DTH
Korean Broadcasting Commission to showcase Digital Multimedia Broadcasting in BES EXPO, BES,
MUMBAI: The Korean Broadcasting Commission (KBC) will present Digital Multimedia Broadcasting (DMB) technology at the Broadcast Engineering Society (BES) EXPO 2006, to be held in New Delhi from 9 February to 11 February.
KBC will be presenting both terrestrial DMB and satellite DMB technologies, which are already in commercial service in Korea.
KBC is sponsoring the BES EXPO 2006 in cooperation with the Broadcasting Engineering Society (BES) of India. KBC is also leading a delegation of Korean broadcasters to India to participate in the exhibition. Chairman Noh Sung Dai of KBC will head the delegation to lay the foundation for further cooperation between Korea and India, states an official release.
For terrestrial DMB, KBC has received authorization from WPC to use VHF frequency for the demonstration. KBC is using two channels for this presentation. One will consist of a live retransmission, while the other channel will be used to broadcast on-site camera shots of BES EXPO 2006 in real-time.
For satellite DMB, TU Media will be broadcasting recorded content at the BES EXPO 2006. It will also present audio channels with CD quality music with the satellite DMB technology.
KBC contributes a DMB session to the BES conference entitled ‘Broadcast Trends: Reaching the Unreached’. Three renowned speakers from Korea will talk about the various aspects of DMB to enlighten participants about its benefits and future prospects. The conference will be held on 10 February 10, at 2 pm.
KBC and World DAB will co-host the DMB-DAB Showcase to provide firsthand experience of these services on various mobile devices. The showcase will be held for two days: 10 & 11 February at 3:30 pm.
DTH
Prasar Bharati’s WAVES earns Rs 2.9 crore in first year
Platform scales content, users but monetisation gaps limit revenue growth.
MUMBAI: Big waves, small ripples at least for now. When Prasar Bharati launched its OTT platform WAVES at the 55th International Film Festival of India in November 2024, it pitched a bold vision: a homegrown rival to global and domestic streaming giants, blending video, audio, gaming and commerce into a single digital ecosystem. Five months into FY2024–25, however, the platform’s revenue stands at just Rs 2.90 crore, a figure that underscores the gap between ambition and monetisation.
On paper, WAVES looks anything but modest. The platform has ingested 13,608 titles, totalling 9,495 hours of content, with over 13,000 titles already live. It has streamed more than 575 live events from the Mahakumbh Amrit Snan and the 76th Republic Day parade to the Hockey India League, Kabaddi World Cup and Mann Ki Baat while offering 74 live TV channels and 12 radio channels. With over 10 lakh registered users and more than 200 content partners onboarded, the scale resembles that of a fully operational streaming service rather than a pilot project.
The architecture supporting this scale is equally robust. Built under Prasar Bharati’s Central Archives vertical, WAVES runs on a cloud-based infrastructure with DRM, encryption and an integrated analytics dashboard. It includes dedicated units for content ingestion, quality control, publishing, graphics, marketing and billing, and is distributed across platforms such as OTTplay, Tata Play and BSNL. The offering extends beyond video to include audio-on-demand, e-games and even e-commerce via ONDC integration.
Yet, the numbers reveal a core disconnect. Despite its scale, WAVES generated just Rs 2.90 crore in a market where India’s OTT industry crossed Rs 23,000 crore in 2024. A key bottleneck lies in monetisation infrastructure: subscriptions cannot currently be purchased within the app and must be completed via an external website. In a mobile-first country where over 95 per cent of OTT consumption happens on smartphones, this extra step creates friction that most users are unlikely to overcome.
Ironically, content is not the problem, it is the platform’s biggest strength. Prasar Bharati holds one of the world’s richest broadcast archives, including 45,154 hours of digitised Akashvani programming and 35,723 hours from Doordarshan. For WAVES alone, over 3,800 hours of archival content have been made OTT-ready, including classics such as Ramayan and Shaktimaan, alongside rare cultural recordings and historical broadcasts.
There are early signs that this library holds commercial potential. Revenue from archival content licensing rose sharply to Rs 3.38 crore in FY24, up from Rs 67 lakh the previous year. Meanwhile, free digital platforms continue to drive massive reach, the PB Archives Youtube channel clocked 119.78 million views and added 4,02,000 subscribers in FY2024–25, crossing 1.7 million in total, while DD News has over 5.84 million subscribers.
That, however, presents a strategic dilemma. While free distribution builds scale, it also conditions audiences to expect content at zero cost making it harder to transition to paid models. WAVES, designed as a hybrid AVOD-SVOD platform with advertising and subscription layers, is yet to fully crack this balance.
The broader challenge is not technological but strategic. In an ecosystem dominated by platforms offering seamless payments, aggressive pricing and high-budget originals, WAVES is still bridging the gap between being a content repository and a commercially viable product.
For now, the platform reflects both promise and paradox. It has the scale, the content and the infrastructure but until monetisation catches up, WAVES remains less a revenue engine and more a digital showcase of what India’s public broadcaster could become.
