DTH
Airtel DTH services y-o-y growth 23%, EBIDTA up 226%, ARPU up 10% in Q4-2014
BENGALURU: Indian and international mobile services giant Bharati Airtel Limited’s DTH (Airtel DTH) services business total revenue has grown 23 per cent to Rs 541.5 crore in Q4-2014 as compared to the Rs 441.9 crore in the year ago quarter (Q4-2013). During FY-2014, total revenue at Rs 2077.1 crore was 27 per cent more than the Rs 1629.4 crore in FY-2013.
Airtel DTH has reported higher EBIDTA at Rs 96.3 crore in Q4-2014, 226 per cent more than the Rs 29.6 crore in Q4-2013. During the current financial year, EBIDTA was even higher (by 638 per cent) at Rs 333.8 crore as compared to the Rs 45.2 crore in FY-2013.
Airtel DTH’s operating margin (EBIT) loss reduced by 38 per cent to Rs (-111.1) crore in Q4-2014 from Rs (-178.4) crore in Q4-2013. Over the year EBIT reduced by 41 per cent to Rs (-482.1) crore in FY-2014 from Rs (-810.5) crore in FY-2013.
Capex at Rs 177.9 crore went up 34 per cent in Q4-2014 from Rs 132.6 crore y-o-y. However the company’s capex in FY-2014 was (-18) per cent lower at Rs 617 crore as compared to the Rs 754.8 crore in FY-2013.
The company’s DTH business’s cumulative investments in Q4-2014 and FY-2014 went up 15 per cent to Rs 4646.8 crore from Rs 4036.6 crore in Q4-2013 and FY-2013.
Airtel DTH q-o-q customer base went up 2 per cent in Q4-2014 to 90.12 lakhs from 88.07 lakhs, with net additions of 2.05 lakhs new subscribers during Q4-2014. This is (-13) per cent lower than the 235000 net additions the company had declared during Q4-2013. Y-o-y the customer base was 11 per cent more than the 81 lakhs subscribers in Q4-2014, but net new subscriptions during Q4-2014 was less by (-1) per cent than the 207000 net new subscriptions in Q4-2013.
Average Revenue Per User (ARPU) in Q4-2014 has gone down (-2) per cent to Rs 203 in Q4-2014 as compared to the Rs 207 in the immediate trailing quarter, but was 10 per cent more than the Rs 184 in the year ago quarter (Q4-2013).
Airtel DTH’s monthly churn was also higher at 0.9 per cent in Q4-2014 as compared to the 0.8 per cent in Q3-2014, but was lower than the 1.1 per cent in Q4-2013.
It became the first DTH player in the country to showcase a feature film on the same day of its theatrical release with the showcase of Telugu movie ‘Minukumanna Minugurulu’ on its Pay Per View (PPV) platform.
In line with company’s initiatives to associate with events, shows and initiatives that resonate well with the preferences of today’s India, Bharati Airtel co-sponsored the popular TV show ‘Satyamev Jayate’ again this year. The brand integration with the show included innovations like in-show calls on Airtel 3G and use of Airtel money for donations along with access to exclusive show content to customers.
In an effort to provide a world-class experience to the customers, the company launched Airtel ‘Pocket TV’ – a mobile app which will enable customers to watch their favourite TV programs on the move while also being the first player to release a feature film on digital TV platform.
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.
