Lenka Hrivnáková, Author at The Association of Commercial Television

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

NOVA TO RAISE AD PRICES BY 22% FOR 2025, CONTINUES TO SELL TO 15-54

The commercial policy of the Nova TV group foresees an increase in the price of advertising by more than a fifth in 2025.

The price of TV advertising on the Nova Group’s free-to-air channels will increase by 22% in 2025 compared to 2024, said Nova Group’s Sales Director, Honza Ulrych, in an interview with MediaGuru.cz. The increase takes into account both the growth in basic CPP and the increase in seasonal months as well as in prime time. This is the highest increase in advertising space in at least a decade. It confirms expectations of high growth in TV advertising prices, which started to increase significantly a year ago (Nova +18%).

“Next year, the price of TV advertising will increase by an average of 22%. We want to meet all our commitments and continue to fully service all advertising campaigns of clients who enter into annual or other commitments with us,” Ulrych said.

The basic buying target group will not change for 2025, so Nova will continue to market to the 15-54-year-old audience. Nova is also responding to excess demand by increasing prices in the seasonal months, specifically from February to November (excluding July and August). For the autumn months of September to November, the coefficient will thus reach the level of 1.55. The price will also increase if the spots are placed in prime time.

Advertising on Nova Sport pay channels will also become more expensive. The Voyo video platform will enter the new year without advertising. However, advertisers will have a new sponsorship offer in addition to the product placement option.

You can read the answers to the questions for Nova’s Sales Director below.

Questions for Honza Ulrych:

In the middle of the year, Nova announced that client interest in TV advertising persisted, which, combined with rising costs and the filling of advertising space, left no other option but to make TV advertising more expensive again for 2025. So how much will the price of advertising increase?

Unfortunately, the combination of rising costs in production and reduced advertising space leaves us with no choice but to increase the price level for the following year. For the next year, the price for TV advertising will grow by an average of 22%. We want to meet all our commitments and continue to fully service all advertising campaigns of clients who enter into annual or other commitments with us.

Are certain client groups advantaged in pricing?

We maintain a consistent approach to our clients in pricing. We are pleased that despite the difficult situation, we continue to win favour with our clients and the interest in our advertising inventory persists even in the autumn months. This helps us generate additional revenue which we can invest already this year in the production of new shows for next year. A strong programming lineup will ensure we offer quality inventory to our clients. We also believe that next year will show a slight economic recovery accompanied by higher demand for advertising space. We want to be prepared for this situation.

How would you describe the situation in the TV market? What will primarily influence it for 2025 and what did you have to take into account in your commercial policy for the next year?

Both in the Czech Republic and abroad, there are trends of continuous decline of linear television. The only way to reduce this decline is to increase investment in programming and thus attract Czech viewers to television screens with an attractive offer. In our commercial policy and prices, we have primarily considered the months with high demand. At the same time, we took into account the price adjustment for the lucrative primetime time zone.

Are you experiencing growing viewer interest in VOD services and content consumption via catch-up services in your business?

The viewer is becoming more and more demanding in terms of content. The interest in VOD platforms in the Czech Republic is still on the rise and we are happy to be able to offer quality programming on our Voyo platform. By working with the best producers, we are achieving great results. Voyo has already surpassed 850,000 subscribers in the Czech Republic and Slovakia and is still growing. Commercially, clients have the opportunity to engage with the formats on Voyo through product placement in our own shows.

Are you considering, like Prima, prohibiting the possibility of skipping ads in time-shifted viewing?

We recognise that this is one way to bring additional inventory and reduce pricing pressure for clients. We have been looking at this option for some time, but I cannot say more now.

How will the seasonal and footage coefficients change for 2025?

Seasonal coefficients are adjusted in months when we expect high demand and sell-out. The change will affect all months from February to November excluding the summer months of July and August. And as I mentioned, there will be an increase in the primetime price. We will maintain the footage coefficients.

In the summer, you admitted that you were considering a change in the target group. Will Nova continue to sell to the 15-54 group?

Our reasoning was to move our target group up slightly, but still with a strong gap between us and our competition. In the end, we decided to keep our attractive 15-54 target group for next year. We believe that this move will support client loyalty and maintain our competitive advantage.

It turns out that linear television is the primary medium of the middle and older generation. Wouldn’t it be a solution to expand the target group beyond 54 years of age?

We follow the trends, and we see that the population is aging and so is the TV population. Today’s 50-somethings live a different life than previous generations. We believe that they will gradually become a lucrative and creditworthy group for clients and will welcome the adjustment of the target group in the future.

What tools can Nova use to increase its advertising inventory? Is it realistic to come up with a new linear TV channel, for example?

We chose the route of promoting content on existing commercial channels. We are focusing a lot on strengthening the audience base of the main channel. We are planning several new shows for next year, in addition to the premieres of popular series and reality shows. We successfully managed the rebranding of TV Nova in August, and we are also planning to rebrand Nova Cinema in mid-October, which has a great track record and holds the position of the fourth most-watched station on the market.

We have received information that Nova might join the AdCross project. What do you expect from this move?

AdCross is undoubtedly an interesting project in the field of measurement, a topic that has been of interest to us for a long time. However, we cannot comment on potential negotiations.

How will advertising prices on Nova Sport pay channels change for 2025? And how will advertising on Nova Sport be sold?

Nova Sport stations have expanded their programming offer to include the European and Conference Leagues, for which we have prepared new commercial packages. Sport is still very popular among viewers and there is a great interest in it, especially when Czech teams and athletes participate in the world’s best competitions. Apart from upward price moderation, we are not planning any major changes in the business of Nova Sport.

Will Voyo remain without an ad layer in 2025?

Commercially, clients have the opportunity to participate in our own formats on Voyo through product placement. We are also considering the possibility of offering sponsorship there. We do not plan to offer advertising space on Voyo next year. Our goal is to reach one million subscribers in the Czech Republic and Slovakia first, and we believe we will meet it next year. It only makes sense for us to offer advertising space to clients at that point.

Source: mediaguru.cz

CZECH TV STATIONS THE BEST IN VIEWERSHIP IN SEPTEMBER

Czech Television stations achieved the highest share of the television market in September and also improved the most compared to last September.

The cumulative share of Czech Television (CT) stations reached 29.23% in the over-15 age group in all-day broadcasting this September, up 2.74 percentage points year-on-year. This was also the best result in terms of year-on-year comparison. This is according to official ATO-Nielsen data.

The Nova group remains the strongest in the 15-54 and 18-69 audience groups and in prime time in all major audience groups (i.e. including 15+). Compared to last September, the Nova and Prima groups have reduced their share. This is also true for the Barrandov TV group. On the other hand, Atmedia and Television Seznam continue to grow.

The highest year-on-year growth among the individual stations was recorded by the news channel CT24 (flood situation), whose share rose to 6.74% in September (+2.7 pp.). CNN Prima News (+0.7 ppts. to 2.49%) and CT1 (+0.6 ppts. to 15.20%) in particular increased their shares. The figures are valid for the 15+ group.

The most-watched September programmes were all three premiere episodes of the series Docent II (CT1, the most successful with 1.43m 15+ viewers), followed by the rerun of Police Modrava (Nova, 1.24m) and the new series of Kriminálky Anděl (Nova, 1.2m).

Source: mediaguru.cz

PRIMA WILL OFFER VIDEOS AND ADVERTISING REVENUE TO THE WHOLE MARKET, LAUNCHES PRIMA PLAY

Prima Group is launching a library of videos that its partners can use for their own media. Prima will pay them 30% for embedding the video and the ad on their site. Prima describes the new product for selling video advertising as revolutionary.

The Prima group has come up with a new product in the field of video advertising that brings the possibilities of monetizing video in the Czech Republic in a way that has not been realized before. Under the name Prima play, it is launching a video library, which it is making available to the entire market. Interested online media operators will be able to select from this library and embed any videos on their websites. As a condition of placement, they will display a video ad along with the video, which Media Club will embed in the video. However, the Media Group will share the advertising revenue from the sale of the video ad with the operators with a 30% return.

By agreeing to place the videos on other websites on the Czech Internet, the Prima Group will secure the necessary inventory it lacks. Media operators will have free access to the video library and will receive 30% of the total video advertising revenue from Media Club. “It’s a win-win solution. We haven’t found a single disadvantage that the new Prima Play product has,” says Jan Chadek, commercial director of Media Club’s radio and online division. The project was created in his division, and has been developed over a long period of time together with Jan Čadek by Hung Nguyen, deputy director of online and director of online technology at Prima Group.

The Prima Play Video Library will launch on Tuesday October 1. “CNC is the first big partner and we have already been working with Martina Říhová in the field of radio. The videos will not only be subscribed to, but the principle of the agreement is the possibility of inserting videos into the video library. In return, they will also receive 30% of the proceeds. Prima play is thus open to both creators and subscribers of videos. They can choose whether they want to supply videos or subscribe or both at the same time. If they both upload and download videos, we keep 40% for monetization and the costs associated with maintaining the library,” explains Jan Čadek.

On the day of launch, the video library contains up to 15,000 videos of varying lengths from 30 seconds to 40-minute videos. They are thematically focused on different genres and areas – series, cars, cooking, show business, lifestyle, news, etc. “Within the Prima Group, a number of videos are produced daily across categories. Partners select videos they are interested in from the library and embed them on their site using embed code. They will be presented with a player that will also play the embedded ad,” says Hung Nguyen. The video ad format displayed will be an instream ad. To recommend videos, Prima uses an AI tool that evaluates video reach data, allowing operators to continuously monitor their performance. According to Nguyen, the market development is going more towards centralisation, where systems are closing in. “We, on the other hand, are trying to decentralise them. We believe that the content we create will save media houses and partner sites production costs. And above all, time. We shoot, edit and offer it on one platform,” he adds.

Prima Group expects that the new product may be of great interest among operators. “It could be the majority of the market. We see that clients and agencies are demanding video advertising and there is interest in video. But not everyone has the money to produce videos. We offer them, and we still share the revenue,” says Jan Čadek.

Source: FTV Prima

“We are open to cooperation with almost anyone. Our clients at Impression Media were the first to receive our offer,” adds Hung Nguyen. Impression Media has been owned by Media Club, the Prima group, since last year.

Within Prima’s online portfolio, the video advertising format accounts for the highest portion of the division’s total revenue. However, Prima has been struggling to sell out ad space on the websites it operates and for which it sells advertising. On the other hand, it believes that the new product can also help other media houses with monetisation. “We think we are bringing a revolutionary product. Also because online houses, except perhaps for Seznam, will welcome any added content value with open arms. The additional sources of money are just as interesting,” concludes Jan Čadek.

The Prima group is the third largest player on the Czech Internet with 6.7 million subscribers, according to NetMonitor data from August. RU. In terms of time spent with video, it is the second strongest entity, with its key product being its online platform prima+, whose monthly traffic exceeds 4 million. RU.

Source: mediaguru.cz

THE ASSOCIATION OF COMMERCIAL TELEVISION HAS ENTERED INTO COOPERATION WITH THE MEDIA AGENCY GROUPM AND ITS RESEARCH PROJECT MPANEL

Since this August, the Association of Commercial Television (AKTV) has partnered with GroupM Czech Republic from the WPP group. Thanks to the exclusive cooperation with the mPanel data source, AKTV’s website ScreenVoice.cz will publish monthly interesting articles exploring television as an advertising medium and the viewing behaviour of Czech audiences.

The Association of Commercial Television, which celebrated its 7th anniversary this year, has established an exclusive cooperation with the media agency GroupM. Thanks to its mPanel research project, AKTV will publish interesting articles every month on the ScreenVoice.cz website to reveal the hidden connections associated with watching TV and put Czech viewers and consumers in an unexpected light and in a context you might not expect.

“We are very happy about our partnership with the GroupM communication group. Thanks to the data from their mPanel research project, we can bring our readers interesting facts (not only) about TV viewers and show that TV is an effective medium for advertisers that can reach a wide audience with diverse interests. Thanks to this cooperation, ScreenVoice will gradually publish a series of interesting articles with the latest facts from the Czech environment,”

says Klára Brachtlová, President of the Association of Commercial Television.

The mPanel continuous research project is conducted in cooperation with NaDa Research. It maps the behaviour of Czech consumers and provides various socio-demographic surveys in addition to answers to questions about the media behaviour of the Czech population. It is an important data source that reveals new trends, responds flexibly to market and consumer changes, and provides GroupM clients with relevant information needed to plan their advertising campaigns.

“The cooperation with AKTV and the ScreenVoice website is another of the projects we want to use to hold a mirror to the market with GroupM. We see the partnership as a way to educate and foster discussions about topics that may not currently be in the spotlight but should not be forgotten. All of them are important yet often overlooked topics. So, you can look forward to a more or less provocative approach, not unlike the Media Bubbles project on the website of the same name, which we have also produced,”

says Ondřej Šimůnek, CMO at GroupM.

Thanks to this collaboration, Screenvoice.cz readers will have access to a series of topical and engaging articles highlighting unexpected contexts that will not only entertain but also provide a different perspective on TV viewing habits. The articles will be published every month, the first two are already available on the ScreenVoice.cz website. Read about what ”watching TV” actually means for viewers or how people who travel with a travel agency and those who do not use a travel agent differ in media consumption.

About GroupM

GroupM Czech Republic is part of WPP, the largest communications group in the world. It makes media investments for clients through EssenceMediacom, Mindshare, Wavemaker, and digital agency GroupM Nexus, which is engaged in programmatic buying of digital advertising. GroupM’s portfolio includes dedicated departments in Data & Analytics, Technology, Investment, and Digital Services. GroupM manages and administers media investments and achieves the most favourable terms for its clients through consolidation and expertise. It also invests in the development of technologies that, combined with the company’s data know-how, help create products and services that keep up with the latest developments in marketing communications in all its forms.

About the Association of Commercial Television (www.AKTV.cz)

The Association of Commercial Television represents the most important commercial broadcasters in the Czech Republic. Its aim is to defend, support, and promote their common interests. AKTV actively participates in the preparation of national and European legislation related to commercial television broadcasting, personal data protection, journalistic work, or commercial communications. It is a partner for public authorities, EU institutions, and other stakeholders. One of AKTV’s main activities is to protect its members’ copyrights and fight against internet piracy. In addition, AKTV is active in promoting television as an advertising medium. To communicate with advertisers and media agencies, it runs the information website ScreenVoice.cz and regularly organises industry conferences.

About ScreenVoice (www.ScreenVoice.cz)

On the ScreenVoice.cz website, readers find inspiration, trends, research, and news about what is happening in the television world in the Czech Republic and abroad. Each month is dedicated to one topic, for which original content is prepared. Readers can expect a magazine reading about the first-ever TV advertisement, a Christmas or Valentine’s Day special, or reflections on advertising during the COVID-19 pandemic or the war in Ukraine. The topic of the month is complemented by a calendar of industry events, a glossary of terms from the world of total video, or the popular Myths and Facts about TV section, which provides a range of data to debunk the most common myths about TV. A separate category is the archive of AKTV events, where visitors can find all the recordings of performances and speaker presentations from the last six years.