to the official ATO-Nielsen TV audience measurement data.

The position in the broader 15+ audience group in daytime broadcasting continues to be balanced. Only 0.3 percentage points separate the second group Prima and the third group Czech Television. In prime time, they have also swapped the rankings. In both the 15-54 and 18-69 groups, Prima is the second strongest. Nova has the highest share in these audience categories.

Atmedia’s representation of thematic TV stations continues to grow, approaching 7% in its primary 18-69 group, helped by the rising share of Television Seznam, up 0.4 ppts y-o-y and approaching the 2% mark. It is separated from Barrandov by 0.35 percentage points. In prime time, Television Seznam is growing even faster and has already just crossed the 2% threshold in October. Its share here is higher than TVB’s.

Share of TV groups (%), October 2024, full day

Share of TV groups (%), October 2024, prime-time

Zdroj: ATO-Nilesen, TV živě+TS0-3 ke dni 4.11. 2024. Prime-time = 19:00-23:00, změna uvedena v procentních bodech

The stations with the highest year-on-year increase in audience share in October were Nova Cinema, Televize Seznam, CT2 and Nova (valid for CS 4+).

The most watched programme in October was StarDance (CT1) broadcast on 19 October with 1.7 million viewers (15+). The next places were also occupied by StarDance episodes broadcast on 12.10. and 26.10.

Source: mediaguru.cz

AKTV CELEBRATES WORLD TELEVISION DAY WITH AN OPEN DAY, INVITES TO STUDIO TOURS AND ENTERTAINMENT SHOW

Broadcasters around the world are celebrating World Television Day on 21 November. AKTV, which brings together the most important Czech commercial broadcasters, will not be left behind. In cooperation with its member broadcasters, AKTV has prepared an interactive “open day” for its clients, business partners and professionals in the field of television and media in the studios and behind the scenes.

This year, a truly exclusive programme is in store , as each of the commercial TV stations will offer tours of the newsroom, studios and behind the scenes. There will also be meetings with famous faces, an exclusive preview of the series The Well, refreshments and an accompanying programme.

Nova Television invites you to a brunch at Snídani, tours of the news and sports studios and an exclusive preview of the first episode of the Voyo Original: The Well. The screening will not be without popcorn and a refreshing bubbly drink. The new Czech series, whose title refers to one of the most famous episodes of Major Zeman, comes as its specific prequel, which fits perfectly into the current trend of true crime stories.

Prima TV will offer tours of three types of studios – news, radio and dubbing. Visitors will see the most modern news studio in Central Europe, learn what all has to happen before a news programme is broadcast and discover that radio is not just a microphone in a studio. The dubbing studio will then offer the chance to try out how popular characters sound in Czech. The Technical Circuit will then invite visitors to the server room, the diesel generator room and reveal many other secrets behind the workings of television broadcasting. This tour will be guided by Patrik Slavik, Technical Director of the Prima Group.

In the studio of TV ÓČKO you will get a unique opportunity to “meet &greet” with Dimash Qudaibergen, the ultimate king of the Óčko Chart. You will become part of the live broadcast and meet the Kazakh phenomenon who sings in seven languages.

The culmination of this year’s celebrations will be a special live show, Hell’s Telly, in which teams from Nova and Prima will compete in a number of culinary and knowledge-based disciplines.

Details of the programme, times of excursions and a booking form can be found at aktv.cz/weloveTV

But beware, registrations are only possible until Friday 15.11.2024! Don’t miss this special event!

MAPPING THE CULTURAL AND CREATIVE INDUSTRIES WILL PROVIDE IMPORTANT INFORMATION ON THEIR CONTRIBUTION AND NEEDS

A national mapping of the cultural and creative industries (CCIs) is taking place in the Czech Republic this year and next. In practice, these are two multi-year calls supported by the National Regeneration Plan under the Cultural and Creative Sector Development component managed by the Ministry of Culture of the Czech Republic.

The main objective is to revitalise the sector after a period of pandemic crisis. The outputs of the research projects will serve as a source of information on the structure and needs of the sector in the future. They are intended to be used both by the regions when formulating strategic materials and by the Ministry of Culture when optimising its subsidy programmes and when looking for further possibilities of supporting these sectors from EU funds.

In 2022-2023, the Ministry of Culture has launched two separate grant calls to support multi-year research projects. The first call involved all 14 regions of the Czech Republic with projects mapping cultural and creative sector actors operating in the respective regions. The second grant call involved 12 entities, sectoral and professional associations, and research institutes with projects mapping the sector from the perspective of individual industries. Almost CZK 40 million were distributed in both calls. Partial outputs from the mapping are published continuously by individual researchers, and the Ministry of Culture will continue to work with the data and documents after the completion of the supported research projects in mid-2025. They can become the argumentative support for the introduction of new forms of support for cultural and creative industries, both at the state level, regional strategies, and European subsidy programmes.

“Methodological guidance and regular coordination meetings with the research teams are important for the successful course of the mapping. The nearest meeting with representatives of the regions is scheduled for 22 October, which should be followed by a meeting with the researchers of the sectoral mapping on 5 November,” says Zuzana Zahradníčková, Director of the Department of Arts, Libraries and Creative Industries at the Ministry of Culture.

“Although the aforementioned grant calls are part of the implementation of the National Regeneration Plan, we see the collection of data on the creative sector as an activity we want to continue in the future. Similarly, we would like to continue to work more closely with the researchers of individual projects and the Czech Statistical Office,”

adds Zahradníčková.

In addition to the regional authorities, regional mapping projects are also implemented by some organisations mandated by the region, such as Kreativní Praha (Creative Prague), Jihočeský vědeckotechnický park (South Bohemian Science and Technology Park), Ostravská univerzita (University of Ostrava) or Technologické inovační centrum Zlín (Technological Innovation Centre Zlín). Projects under sectoral mapping are implemented by professional associations or research institutes. They cover nine areas – Books and Publishing, Music, Film and Video, Television and Radio, Game Development, Architecture, Advertising, Design, and Event Industry. Researchers include the Prague University of Economics and Business, Masaryk University, the Technical University of Ostrava, the Association of Commercial Television, the Association of Communication Agencies, and the National Information and Advisory Centre for Culture (NIPOS).

The mapping is divided into a uniform quantitative part and a qualitative part, which can be supplemented by the specifics of individual research areas. The output will be a set of analytical materials on the state and needs of companies and associations of entrepreneurs in CCIs so that the state can get a more accurate picture of the number, size, benefits, and needs of these industries. The quantitative analyses of the individual areas will be complemented by aggregated economic data prepared for the purpose of the project by the Czech Statistical Office. The qualitative research will focus on the development and innovation potential of companies not only in the fast-growing technological areas but also on the expectations regarding the competencies of recent school graduates. Emphasis will also be placed on estimating future trends and new opportunities and threats in CCIs.

“As members of the Cultural and Creative Industries Section of the Czech Chamber of Commerce, we have been striving for the implementation of a nationwide mapping for several years. While some professional associations already conduct their industry surveys, we now have an exceptional opportunity to conduct a comprehensive mapping of this disparate and dynamically developing segment of the economy according to uniform criteria for the first time. Equally important for us is the awareness-raising dimension, because unfortunately, we still encounter the fact that few people imagine the whole diverse range of business entities under the acronym CCIs,”

adds Marie Fianová, Chairwoman of the Cultural and Creative Industries Section of the Czech Chamber of Commerce, which brings together most of the researchers of the national mapping.

Details of the research are available on the website of the joint platform of project researchers: mapovani-KKO.cz where respondents from some areas can directly fill in the questionnaire.

What is the cultural and creative sector?

The cultural and creative sector (CCS) is an ecosystem consisting of for-profit and not-for-profit, public and private entities, encompassing both the production and distribution of cultural and creative assets. These are areas at the intersection of arts and culture as well as business and technology.

We define CCS as areas with activities based on cultural values or artistic and other individual or collective creative expressions. This may include activities involving the development, creation, production, dissemination, or preservation of goods and services that represent cultural, artistic, or other creative expressions. Similarly, it may involve related activities in the field of education or management. All of the above have the potential to create innovation and jobs, in particular through the creation of intellectual property. Indicative examples of sub-sectors include architecture, archives, libraries and museums, artistic crafts, audiovisual, cultural heritage, design, festivals, music, literature, performing arts, books and publishing, radio, and visual arts.

What are the cultural and creative industries?

We define cultural and creative industries (CCI) as economic activities within the cultural and creative sector that use the talents and skills of citizens and are based on cultural values or artistic expressions. Cultural and creative industries include those cultural and creative sector actors that are not primarily dependent on public resources, i.e. are more than 50% financially self-sufficient. The cultural and creative industries serve, among other things, to create wealth mainly using intellectual property. Creativity is a key input, not an item to be resold. Nevertheless, distribution chains are an essential part of the development of CCIs and are an associated activity (Strategy for the Development and Promotion of Cultural and Creative Industries, Ministry of Culture, 2021).

Source: culturenet.cz

MAN ARRESTED FOR SUPPLYING ILLEGAL STREAMING SERVICE

A man in Wolverhampton has been arrested on suspicion of selling an illegal streaming service.

Officers from the Police Intellectual Property Crime Unit (PIPCU) at City of London Police executed a search warrant at a residential address in Wolverhampton during the early hours of 15 October 2024.

A 38-year-old man was arrested on suspicion of copyright and money laundering offences, after he was suspected to have sold illegal streaming packages in bulk for others to sell to the public. The streaming packages provided illegal access to Sky channels.

Further search warrants were carried out at four business addresses in Wolverhampton and Coventry. Officers seized a server, which was used to host the illegal streaming service, at one of the addresses and the service was shut down.

Detective Constable Daryl Fryatt, from the Police Intellectual Property Crime Unit (PIPCU) at City of London Police, said: “Illegal streaming is a huge issue for the entertainment and creative industries and, while it may seem like a low-risk, high-reward crime, the proceeds are used to fund other serious forms of criminal activity. At the same time, it can expose end users to the risks of data theft, fraud and malware.

“The message of this operation is clear: if you sell illegal streaming services, you will be caught and held to account for your actions.”

Matt Hibbert, Group Director of Anti-Piracy at Sky, said: “When people illegally stream they provide their personal information to criminals and the risks that result are very real. We are grateful to the Police Intellectual Property Crime Unit for leading this action. We’ll continue to do everything we can to protect our content from theft, and to help keep consumers safe.”

Officers from PIPCU were supported by West Midlands Police during the search warrants. The man arrested has since been released under investigation.

In a related development the licensee of Cleo’s Bar in Sunderland was fined for illegally screening Sky Sports. Last Tuesday, Kenneth Craigs the Licensee, was found guilty in his absence of two offences related to the dishonest broadcast of Sky televised programming. In this case, Craigs televised Sky Sports football matches, with the intent to avoid payment of the applicable commercial subscription charge. Sky Sports is only available to licensed premises in the UK via a commercial viewing agreement from Sky Business.

Craigs, the designated premises supervisor of Cleo’s Bar was ordered to pay total fines and costs of £7,400.

FACT brought the criminal prosecution at South Tyneside Magistrates Court against the licensee, for showing Sky Sports to customers without having valid commercial viewing agreements in place. Business premises that show Sky broadcasts without a commercial viewing agreement risk similar action, or even civil legal action.

Source: broadbandtvnews.com

COUPLE SENTENCED FOR STREAMING PIRACY

A man and woman from County Londonderry have been sentenced for offences connected to the supply of illegal subscriptions for streaming services involving more than £700,000.

Cormac McGuckin and Maura McGuckin were sentenced at Omagh Crown Court. Cormac McGuckin, aged 38 years old, pled guilty to charges including participating in a fraudulent. He also admitted possessing articles for use in fraud. He also pled guilty to charges of converting criminal property, possessing criminal property and transferring criminal property. On Friday he was sentenced to four years, half to be served in prison and half on licence. Maura McGuckin pled guilty to converting criminal property on holiday-related expenses and car payments and possessing criminal property. The 34-year-old was today sentenced to a 12-month sentence, suspended for two years.

Speaking after sentencing, Detective Sergeant Robinson said: “After we were contacted by Federation Against Copyright Theft (FACT), a lengthy and complex investigation was conducted by Mid Ulster Criminal Investigation Branch detectives, along with local uniform officers.

“This was a brazen operation that ran for several years and as though it was a legitimate, legal business. The proceeds of which were used for multiple vehicle loans for high-end car brands, while there were also various large payments on holiday-related expenses.”

A confiscation investigation has been conducted by Economic Crime Unit with a view to seizing the defendants’ available assets. The amount to be confiscated will be determined at a future hearing.

Kieron Sharp, Chief Executive officer of FACT, said: “Today’s sentencing marks another victory in the ongoing battle against illegal streaming. This operation generated substantial profits at the expense of legitimate content owners, undermining the integrity of the creative industry.”

Sharp commended the PSNI for diligent efforts in a complex investigation.

Source: broadbandtvnews.com