More positive topics or tips on how to cope with the rising cost of living. That, too, is a recipe for responding to people’s frustration with the overabundance of negative events, according to TV Nova news director Kamil Houska.

Television news coverage in recent years has been marked primarily by events related to the coronavirus pandemic. This February, the war in Ukraine became the main topic. Both incidents have affected both the way television news is covered and the media behaviour of viewers. The steep interest in information has been replaced this spring by the strain of the overload of negative events, accompanied by a partial flight from television coverage. “On the other hand, there is a growing interest in news on the Internet and we see that TV and Internet news are sought out by different groups of viewers,” says Kamil Houska, director of TV Nova’s news department, who believes that viewers will return to TV news in the autumn. He sees the future of news in its availability on different platforms for different groups of viewers. “We are already fighting for young people to stay with us when they get older,” he says, pointing out that Nova’s TikTok account, which is aimed at the younger generation of “teenage” users, has been very successful.

TV news had very strong themes in the last two years, first it was covid, and since February this year it has been the Russian aggression in Ukraine. These are very serious topics that can be stressful for viewers. How has that affected interest in your news coverage?

We saw that the interest in information was high during the time of the covid pandemic. The fact that people were forced to spend time at home contributed to this, and as a result, TV ratings increased. This was the case for the whole market, not just our news segment. But now the situation is different. In the last two to three months there has been a decline in news viewership across the board. Leaving aside the fact that we are in the middle of summer, when TV ratings are always lower, the decline, according to our analysis, is linked to the fact that some people have deliberately crowded out news. We’ve talked to psychologists and sociologists about this, and they believe that after two years of people being stressed by covid and then the war in Ukraine, by the price hikes or energy security, they’ve tried to cope with the onslaught by running away from the news. For example, we’ve lost a few women in the newsroom and gained a few men. Sociologists believe that this is related to the fact that men in stressful situations tend to deal with further developments and the future, while women, at a certain stage when the stress is too much, feel more existential fears and try to push the negative things out. So now people are running away from the news because the news is negative and what is happening is negative.

Have you evaluated the need to respond to that kind of viewer behavior?

We have responded to it, of course, even though we cannot control the fact that negative things are happening that need to be reported. But we can influence the mix of news and what we emphasize. Rather than scaring people that price hikes are coming, we include stories where we try to give consumer advice and tips on how to deal with the situation. For example, we try to encourage people to save for top-ups so they are not caught out by high arrears in the autumn. We are also trying to look for more positive themes. The world is not black and white and it is not just full of bad things. We’re taking more notice of stories of interesting people and, for example, now in the summer we’re adding a travel window to every broadcast, tips for trips to give people a bit of a breather. We’re not going to change this era, but we’re seeing a lot of frustration in the community. That’s why we think people should get not only the necessary information about what’s going on tonight, but they deserve a picture of a more hopeful future for the world.

How have these two extraordinary events reflected in your work? What have you had to do differently or in a new way?

Every cloud has a silver lining. It taught us to react quickly, it exposed weaknesses we had that we were not prepared for in the long term. We lacked experience with a war situation this close to Europe. The trips of reporters with soldiers to Afghanistan or Iraq were different, because in Ukraine our reporters moved alone and without military help. We also lacked a number of things – for example, we did not have enough bulletproof vests, helmets, etc. We realised that we should introduce training for reporters in crisis areas, and we also saw how important psychological help was. We have learnt our lesson and as a result we are prepared for similar situations in the future.

I will come back to the fact that some viewers have started to avoid the news. What options do you have at that point? It’s hard to hide what’s going on…

We can’t really do that, but we have reduced the number of news pieces from Ukraine, for example. In the beginning we used to have ten to twelve of them, but now we have one to two most important news from Ukraine in one evening session. And there are days when we don’t cover Ukraine at all because there are no significant developments there. The interest of the audience is also not the same as in the beginning. It does not make as much sense to broadcast four or five reports every evening about shooting and bombing. People know that the war is on going, and if there are no tangible developments, I do not see the point. On the other hand, we are looking at Ukraine from other angles. We try to bring information about the integration of Ukrainians who have come to us, we bring news about how they are learning Czech or how their integration into the school system is being dealt with. We also try to help Ukrainians – for example, we still have a service for them in Ukrainian on so that they can get all the information they need in their native language.

„Rather than scaring people that the price hikes are coming, we include reports where we try to give them consumer advice and tips on how to deal with the situation.“

Even before the war in Ukraine broke out, you were focused on sending your staff to Brussels. The war in Ukraine has probably overshadowed this, but how has the Brussels experience worked out for you?

The war in Ukraine has of course overshadowed everything, even covid seems to have ceased to exist. The whole world was interested in Ukraine. But we have had an excellent experience with the establishment of our headquarters in Brussels. At first we were a little worried about whether we would have enough topics. But the fears have not been confirmed and our staff is able to bring interesting topics from Brussels every day. We see this as a good step, because more and more important decisions are being made in Brussels. It has also helped us from the point of view of European politicians. By being accredited in Brussels, they see us as a relevant media outlet. It has opened the door to a number of interviews that we would not have been able to get before. Our aim is to report in an understandable way on what is happening in Brussels, and I believe we are succeeding.

Are you thinking of having a permanent Brussels correspondent?

We have never said for how long we are sending a staff to Brussels. We wanted to open up this reporting post. Coincidentally, it coincided with the Czech Presidency. But we didn’t say we were only going to Brussels for the duration of the Czech Presidency. That is not related to this. We now have a staff in Brussels and we are not thinking of abolishing it. It is not time-bound.

As far as Ukraine is concerned, you even had several reporters there. What is the situation today?

At one point we had up to three different crews in Ukraine, but now we have none. Around May, we decided that the war had reached a stage where we didn’t see any reason to keep the crews there.

How did you select the teams?

Each of our reporters could choose whether or not they wanted to go to the war zone. We didn’t force anyone, participation was purely voluntary. But I was pleasantly surprised by how many of them expressed interest in going to Ukraine. Perhaps seemingly surprisingly, women were among the first volunteers. It was essential for us as a TV organization to take good care of our people, whether it was with above-standard insurance, remuneration, or the facilities we had built for them. For someone with no experience, it was all done very professionally. And again, I must say that the way in which the crews of our television station and Czech Television treated each other was exemplary. I appreciated the fact that competitive rivalry goes aside in such situations and that we can help each other.

The things you had to do in connection with sending crews to Ukraine were – from what you have already indicated – quite complicated…

It was complicated and it was expensive. We needed to equip our people with filming equipment, bulletproof vests, helmets, we had to find large quantities of fuel in jerry cans, satellite phones or large cars in which you’d be able to sleep. Just to make the crews as self-sufficient as possible. It cost us several million crowns. We were also worried about what might happen, but now I have to say that I am not even aware that we had any problems – except for the time when our staff was detained by the army, but that was resolved, which is something that you cannot fully prepare for in advance.

Did you have to consult anyone about what things to provide for the staffs in Ukraine?

Partly. We have some experience because some of our reporters went to Iraq and Afghanistan, and I myself was in Bosnia as a young journalist. We had some idea of what needed to be provided and we also consulted military experts. But the rules that we set were also important. For example, the obligation to keep us informed of everything that was happening. Or knowing that you could come back home at any time and that there was no shame in that. Everyone knew that if they called me to say they wanted to come back, I respected that. Mental wellbeing is probably the most important thing to getting through this job.

Do you envisage sending crews to Ukraine again?

We are ready for that, but we are waiting for some impulse that will change the development fundamentally. It could be the end of the war and peace negotiations or a more massive offensive or possibly other changes in Ukrainian society. But at a time when much of the material is available through agencies, it makes no sense to keep crews in Ukraine. They would not have anything to produce. The stories and situations repeat themselves, and it makes no sense in the long run for commercial television to keep its crew on the ground for a long time in these circumstances. But if necessary, we are ready to go back within 24 hours.

Let us move on to other topics. Last year you started broadcasting from a new news studio. Are you happy with it?

We’re happy, we’ll tweak a few things, but it’s just small details. The news studio is working and now we are planning to invest in more studios. We also introduced a new sports studio before the summer and more will follow.

The studio for TN Live internet news was also newly established last year. In addition to the TV show, you are also expanding your internet news coverage. Do you plan to continue to do so?

I have long been an advocate that in a small country like the Czech Republic, building a purely news TV channel for commercial television is expensive and not effective. Its yield is, in my opinion, insufficient. That’s why we decided to go with the internet broadcast of TN Live. We are also linking it to a hybrid TV channel, from which you can click through to the live news feed. I think this is the future of news. It is more efficient and cheaper news, but at the same time it is produced in television quality and the viewer can watch it in situations where there is something to broadcast.

So you are still not considering a news TV channel?

We are not.

But does an internet news channel combined with a TV news channel have such an audience impact?

It’s not as if TN Live boosts TV viewership or vice versa. But it reaches a different group of people. When I talked about the fact that all TV stations saw a drop in evening news in May, on the other hand, we see that the traffic to our website is increasing tremendously, and thus the viewership of the TN Live internet news. It’s different types of people that consume news. Our basic philosophy is to create news and deliver it in appropriate ways to different groups of viewers or readers. We put some on TV, some on the internet, some on social media. That’s the future. We just tailor the reporting we produce to where people receive it. That’s how we reach different audiences and increase the overall impact of the news.

But there’s no telling what the cumulative impact is…

It’s unfortunately difficult. A large number of viewers still watch TV, and with the internet, people change throughout the day and don’t watch news all day. Someone comes to the web 20 times a day and spends 10 minutes there. You can’t do a simple summation. But nowadays, it is not so important whether they see a story on TV, on the internet or on social media. Young people consume most news only on social media. If we are not on the networks, we will lose part of the audience because these people will not watch TV in the evening. Then there is a group of people who cannot function without television. There is another group that listens to the radio during the day, goes on the web and keeps up with the basic events of the day. Yet, in the evening they turn on the TV news because they are looking for a news summary of the day. Television news has the biggest impact on people despite the huge growth of the Internet.

Do you tailor the content and format of your coverage to the types of social media?

We tailor our posts to each social network. For example, we don’t expect the youngest generation of 15-year-olds to watch TV news in the evening. At the same time, we don’t want to lose the younger generation. That’s why we prepare news for them on TikTok, for example. When we started this, many people thought it was pointless. It’s not true. Yes, it’s a quick, short message, but we have hundreds of thousands of views on some of them. It’s not even true that young people aren’t interested in news. They’re just interested in something, maybe in a shorter, more entertaining way. Every social network is relevant for us to create news on. We’re successful with younger viewers on TikTok, and we believe that if we work with this generation, they’ll find us later in life – whether it’s online with TN Live or on TV with Television News. We are already fighting for the young to be with us when they are older.

„We’re successful with younger viewers on TikTok, and we believe that if we work with this generation, they’ll find us later in life – whether it’s online with TN Live or on TV with Television News.“

Are you preparing special broadcasts for the Senate and local elections?

We are preparing pre-election coverage for the Senate and local elections, but these are elections that are less central, so we will not focus on them as intensively as the parliamentary elections. The number one event for the second half of the year is the presidential elections, where we are preparing a number of surprises.

Finally, how do you estimate the development of audience interest in TV news in the second half of this year?

I believe that the decline in viewership that came in April and May this year is temporary. In June, the ratings started to improve, but then the holidays came. I think people will come back to TV news in the autumn.



CME Media Group CEO Didier Stoessel is one of the most influential figures in the domestic media business. The former investment banker with experience at HSBC and Merril Lynch is the top executive chosen by the PPF Group two years ago to bring the newly acquired CME Media Group back to the limelight. And Stoessel hasn’t held back at all – he has pulled creative producers and developers on his side („Having good content and a way to deliver it – that’s the name of the game these days“), hired triple the number of studios and is spending hundreds of millions on content production. On top of that, he has “revived” the then-stagnant Voyo, an online video library project, which he has made into one of the distinctive pillars of its strategy and which is now generating hundreds of millions in revenue a year. However, Stoessel still faces a number of challenges: competition in the market („Even though our biggest competition is sleep – that’s six to seven hours a day when you’re not consuming our content“), the economic slowdown or the steady decline in viewership of linear broadcasting. How does one of the most important Television executives in the Czech republic plan to deal with them?

Difficult times are coming to the Czech republic, with inflation climbing to 20 per cent, real wages falling and a recession on the horizon. What does this mean for Nova?

Of course, we are looking around, we know what is happening. Difficult times are coming, and they are not just affecting us, the TV companies, but most other sectors as well. For us, it’s specific in that households have a set entertainment budget and the moment that budget comes under pressure, we feel it.

Can you see in your numbers yet that people are cutting back?

It hasn’t fully manifested itself yet, but it will come as households are exposed to more and more costs. But even though we’re in for tougher times ahead, I don’t believe they’re going to change the overall trend – which is that the proportion of people looking for quality video content is increasing. Yes, there may be a slowdown, a hiccup, and we need to prepare and adapt, but that doesn’t mean we stop doing our job and offering people our content.

Plus, the good news is that in terrestrials, Nova’s broadcasts are free, so the bulk of our content can be watched by most households.

When Netflix presented its latest results, it showed that it had lost a million subscribers. As someone who’s building a similar service in the Czech Republic – does that worry you?

Our positions are different. Netflix is in 70 percent of households in the U.S. market, and it’s clear that if you have that kind of penetration and you’re newly competing with a growing number of other streaming companies, there are going to be fluctuations.

But the situation is different in the Czech republic and Slovakia. The penetration rate of SVOD services here is only around 25 percent, so I don’t think we’re going to see such a dramatic decline. On the other hand, low penetration means a great opportunity and I am convinced that, whether it takes three years or five years, we will eventually catch up with America and Western Europe in this respect.

SVOD: „Subscription Video on Demand“. It is an online video library to which the viewer subscribes and can then watch video content. These are services such as Netflix or Voyo.

AVOD: „Advertising-based video on demand“ or video on demand that is monetised by advertising. The viewer does not pay to watch the online video, but must watch an advertisement to watch it. This is the case, for example, with YouTube.

Linear broadcasting: „Live“ broadcasting as we know it, with programmes following each other organically, with a clear start time. The viewer adapts to the programme.

NON-LINEAR BROADCASTING: On-demand content that the viewer can watch when it suits them – for example, SVOD or AVOD. The programme adapts to the viewer.

Voyo’s SVOD service is a bet on the future for Nova, making it clear that you want to be at one million subscribers in three years. Are online video services like Voyo or Netflix the future of television?

It may be fashionable to think so now, SVOD is in the spotlight and these services are growing like mushrooms after the rain. But SVOD is only one part of the answer. What I’m really interested in is coming up with the ideal mix of channels through which our viewers can watch premium video. I want to create a robust, resilient model, a Nova Content Hub of sorts, where everyone chooses a service according to their preferences: some will watch linear TV, others SVOD, others AVOD, and still others will prefer formats like HbbTV.

My goal is not to focus on a single channel in this ecosystem, but to deliver content on each of them: each of us is different, and each of us watches TV differently – my job is to have all of these channels covered – and to be present in as many homes, tablets and mobile phones as possible.

If we can still focus on Voyo for a little bit longer – the trend around the world today is to introduce “ad-supported SVOD” subscription models. HBO and Hulu offer them, Netflix and others are testing them. Is this an approach that makes sense from your perspective?

The reason Netflix and others are introducing “ad-supported subscriptions” is simple – if you have the aforementioned 70 percent market penetration and you want to capture another 10 to 15 percent of households, you need to introduce a cheaper subscription model through which to lure new customers.

And that’s now happening, although the reintroduction of an ad-supported SVOD service will be interesting to watch in practice. Personally, I’m not at all sure that this ad-supported subscription model will be rolled out in Western markets, especially the premium market in the US. By trying to pick up 10 percent of new subscribers, Netflix could also cannibalize the 20 percent of current subscribers who currently pay full price. Conversely, this model will almost certainly be introduced in Asia, and in India, for example, Netflix could gain tens of millions of potential subscribers from this.

But don’t you foresee a similar model for Voyo?

We don’t. Voyo is in a different situation, it’s a premium product where original content is constantly growing: we currently have 35 scripted projects in development, pre-production or production for Voyo. When I joined CME two years ago, we had three such shows.

Isn’t this programming offensive coming at the expense of linear television?

We’re managing both – we’re developing a number of new shows for linear as well. We’ll unveil the fall programming schedule this week, and I think viewers will be surprised. Again, I’ll compare it to the time when PPF acquired Nova – it was a time that I’ve described before as a sleeping giant, there wasn’t enough development or new ideas.

I said then that my mission was to “reinvent Nova” – and now we are in the middle of that process. Storytelling, the content we produce, is key. In the TV business, you can either make people laugh and cry, or you won’t be successful. It’s that simple. That’s why half of my time is focused on developing new content, we have a strong creative team that perhaps exceeds the capabilities of Czech Television.

In the TV business, you can either make people laugh and cry or you won’t be successful. It’s that simple.

Full article for subscribers on



The HbbTV Association, a global initiative dedicated to providing open standards for the delivery of advanced interactive TV services through broadcast and broadband networks for connected TV sets and set-top boxes, is pleased to invite entries for this year’s HbbTV Awards.

The contest takes place as part of the 10th HbbTV Symposium and Awards on November 9-10, 2022 in Prague, jointly hosted by the HbbTV Association and Czech Association of Commercial Television (AKTV). The HbbTV Awards will be held for the fifth time, showcasing and celebrating best practice and excellence in the HbbTV community.

The providers of HbbTV applications and services are welcome to submit their entries through this online form; the website also details the terms and conditions of the free competition. There are six awards and one judges’ award.

The categories for the HbbTV Awards 2022 are:

• Best use of HbbTV for advertising-based solutions
• Best tool or product for HbbTV service development or delivery
• Best technology innovation in an HbbTV product or service
• Best interoperability and conformance tool
• Best marketing or promotion of an HbbTV-based service
• Best individual contribution to the HbbTV Association
• Judges’ award “HbbTV newcomer of the year”

A company may enter into as many of the categories as they like. Each submission will require a separate form to be completed. The awards are free to enter. Entries will be judged on their execution, impact and innovation.

The closing date for submissions is September 15, 2022. A shortlist of finalists will be put forward to a panel of industry experts who will select the winners. The finalists will be announced by October 15, 2022.

The prizes will be awarded at a prestigious ceremony on November 10 as part of the HbbTV Symposium and Awards 2022. All finalists are invited to attend the awards ceremony.

The winners of the fourth HbbTV Awards, held in 2021 in Paris, France, include Nowtilus, Fincons Group, Verance, Dotscreen, Thi Thanh Van Nguyen (Samsung) and Mediaset España.

“The HbbTV Awards 2022 provide an excellent opportunity to showcase the latest best-in-class examples of applications and services enabled by the HbbTV specifications. The strong interest we have received from industry players before opening the competition reflects the HbbTV Awards’ high recognition in the connected TV (CTV) community. The HbbTV Awards are now open for entries and I would like to encourage all industry players to enter the contest,”

said Vincent Grivet, Chair of the HbbTV Association.

The HbbTV Symposium and Awards 2022 targets platform operators, broadcasters, advertisers and adtechs, standards organisations and technology companies, offering first-hand insights into the latest and most innovative services available to viewers, operators and advertisers.

The annual key summit of the CTV industry will take place at the National house of Vinohrady. The prestigious neo-renaissance building, centrally located in Prague, will provide a first-class base for conference attendees, sponsors and networking.

Details on the sponsoring packages at the HbbTV Symposium and Awards 2022 and the preceding preview and demo events can be found in the Call for Sponsors. Industry executives and experts interested in participating in the conference programme are welcome to submit their proposals for presentations on the Call for Speakers.

Contact HbbTV Association:
Angelo Pettazzi
Chair HbbTV Marketing and Education Working Group (MEWG)
Tel: +39 02 2514 8355

Press Contact:
Thomas Fuchs
Fuchs Media Consult GmbH
Tel: +49 171 4483 168


Daniel Grunt returned to CME a year ago as head of digital activities. His task was to secure one million subscribers for Voyo within five years. How’s it going?

There was no escaping that campaign. In the spring, Nova TV paid for billboards in the Czech Republic and Slovakia to promote its Voyo paid internet video library. No sooner had one campaign ended than another began – this time promoting a particular show, the miniseries Iveta. The three-part dramatic series about the early years of singer Iveta Bartosova’s career has become one of the most successful shows Voyo offers.

Voyo calls similar shows made just for Voyo the Voyo Original. They include the miniseries The Případ Roubal and Guru, the comedy series Národní házená, and the current premiere of Jitřní záře, a gripping story about an alternative family that wants to name a child according to their own rules. Coming up in the fall are Král Šumavy and the comedy novelty Guma.

“All the Voyo Originals are working extremely well for us. But the backbone is still Ordinace v růžové zahradě. The fact that we dared to flip it in the fall of 2021 from a linear broadcast, where it was still doing 900,000 to a million viewers on one broadcast day, helped us. It showed the market that we were serious. The series hasn’t gone down in quality, length or cast, it’s still the same. Rather, it has caught a second wind,” says Daniel Grunt, CME’s Chief Digital Officer.

It’s a testament to the strength of the series Ordinace that, unlike other series, it doesn’t take the usual summer break. Instead, it will launch a new sequel every week.

How to determine success

While Nova keeps track of how many viewers have watched a particular show, the more important metric is the number of subscribers gained. The total number of subscribers comfortably surpassed the 350,000 mark in the spring. The broadcaster will not publish more precise figures, as no video library on the market publishes similar business data. However, subscribers are growing faster than Nova itself expected.

“We are doing fundamentally better than we planned and dreamed. But we are not accelerating production plans because the ones originally announced were ambitious themselves,”

Grunt points out.

CME’s management’s mission is clear: to acquire one million paying users in the Czech and Slovak markets by 2026. So far, it looks like a realistic task. “But there is a huge question mark about what the economy will look like next year or in two years,” reminds the head of CME’s digital activities. Coincidentally, recently published surveys suggest that Czech households will start cutting back on culture, entertainment and other leisure activities.

In addition to how many people have paid for access to Voyo, TV stations are also interested in average viewing time. On average, users now spend 12 hours a week watching shows. Nova commissions various surveys that show Voyo has the highest proportion of users who watch daily or several times a week compared to competing services. Typical users are households of people in their thirties and forties, and Voyo has a greater representation of women compared to linear TV.

Betting on localism

No local service will ever have the budget of the global players. The annual investment by Netflix or Walt Disney in content production is in the tens of billions of dollars. Even if all the TV stations in the Czech market put their production budgets together, they wouldn’t pay the equivalent of one American series. That’s why Voyo highlights local themes, popular local actors and a wide library of domestic cinema. It has about 750 Czech films on offer.

However, the arrival of Disney+, HBO Max and other global apps on the Czech market also presents a complication when buying content from abroad. The biggest hits are jealously guarded by American production studios, who want to have exclusive films and series on their own platforms.

“So we are reaching out a little bit differently than the American film studios. For example, Scandinavian crime films work very well for us. We have quite a lot of interesting series from the UK, from the BBC and ITV. That’s something that works here, so we’ll keep going after interesting European work,”

Grunt hints at a buying strategy.

“In all the countries where CME operates, we want to be the strongest local service of first choice for people who want to watch quality local content. Whether it’s movies, series, or some shows, reality shows, whatever else. That’s the place we want to occupy in the market,” he explains.

“The biggest focus and investment at CME is on Voyo. It is the backbone of the entire digital transformation of CME in all the countries where we operate. Voyo cuts across the structure of TV stations, basically almost all teams. Then it automatically transforms the whole company,” Grunt continues. “Voyo may have been around for 11 years, but it went through waves where it was a priority, then again it wasn’t, it was in a drawer and AVOD – a free archive of shows with video advertising – was being pushed. With the arrival of a new owner, it’s become a key priority for the group again,” he explains.

Voyo has a different position in Slovenia, where they have developed paid content all the time, while they don’t have a free archive with ads at all. “Slovenia is very much a pay-TV market, they monetise all long-form content through Voyo. It’s a small market with two million inhabitants, but they developed Voyo and grew continuously. In all other markets, the Voyo curve was flat for a long time, it didn’t move for maybe ten years,” recalls the director of digital activities.

In the Czech Republic, Voyo’s development has been very fast. “We are still learning. As it grows quickly under our hands, we often forget to realise that we have only been working on it for a little over a year,” concludes Daniel Grunt. CME wants to use the experience gained for other markets.



Year-on-year growth in advertising investment in media continued in May, but was lower than in the previous month.

The monitored volume of advertising investment in media reached a 7% year-on-year increase in May this year. This also marks the fifth month this year that the advertising market has improved, according to Ad Intel data from Nielsen Admosphere. However, compared to April, which showed an increase of almost a quarter (+23%), May’s growth is lower. This may be related to last spring’s relaxation of anti-video measures and the associated noticeable increase in ad investment.

For the first five months of this year, the year-on-year increase in monitored advertising investment is 13%, with the strongest growth in outdoor advertising (+40%), followed by radio (+21%). Television advertising remains the strongest.


Investment in internet advertising is not included in the reported overview, as the monitoring only covers display advertising.

Again, we remind you that the volumes monitored do not reflect the actual volumes invested in media advertising, but describe the trend.



The 10th HbbTV Symposium and Awards on November 9-10, 2022 in Prague, Czech Republic, will provide a unique platform to present and discuss the latest developments in the connected TV industry. The HbbTV Association, which co-hosts the in-person event with the Czech Association of Commercial Television (AKTV), is inviting industry executives and experts to address the top-level audience as speakers in the conference programme.

“This year’s HbbTV Symposium and Awards will, as always, provide important insights into the future of the broadcast and broadband industry. Your thoughts on current developments, new products and services and future trends are important to us. I would therefore like to encourage you to take part in the Call for Speakers and share your proposals for contributions with us,” said Vincent Grivet, Chair of the HbbTV Association.

The HbbTV Symposium 2022 is open for speakers on the following topics, particularly when supported by experiences gained from providing live services. The submission of additional topics will also be considered.

  • Reviews of new and existing HbbTV deployments in different markets and countries.
  • Using hybrid broadcast and broadband to improve viewers’ choice and experience from the perspectives of:
    – Consumers and/or consumer organisations
    – TV and other device manufacturers (e.g. supporting multiscreen services, companion/second screen)
    – Operators and Service Providers
    – Broadcasters (both public service and commercial)
    – Regulators, National governments and/or European organisations
  • Advertising and other means of monetizing the hybrid approach to television (e.g. addressable TV ads):

– Targeted Advertising (TA): Broadcast ad substitution
Client-side and server-side substitution
Watermarking-based substitution
– Targeted Advertising: implementations, use case examples,
experiences, future developments, challenges
– Benefits of standards-based TA (opposed to proprietary

  • HbbTV Operator Application (HbbTV OpApp):
    – Explanation, implementations, best practices, specification updates
    – New deployments
  • Experiences in promoting and marketing HbbTV:
    – From a technology perspective
    – From a Business Development perspective
  • GDPR & ePrivacy – experiences in an HbbTV-enabled world:
    – Audience measurements, viewer behaviour and other in GDPR compliance
    – Asking for and obtaining consent in the context of a TV set
    – Cookies and their successors
  • Content Media Security, rights management and content protection in hybrid TV services:
    – DRM and HbbTV (e.g. examples, services, solutions)
  • HbbTV best practices:
    – OTT, on demand/catch-up streaming services
    – Companion screen applications
    – Voice-Control with HbbTV
    – 360° VR – increase viewer engagement
    – Experiences with Operator Application
    – Content discovery services
    – Accessibility (Spoken subtitles, Audio descriptions, Sign language)
  • Delivering advanced viewing experiences including:

– Ultra-High Definition
– High-Dynamic Range
– Next Generation Audio
– Virtual Reality/Augmented Reality/AI

  • Cutting edge innovations and technology in the deployment of HbbTV-enabled services and devices.
  • Tools and techniques for developing and testing HbbTV applications and services.
  • HbbTV and other standards. For example:
    – 3GPP 5G Technology/5G Broadcast
    – DVB-I: role/involvement of HbbTV, new specifications
    – IP-Broadcasting (e.g. DVB Native IP)
    – ATSC 3.0 watermarking
  • HbbTV Conformance Regimes: why it is needed, country best practices, implementation, stakeholder education
  • Update from US market, e.g. inspiration for European market: ATSC 3 datacast applications, new applications, trends (local news, education)
  • Inside HbbTV: how the organisation works, Working Groups, Task Forces, participation, involvement, benefits of membership
  • The future for HbbTV: market trends and future directions
  • Building a better HbbTV ecosystem: thoughts and ideas on how the HbbTV Association in cooperation with members and market players could foster a more efficient HbbTV ecosystem
  • Lessons learned by service providers in deploying HbbTV services and doing business with HbbTV. What could be improved?

If you would like to speak at the HbbTV Symposium 2022, you are welcome to send us an outline of your proposed presentation through this online form by July 15, 2022. Please provide the title, an abstract (max. 200 words), a speaker’s biography (max. 150 words) and a speaker’s photo.

The HbbTV Symposium and Awards 2022 targets platform operators, broadcasters, advertisers and adtechs, standards organisations and technology companies, offering first-hand insights into the latest and most innovative services available to viewers, operators and advertisers.

The HbbTV Symposium will also host the 5th edition of the HbbTV Awards, featuring a wide range of categories designed to acclaim best practice and excellence in the HbbTV community. Details on the categories and participation will be announced in due course.

The annual key summit of the connected TV industry will take place at the National house of Vinohrady. The prestigious neo-renaissance building, centrally located in Prague, will provide a first-class base for conference attendees, sponsors and networking.

Details on the sponsoring packages at the HbbTV Symposium and Awards 2022 and the preceding preview and demo events can be found in the Call for Sponsors.

Contact HbbTV Association:
Angelo Pettazzi
Chair HbbTV Marketing and Education Working Group (MEWG)
Tel: +39 02 2514 8355

Press Contact:
Thomas Fuchs
Fuchs Media Consult GmbH
Tel: +49 171 4483 168


Monitored media advertising investments grew by almost a quarter year-on-year in April. Then for the first four months of 2022 they were up 15 percent, Nielsen Admosphere monitoring shows.

Total monitored advertising investments in the media for the first four months of this year are up 15 percent year-on-year, according to AdIntel’s monitoring by Nielsen Admosphere. Their total gross volume exceeded CZK 30.5 billion for the period. The most significant increase in monitored advertising investments in the media was in April this year, when they showed a 23% growth.

Last year, the covid-19 pandemic knocked down advertising spending mainly in outdoor advertising, which is now the media type with the highest year-on-year growth in April (+77%). Radio (+35%) and television (+22%) also posted high increases in April, while the volume of investments in print also increased by double digits (+15%), according to the monitoring.

Thus, the monitoring data for the first four months of 2022 do not even suggest a slowdown or decline in investment in connection with the war in Ukraine, as some representatives of media operators have pointed out.

Comparison of price list value of advertising space January – April 2022 Comparison of total value of advertising space (Media type – TV, Print, Radio, OOH)

The Internet is not included in the overview because the monitoring of advertising investments only covers display advertising and video advertising and thus does not include all forms of Internet advertising. However, according to AdMonitoring data for the first quarter of this year, growth is registered in this media type as well, especially in programmatic display advertising.

Again, we would like to remind you that the data from the investment monitoring does not reflect the actual financial volume devoted to the purchase of advertising time and space. They are primarily an indicator of the development trend.



This spring marks the fifth anniversary of the Association of Commercial Television whose founding members are the Nova, Prima and Óčko TV groups. During its existence, AKTV has been actively involved in the TV industry and legislative processes and has become a respected stakeholder. To support its marketing activities, it has launched a B2B brand and industry website ScreenVoice, and on the occasion of its 5th anniversary, its visual identity has been refreshed.

The Association of Commercial Television has completed its first five years of successful operation. At its inception, it set itself two main objectives, namely to raise awareness when promoting TV media and to actively engage in the legislative processes affecting TV broadcasters.

In the course of its existence, AKTV has hosted a number of major industry conferences featuring the world’s leading marketing and advertising experts. The most famous names that AKTV has brought to Prague undoubtedly include Mark Ritson, Les Binet, Karen Nelson-Field and Wiemer Snijders. After a Covid-19 break, AKTV held its first conference under the auspices of its newly launched B2B brand ScreenVoice last year. ScreenVoice aims at covering the entire world of television, TV advertising and total video.

“ScreenVoice is the new umbrella for our activities to promote total video and TV as an advertising medium. Under ScreenVoice, we will continue to organise exceptional industry conferences, and this year for the first time, we will conduct our original qualitative research, which is an activity we have only known from our foreign colleagues,“

says Jan Vlček, President of AKTV and CEO of TV Nova.

 On the website, readers will find inspiration, trends, research and news about what is happening in the TV 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 ad special, or a reflection on advertising during the Covid-19 period 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 people can find all the recordings of speeches and speakers’ presentations from the last five years.

AKTV’s visual identity has also been refreshed and now it uses the same colour scheme as ScreenVoice. The content of the two websites is different. ScreenVoice primarily targets advertising professionals and those interested in the world of total video, while AKTV focuses on the legislative and regulatory aspects of the broadcasters’ business.

About the Association of Commercial Television

The Association of Commercial Television (AKTV) represents the leading commercial broadcasters in the Czech Republic. Its goal is to defend, support and promote their common interests.

AKTV is actively involved in the preparation of national and European legislation relating to commercial TV broadcasting, personal data protection, journalistic work and commercial communication. It is a partner for government authorities, EU institutions and other stakeholders. One of AKTV’s main activities is to protect the copyright of its members and to fight against online piracy.

In addition, AKTV is active in promoting TV as an advertising medium. For communication with advertisers and media agencies, it operates its information website and regularly organises industry conferences.


The Prima Group is trying to counter the expected outflow of advertising GRPs in linear TV and will introduce auction sales for part of its advertising space from 2023, following restrictions on rewind advertising in IPTV. And it is already announcing price increases.

The Prima Group and its media agency Media Club will come up with a novelty in selling advertising space from 2023. Following efforts to cope with the expected outflow of advertising GRPs in linear TV, it will introduce auction sales for part of its advertising space after limiting rewind advertising in IPTV. Clients with the lowest CPP will fall into it, Prima’s commercial director Vladimir Pořízek described in an interview.

At the AdCross tool presentation, you described trends in video content viewership, predicting a decline in linear TV and an increase in video-on-demand (VOD) viewership. Specifically, how do you estimate that linear TV viewership may evolve in 2022 and next year in 2023, and what trends do you expect more specifically for VOD?

According to the numbers, we can see that linear TV viewership grew until 2017, then stagnated for a year and has been declining since 2019, also due to the large number of VOD services on the market. This decline was halted by the covid-19 pandemic, when people stayed at home and watched TV. After people returned to normal life, this decline started to show again. For the number of GRPs available in the market, the situation is even more complicated because the ad-skipping capability of IPTV operators takes away a lot of free space to air ads.

We expect the decline of linear TV to continue in the future. Firstly, the number of VOD services will grow – Disney+, Amazon Prime are due to come to our market this year alone, and there will be a joint service between Discovery+ and Warner Bross. And there will also be a growing trend towards watching TV via IPTV operators with delayed viewing services. In Sweden, for example, linear TV now accounts for only 50% of all video viewing.

How much might the number of TV GRPs decrease this year and next as a result of these changes?

Our expectations are somewhere around 3% in the 15-69 target group and 5% in the 15-54 group per year, but these are rather optimistic expectations. We’ve seen much bigger and faster inventory declines around the world, and that was when there weren’t as many VOD services in the market and there wasn’t as fast internet.

What will this mean for Prima as an important player in the commercial TV market? How will you respond to this?

We have been watching this trend for a long time and preparing for it for no less time. Leaving aside the inevitable price increases, one of the next “steps” is the cross-platform metering we introduced this year. It may not make up for all the lost inventory, but we firmly believe that eGRPs will increase and at least partially limit the decline.

So do you expect to see further increases in TV advertising prices? Since when and by how much?

That will be a reality in a declining market, unfortunately. The only question is how much prices will rise and how these price increases will happen. Many clients are convinced that tenders will always bring the price down. They often hear this from their advisors – media auditors. But this fact may have been true in a market where the media space was not sold out. This year, unfortunately, we had to turn down a few long-term clients who had a low price and listened to their advisors’ voices that they should insist on these, for us, no longer feasible conditions… So they ended up with a competitor, but at a much higher price… More than a third of our inflation this year is driven by the fact that we are limiting clients with low CPP. Then for next year, we are preparing another innovation, and that is making deals involving auction principles in the normal negotiation.

What exactly does this mean? Does it mean that you will sell the space at auction?

Yes, we will, but not all of it. We will be selling most of the space in a similar way as before. We do intend to sell the last remnants of our inventory to the lowest bidding clients by auction.

“Price growth will already be a reality in a declining market. The only question is how much prices will rise and how this price increase will happen.”

So what will it look like?

Our negotiations will be divided into several phases. The first phase is called the “preliminary round”. In this preliminary phase, all our clients can ask us for an offer. If they like the offer and take advantage of it, the deal is already done. In the second phase, the standard negotiation as clients and agencies know it takes place, with the only difference that the deal is closed not only by both parties agreeing on the price, but also another condition must be met. This condition is the profitability for the Media Club or TV group. This second phase is divided into several rounds and only a limited number of deals are concluded in each round. Which deal is concluded and in which round is then determined by the profitability for the TV group, which is determined by both the CPP and the volume. The higher the CPP, the better for Media Club/TV, and of course the higher the guarantee, the better for Media Club/TV. Usually, however, clients want a lower CPP for a higher guarantee. So this balance is a delicate thing. The last stage is then the actual auction, which is where the clients with the lowest CPP will fall. But even this stage is limited by space, so some clients may not be reached at all. This should motivate clients to close their deal in the preliminary stage or increase their CPP in the auction.

Do you really believe this will work?

Of course, it will only work if there is an overhang of client demand over TV supply, which is very difficult to predict these days. Nobody knows what will happen next. Will there be a recession? How quickly? For how long?

But we are counting on all possibilities. If there is no excess demand, we always have the option to sell the space without an auction and accept all clients. But even that would only be a matter of a year. With the decline in GRPs that we expect, the demand must necessarily climb back above the supply within one to two years at most.

“Clients with the lowest CPP will fall into the last phase of the auction. But even this phase is limited by space and so some clients may not be reached at all.”

Which type of video on demand (AVOD, SVOD, TVOD) will develop most dynamically on the Czech market and how will the development of the SVOD market be affected by the arrival of foreign players this year?

I think neither. Until now, we have been fed by advertising, so I hope that it will be the so-called HVOD models, i.e. models where clients pay a certain amount for a premium VOD service, but the amount is much less than the usual amount, because viewers are served a limited amount of advertising in addition to exclusive content. As the number of VOD services increases, so will the willingness of viewers to migrate between services. It’s a trend we’re seeing across platforms. The vast majority of viewers take the opportunity to pay for a service, test it for three months and then perhaps cancel it again. That’s why we see the hybrid model as an appropriate solution for our market. Viewers can minimize the fee and retain multiple services. According to many market surveys, more than 75% of viewers perceive advertising as payment for services and are therefore comfortable with it. Moreover, even Netflix has already announced that it will introduce this service model.

Prima also wants to enter the SVOD field this year. Do you already know whether you will sell advertising as part of your SVOD service and what monetization model will you choose?

I believe in the freedom of choice for users, so I hope we will offer all models of content monetisation. But we haven’t reached a final decision yet.

From June, there should also be an announced plan to limit ad skipping in back-viewing for IPTV operators. Last year, you reported that you lost 30,000 GRPs due to the skipping option. How many GRPs can you “save” with this move?

Our main motivation for having to take this step was to prevent further GRP loss, as the trend of GRPs starting to decline was exponential rather than linear. With the growing share of IPTV operators in the distribution of our channels and the growing share of deferred viewing/back-viewing, we simply wouldn’t have anything to sell in a couple of years. The second question is whether we will add any GRPs. I firmly believe that a smaller portion of our inventory will even come back. But we really don’t expect any big numbers.

Prima is talking about a total video strategy for the coming years. Can you give an indication of what the distribution of Prima’s trading inventory will look like for next year and how the trading will be distributed between linear TV, delayed TV or different types of video-on-demand?

We currently have about 3% of our viewership in online inventory, but we only use about 1% on average for eGRPs. The rest we sell on impression as standard. Deferred viewing is currently around 14% and we expect to see growth there in the future. Given that operators have a choice of how to limit ad rollover – for example, by shortening the ad block or replacing linear advertising with online advertising – it will be difficult to predict whether deferred or online inventory will grow faster. But as I said, the classic linear one is definitely not going to grow.

“Our goal is for the online inventory, that we use for eGRPs, to grow at least 1.5% every year. We would like to have at least 10% of inventory in online within five years.”

How will these changes be reflected in the inventory supply in about five years?

Our goal is for the online inventory we use for eGRPs to grow by at least 1.5% each year. We would like to have at least ten percent of inventory online within five years, where we can better reach users with advertising, adjust frequency and, most importantly, substantially improve the affinity of our clients’ campaigns through targeting.

Vladimír Pořízek, Commercial Director, Prima Group

Vladimír Pořízek worked at Prima Television for almost five years as CFO until 2012, after which he headed the buying association Opera of the Omnicom Media Group. In 2014, he returned to Prima as Chief Operating Officer and was later appointed Commercial Director. Before joining Prima, he was CFO of media agency PHD until 2007.



Today, broadcasters and streaming services around Europe celebrate Media Freedom Day[1]. As the European Commission drafts the European Media Freedom Act (EMFA), ACT, ABBRO, ACCeS, AKTV, ARCA, CRTV, UTECA and VÖP recall common principles to safeguard media pluralism, independence and sustainability. Any new regulations impacting audio-visual media should be assessed in light of general principles, such as media sustainability, to avoid regulatory conflicts and lack of coherence that negatively impact the media landscape. The EMFA should be an opportunity to develop a more holistic approach to media pluralism.

  1. Europe’s diversity means an EMFA based on subsidiarity, focusing on principles that are not intrusive. Any restrictions should be objectively justified, transparent, non-discriminatory, and proportionate to protect media freedom in Europe.
  2. EMFA should support the growth of European TV & VoD and in no way hinder it with anti-consolidation policies. Measures aimed at restricting the consolidation capacities of European broadcasters, or preventing the sector from innovating, scaling up and seeking new sources of revenues, would ultimately limit European media pluralism and reinforce the dominance of big tech companies that do not invest in European media.
  3. Help the sector diversify and grow by revisiting & limiting intrusive and outdated rules for media. Focus where cultural diversity and investment is most at risk, notably by increasing scrutiny of Big Tech media acquisitions affecting pluralism.
  4. Existing rules for the audio-visual sector should be applied proportionately. Additional minimum requirements at EU level which would have the potential of adding greater compliance costs to an already overly burdensome framework (eg AVMSD) should be avoided.
  5. Measures to ensure the visibility of AVMS providers’ news and content are necessary. Content must be protected from interferences by big tech companies.
  6. Independent audience measurement is key. Players subject to different regulatory regimes should not be included in the same “audience measurement basket” but instead be measured with separate but comparable currencies.
  7. Transparency of media ownership and state advertising is welcome. This could be useful particularly in light of the specific situation in some Member States.
  8. A reinforced role for ERGA. The MFA should seek to make the European Regulators Group for Audiovisual Media Services (ERGA) fully independent, staffed up and financed for a growing list of activities.

On this day of celebration, we are reminded that media freedom, pluralism and democracy require constant vigilance and support. Even in Europe, some authorities routinely interfere with media companies’ activities, their editorial independence and freedom to operate. The primary goal of the European Media Freedom Act must be to curtail unjustified restrictions by public authorities. We must however avoid that the measures in the EMFA end up limiting our ability to grow and compete in an environment where Big Tech continues to enjoy asymmetric rules and undermines the foundations of media pluralism.











ACT’s 29 member companies finance, produce, promote and distribute content and services benefiting millions of Europeans across all platforms. At ACT we believe that the healthy and sustainable commercial broadcasting sector has an important role to play in Europe’s economy, society and cultures. Commercial broadcasters are at the heart of Europe’s media landscape as producers and distributors of European original content and news. We embrace the digital environment providing new services, formats and content to meet the growing European demand for quality content on various distribution models.

For further information please contact: Erard Gilles | Senior Policy Officer|


ABBRO is the non-governmental organisation of commercial TV and Radio broadcasters in Bulgaria.
The association is the most representative industry body for Bulgaria for the television, radio and
on demand services. Its members operate various national free-to-air, cable and satellite TV
channels with the highest rating of viewers’ trust, on-demand services and radio networks. ABBRO
contributes to the law-making process to ensure fair and transparent market rules, as well as
favourable legal framework for the development of media services in Bulgaria.

For more information see Contact: Anna Tanova | Executive Director |


Founded in 1997, the “Association des Chaînes Conventionnées éditrices de Services” (Association of licensed channels editor of services – ACCeS) brings together 35 channels established in France, which have concluded a legal agreement (convention) with the French Media Regulator (ARCOM) for the broadcasting by cable, satellite and ADSL, digital terrestrial hertzian broadcasting, or another electronic communication network on the French territory.

For more information please contact: Eric Brion | Secretary General |


The Association of Commercial Television (Asociace komerčních televizí – AKTV) was formed in 2017
as an association of terrestrial television broadcasting operators with the goal of defending,
supporting and promoting the common interests of commercial broadcasters in the Czech Republic.
The founding members of the Association are the Nova, Prima and Óčko television networks.

For further information please contact: Marie Fianová | Secretary |


The Romanian Association for Audiovisual Communications (Asociatia Româ nă de Comunicaţ ii
Audiovizuale – ARCA) joins the main radio (Europa Fm, Kiss Fm, Radio Zu, National FM, Radio
Romania, etc.) and television (ProTv, Antena 1, KanalD, Prima TV, Antena 3, RomaniaTv, B1Tv,
National Tv, etc) companies operating in Romania. ARCA works for developing an auspicious climate
for audiovisual media business in Romania by representing the interests of the Romanian
broadcasters in the relationship with the authorities, the political environment and the civil society.

For more information please consult Contact: George Chirita, executive


Confindustria Radio Televisioni (CRTV) is the association of Italian radio and television broadcasters. Established in June 2013, CRTV among its members includes Italy’s major national broadcasters: CN Media (Radio KISS KISS), Discovery Italy, Elemedia (GEDI), Gruppo 24Ore (Radio24), GM24, La7, Mediaset, Persidera, Prima TV, QVC Italy, Radio Italia, Rai, RDS – Radio Dimensione Suono, Rete Blu, RTL 102,500 Hit Radio, Tivù, Viacom International Media Networks Italy. Major local TV and radio broadcasters are represented in CRTV through the Association of Local Televisions and the Association of Local Radios FRT. Aggregated members include satellite operator Eutelsat Italia. All major categories of the broadcasting industry are represented in CRTV: public and private broadcasters, national and local broadcasters as well as platform and network operators. CRTV’s goal is to represent the broadcasting industry as a whole at institutional, legislative and contractual level. CRTV collaborates on a regular basis with all relevant ministries, institutions and regulators at national and at European Union level, and with international organizations and institutions. CRTV’s goal is to guarantee and promote the growth of radio and TV industry based on fair competition, equal access and respect of users’ rights.


The Spanish Union of Commercial Free-To-Air Television (Unión Televisiones Comerciales en Abierto – UTECA), which was established in 1998, represents and defends the common interests of free-to-air commercial television channels at the national, community and international level. UTECA’s members are Atresmedia, DKISS, Net TV, Real Madrid TV, TEN, TRECE and VEO TV. The associates manage 14 Digital Terrestrial Television channels.

For more information see or contact Emilio Lliteras | Director General |


The Association of Austrian Commercial Broadcasters (VÖP) represents commercial Radio and TV broadcasters in Austria. Among the most important goals is the establishment of fair competition and equal opportunities – on a national level between private broadcasters and the Austrian public service broadcaster ORF, as well as on an international level, i.e. regarding competition with international media companies and platforms. Other objectives are to show the journalistic and economic importance of the private broadcasting sector in Austria, to strengthen the economic basis of commercial broadcasters and to actively support technological development of the industry.

For more information see Contact: Corinna Drumm | Director General |

[1] Today is World Press Freedom Day, you can find more information at freedom-day/background