Moviewatch Becomes REELZ
In the spring of 2000, I was contacted by Rod Perth, then President of Television, who was in the planning stages with Hubbard Broadcasting and Stan Hubbard Jr. to develop an innovative new cable channel called “Moviewatch.” After a series of meetings, I was brought on board to oversee production and operations for the channel. Our tasks were clear: develop operational budgets, create launch plans, oversee production, and design a unique technological solution that would differentiate this network and make it essential for cable providers.
The Vision for Moviewatch
The concept for Moviewatch was ambitious. The channel was pitched to cable providers as a unique service designed to enhance their offerings. The signature show, “Dailies,” was to be celebrity-driven, featuring interviews and stories about movies available on local cable systems’ subscriber and pay-per-view (PPV) channels.
However, the details presented significant challenges. Every cable company and headend placed channels on different numbers—for example, HBO might be Channel 300 in one market and Channel 500 in another. Additionally, we needed to ensure the timing was accurate for each system to direct viewers correctly.
The proposed scenario was as follows: We would interview Tom Cruise about Mission Impossible II, and a custom graphic would appear on-screen informing viewers that the movie was playing on HBO at 8 p.m. on Channel 501 in their local market. This localization feature was Moviewatch’s unique offering.
To achieve this, we faced three critical technical hurdles:
1. Localizing the channel number to each cable system.
2. Ensuring the local time was accurate for each market.
3. Triggering the pop-up graphics only on systems carrying the specified movie.
This “localization technology,” as we called it, needed to be highly precise and efficient. At the time, streaming technology was in its infancy and not yet a viable option. The solution had to be hardware-based, installed directly at each cable provider’s headend, and remotely controlled from a central Moviewatch location in coordination with data from the cable systems.
Building the Technology
My team for the project included Frank Albano and Michelle Holt. Together, we researched hardware providers capable of meeting our unique requirements. The system had to:
• Receive cue tones from the national feed.
• Trigger graphics overlaying the local channel feed with movie information.
• Allow remote access to update and manage the system’s data.
After exploring several options and encountering some dead ends, we partnered with Pinnacle Systems (later sold to Avid in 2005). Pinnacle agreed to modify their graphics system with custom software to meet our specifications.
We anticipated resistance from cable headend engineers regarding remote access to their networks, so we planned to address this by installing isolated broadband connections at each site to manage the system. While the technology was groundbreaking, the cost of scaling to hundreds of headends was significant. Additionally, cable providers were beginning to consolidate headends, which we hoped would reduce costs over time.
Revolutionizing the Workflow
In addition to the localization technology, we proposed a file-based workflow for the entire network. At the time, broadcasters and engineers were accustomed to tape-based systems, making this an uphill battle. We presented numerous whiteboard sessions to senior stakeholders, demonstrating the efficiency of file-based operations, including seamless transitions from editing to Master Control for daily programming.
We were also tasked with finding suitable studio facilities, technical infrastructure, and office spaces for the network. Ultimately, we recommended LA Center Studios as the hub for the network, with the signal fed via fiber to a teleport for satellite distribution to cable systems.
By this point, we had produced the pilot episode for Dailies and established all the basic elements and budgets necessary for the network’s launch.
The Transition to REELZ
I worked on the Moviewatch project for three years. Ultimately, it took six years from my initial meetings with Rod Perth to the channel’s official launch in 2006. After our final presentation, our part of the project was placed on hiatus, and I transitioned to another network, with Frank and Michelle.
A few years later, a new team revisited our plans, making updates and modifications for the channel’s buildout and implementation. By then, the localization element had been dropped, as it was no longer a requirement for cable systems. The channel was rebranded as REELZ, with the focus shifting away from the original concept.
Despite these changes, the file-based infrastructure we designed was successfully implemented, providing the foundation for the network’s operations.
Then and Now
Looking back, the concept of Moviewatch was highly innovative for its time. In the early 2000s, utilizing on-screen prompts to guide viewers to PPV channels and content would have been a win-win for both the channel and cable operators. However, by the time REELZ launched, video-on-demand (VOD) services had become widely available, allowing users to find movies on demand without the need for localized prompts.
Today, with advanced cable service guides, search options, and personalized recommendations, the need for such localization systems has diminished. Viewers can easily discover and access content through intuitive interfaces.
As for the file-based workflow we pioneered, it has since become the industry standard. The conversation has now shifted to leveraging cloud-based environments, where infrastructures can interconnect multiple cloud vendors. This evolution opens up new opportunities for efficiency and scalability, not only for cable networks but also for OTT and FAST channels.