DTH
China to have over 32 million mobile video users in 2008
MUMBAI: The mobile video market in China will take off in 2008, driven by interest in the Beijing Olympics.
A new study from ABI Research published out of Singapore forecasts total mobile video users at more than 32 million in 2008. About 27 per cent of these consumers will use broadcasting technology, and 73 per cent will use unicast streaming technology, while a number of viewers are likely to use both.
In 2006, SARFT, the Chinese State Administration of Radio, Film, and Television, announced two handset-related standards. DAB is likely to be the first phase of mobile multimedia broadcasting standards development in China. DAB paves the way for upgrading to China’s proposed mobile multimedia broadcasting standard, T-DMB, a terrestrial implementation of SK Telecom’s mobile video format.
Because both standards are voluntary, there are questions surrounding their effect in the market. “It is likely that local media groups and TV stations will deploy DAB initially, and implement T-DMB at a later date,” 3g.co.uk quotes ABI research director Jake Saunders as saying. “The Chinese government will give preference to a standard that will be used in the 2008 Olympics, and DAB has been listed as one of the broadcast services that will be available at the Beijing Games.”
“Although lack of content is still deemed to be a bottleneck for mobile video in mainland China, the problem will be solved in the next two years,” adds Saunders. “The current content shortage is caused by the limited number of handset TV SP licenses. When more companies obtain licenses, competition will become the lubricant to drive up the market.”
Meanwhile in Hong Kong, mobile operators are active in mobile video streaming. Their international operations backgrounds allow them to provide diversified content to users.
PCCW’s experience in operating its IPTV business will boost its performance in the 3G market. ABI Research forecasts approximately 715,000 mobile video users in Hong Kong in 2008, of which 99 per cent will be streaming users. In Taiwan, ABI Research forecasts that there will be over 1.5 million mobile video users in 2008, with 97 per cent receiving content via streaming.
“Mobile Video in China” analyzes the mobile video market in mainland China, Hong Kong, and Taiwan. It lists the streaming mobile services offered by mobile operators in the three areas, discusses the regulatory environment in mainland China, and charts the directions that will be taken by mobile video development based on different technologies.
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.
