English Entertainment
‘We will bend over backwards to be user friendly to new clients from India’ : Natpe president, CEO Rick Feldman
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Natpe, the US-based media marketplace organiser, is now turning its sights toward the critically important markets in South Asia. It is working with a Mumbai-based team of Murtuza Kagalwala overseeing business development to raise its profile with Indian buyers and sellers of content and to attract more Indian and Asian attendees to both Natpe Miami and Natpe Budapest.
Indiantelevision com‘s Ashwin Pinto caught up with Natpe president, CEO Rick Feldman to find out about Natpe and what it offers Indian companies. 
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Could you talk about the services that Natpe offers the media and entertainment industry?
Now, in Miami, a major international destination, Natpe is a catalyst in the content revolution – providing thousands of chances to make a deal. Celebrating over 45 years of service to the ever-changing international televisionindustry, Natpe continues to redefine itself and the services it provides to meet the needs of its members. Today‘s industry encompasses more than ever before and Natpe has remained flexible in its effort to encourage and support the progress of the industry and all of the platforms it now serves.
What has remained constant is Natpe‘s commitment to keeping the industry appraised of the changes occurring daily in the global media environment.
Natpe implements its mission by providing the multiplatform video industry with education, networking, professional enhancement, vibrant business environment through Markets and technological guidance through year-round activities and events. The organisation also offers a full complement of online services including access to a database of industry executives to anyone interested in learning more about the digital video industry. |
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How has Natpe expanded on its marketplace Content First? |
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What prompted the move from Las Vegas to Miami and how has this helped?
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What is the theme of Content First next year and how is it different from previous years? |
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What sort of participation is expected for next year‘s event in Miami?
Many of the sellers that are at Mipcom are also at Natpe||Miami, but we have more content being bought / sold in the US / Canada / Mexico and Latin America. We can‘t say what content is most in demand, as each platform has unique needs. But, at Natpe both packaged content and format content is bought and sold.
As we are an international, multiplatform market, we have many people from the ad and digital world at Natpe. So in addition to buyers and sellers, we have producers/agents and all matter of creative/funding/and distribution types at our market. |
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Who are some of the big players who will be present?
Traditional Entertainment: ABC, CBS, Comcast, Discovery, FremantleMedia, Fox, Globo, Hearst, Lionsgate, MGM, NBCUniversal, Shine Group, Televisa, Univision, Venevision, Warner Bros. New Platforms: AOL, Google, YouTube, Yahoo! Investment: American Express, Nomura Securities, Credit Suisse Agents: APA, CAA, ICM, WME, UTA Ad Agencies: Carat, Digitas, Group M, Mediaedge:cia, MediaCom, Ogilvy New Media: Facebook, Demand Media, Hulu, iTunes, Netflix , SeamBI, Stickam, Tremor, YuMe Technology: AT&T, Adobe, HP, Intel, Microsoft Electronics: LG, Motorola, Panasonic, Sony Research: ComScore, MediaLink, Nielsen, PricewaterhouseCoopers, SNL Kagan, Rentrak Global Brands: American Express, Audi, IKEA, P&G, Pepsi Co., Saban Brands, Subway, Wal-Mart
The list above is just a representation of the attendees, where Natpe is expecting over 5000 attendees from all over the world in 2012. Attendees from North America, Latin America and South America, Europe, Asia and other parts of the world will be seen for various engagement purposes like joining, attending, exhibiting, advertising, networking, experiencing and sponsoring at Natpe.
There are buyers here in the States that will not be at Mip and for the Indian market we think that Natpe||Miami is a better fit than the two events in France. |
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Could you give an idea of the effort and time it takes to organise each edition? How far ahead do you have to plan?
Whether it‘s booking speakers, working with programme distributors to book their space or developing new partnerships with media around the globe or keeping our web sites fresh and up-to-date, there is always something to do. |
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To what extent have you and your clients been affected by the on-going economic downturn? The US is one of the worst hit countries along with Greece and Spain.
I think that so far the economic downturn does not seem to be hurting the transactional video market place. I am not sure why, as one would think it might. Our numbers are consistent with last year, so for now, so far so good!
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How is digital impacting the business and what steps has Natpe taken to address this? |
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What is the USP of Content First vis-a-vis other markets like Mipcom, Nab and ATF?
Natpe||Miami is the only global marketplace for the buying and selling of content that takes place in the US each year. Nab is not a marketplace for those involved in producing content. It is instead a place to go to see recent advances in the technology of broadcasting and for channels to purchase equipment.
ATF is primarily a market in Asia for Asia – as we have stated Natpe is the only global marketplace based in the US that brings buyers and sellers from around the world. |
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How detailed is the seminar at Content First?
The focus is on the creation/distribution/funding of original content. Most of the speakers are from the US. However we also have speakers from Latin America and Europe on the panels. |
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Could you talk about the importance of India for Natpe?
From an Indian broadcasters‘ point of view, they will meet all the world‘s content owners and will learn how broadcasters all around the world are operating in this creative and economic climate. There is also an advertising and digital track that will provide ideas about how best to monetise content.
The idea of the market is to see what is happening around the world, especially in the US/Canada/Latin America for the rest of the world. The South Asian market is a small but growing part of our business. But India especially has so much potential here and around the world because of your production infrastructure and common language.
The idea of the market is to see what is happening around the world, especially in the US/Canada/Latin America for the rest of the world. |
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What is the strategy going to be to create awareness in India for Natpe?
Contentino Entertainment is a content management and acquisition company owned by Murtuza Kagalwala. Murtuza had approached us a few months ago via email, and impressed us well. India is a big place and far away, and Contentino will help us extending our relationships with content sellers, buyers, content aggregators and other interested audiences in the country.
With having someone like Murtuza with his vast experience in this digital field, talking us up is a positive for us as he is there and well respected. |
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Some Indian broadcasters go for the LA Screenings. How will a presence at Natpe as well benefit them?
For Indian/English content, I would think that it would be wrong to ignore the largest TV marketplace based in the US. We have the only market place in the largest market in the world and deals get done. You never know what you miss when you don‘t come. It is THAT meeting that you have with someone you didn‘t even know existed that is the magic at Natpe. |
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In the past what sort of participation has Natpe seen from India and what kind of business growth are you looking for from here?
And with respect to business growth, India as a country, for sure, we believe, has immense potential for its ever growing innovatively conceptualised content globally, where the fraternity attending, exhibiting have the best of opportunities to meet representatives from varied platforms from across the world, utilising our arrangements available to facilitate the best deals during these three days. |
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You also have Natpe Budapest. Will you be looking at doing an event in Asia for the Asian market? |
UK: The aerial is losing its grip. As broadband becomes the default way Britons watch television, the UK is edging towards a decisive, and divisive, question: should Freeview be switched off by 2034? The issue, highlighted in reporting by The Guardian, has exposed deep fault lines over access, affordability and the future of public service broadcasting.
For nearly 25 years, Freeview has delivered free-to-air television from the BBC, ITV, Channel 4 and Channel 5 to almost every corner of the country. Even now, it remains the UK’s largest TV platform, used in more than 16m homes and on around 10m main household sets. Yet the same broadcasters that built it are now pressing for its closure within eight years.
Their case rests on a structural shift in viewing. Smart TVs, superfast broadband and the Netflix-led streaming boom have pulled audiences online. Advertising economics have followed. By 2034, the number of homes using Freeview as their main TV set is forecast to fall from a peak of almost 12m in 2012 to fewer than 2m, making digital terrestrial television, or DTT, increasingly costly to sustain.
But critics say the rush to switch off risks abandoning those least able, or least willing, to move online.
“I don’t want to be choosing apps and making new accounts,” says Lynette, 80, from Kent. “It is time-consuming and irritating trying to work out where I want to be, to remember the sequence of clicks, with hieroglyphics instead of words. If I make a mistake I have to start again.”
Lynette is among nearly 100,000 people who have signed a “save Freeview” petition launched by campaign group Silver Voices. She fears the government is about to “take [Freeview] away from me and others who either don’t like, can’t afford, or can’t use online versions”.
Official figures underline the fault lines. A report commissioned by the Department for Culture, Media and Sport estimates that by 2035, 1.8m homes will still depend on Freeview. Ofcom’s analysis shows those households are more likely to be disabled, older, living alone, female, and based in the north of England, Wales, Scotland and Northern Ireland.
Freeview is owned by the public service broadcasters through Everyone TV, which also operates Freesat and the newer streaming platform Freely. After two years of review, DCMS is expected to set out its position soon, drawing on three options proposed by Ofcom: a costly upgrade of Freeview’s ageing technology; maintaining a bare-bones service with only core PSB channels; or a full switch-off during the 2030s.
The broadcasters have rallied behind the third option. They argue that 2034 is the logical cut-off, when transmission contracts with network operator Arqiva expire. By then, they say, the cost of broadcasting to a dwindling audience will far outweigh the returns from TV advertising.
Ofcom agrees a crunch point is approaching. In July, the regulator warned of a “tipping point” within the next few years, after which it will no longer be commercially viable for broadcasters to carry the costs of DTT.
Others see risks beyond economics. Questions remain over whether internet TV can reliably deliver emergency broadcasts, such as the daily Covid updates, in the way that universally available DTT can. The UK radio industry has also warned that an internet-only future for TV could push up distribution costs and force some radio stations off air if PSBs no longer share Arqiva’s mast network.
“It is a political hot potato,” says Dennis Reed, founder of Silver Voices, who says he has “dissociated” his organisation from the government’s stakeholder forum, which he believes is “heavily biased” towards streaming.
The Future TV Taskforce, representing the PSBs, counters that moving online could “close the digital divide once and for all”. “We want to be able to plan to ensure that no one is left behind,” a spokesperson says, adding that rising DTT costs could otherwise mean cuts to programme budgets.
The numbers show the scale of the challenge. Of the 1.8m Freeview-dependent homes projected for 2035, around 1.1m are expected to have broadband but not use it for TV. The remaining 700,000 are forecast to lack a broadband connection altogether.
Veterans of the analogue switch-off, completed in 2012 after 76 years, recall similar fears of “TV blackout chaos”. Around 6 per cent of households were labelled “digital refuseniks”, yet a targeted help scheme and a national campaign, fronted by a robot called Digit Al voiced by Matt Lucas, delivered a largely smooth transition.
This time, the BBC is less keen to foot the bill. Tim Davie, the outgoing director general, has said the corporation should not fund a comparable support programme for a Freeview switch-off.
Research for Sky by Oliver & Ohlbaum suggests that with early awareness campaigns and digital inclusion measures, only about 330,000 households would ultimately need hands-on help ahead of a 2034 shutdown.
Meanwhile, viewing habits continue to fragment. Audience body Barb says 7 per cent of UK households no longer own a TV set, choosing to watch on other devices. In December, YouTube overtook the BBC’s combined channels in total UK viewing across TVs, smartphones and tablets, albeit measured at a minimum of three minutes.
That shift may accelerate. YouTube has recently blocked Barb and its partner Kantar from accessing viewing session data, limiting transparency just as online platforms consolidate power.
“When the government chose British Satellite Broadcasting as the ‘winner’ in satellite TV it was Rupert Murdoch’s Sky instead that came out on top,” says a senior TV executive quoted by The Guardian. “There already is such an outsider ready to be the winner in the transition to internet TV; it is YouTube.”
Freeview’s future now hangs on a familiar British dilemma: modernise fast and risk exclusion, or protect universality and pay the price. Either way, the aerial’s days as king of the living room look numbered.
