DTH
DD FreeDish e-auction: MPEG4 slots saw highest bid of Rs 57.1 lakh
MUMBAI: The first annual e-auction for MPEG4 slots on Doordarshan’s FTA DTH platform FreeDish witnessed an intense competition that was held from 27 to 29 March. According to reports, the highest bid during the e-auction was Rs 57.1 lakh, a premium of almost 1150 per cent over the reserve price of Rs 5 lakh and the average bid was at Rs 44.17 lakh per slot.
A total of 15 MPEG4 slots were successfully sold to channels across genres that will be available on the platform with effect from 15 April 2019.
The public broadcaster stated that the response to the 39th e-auction was overwhelming, as almost four times applications were received against the vacant MPEG-4 slots. Also, there was no genre based restrictions or reservations for participating in the e-auction.
Among the 15 channels, five of them are Hindi devotional channels including Aastha Bhajan, Arihant, Satsang, Subh TV and Vedic TV. Apart from that, only three are non-Hindi channels while the rest are Hindi channels. Three MPEG-4 slots have been reserved for public broadcasting purposes.
Home Shop18 and NT1 have won slots in the teleshopping genre. Enter 10 Bangla, Oscar Bhojpuri, Sky Star Bangla, Sky Star Telugu and WoW Cinema One have bought the slots in the movie genre. In the news genre, ABP Ganga, Chardikala Time TV and Aryan TV National have won the slots.
Prasar Bharati CEO Shashi Shekhar had tweeted, “Happy to share that the first annual e-auction for MPEG-4 slots (39th e-auction) on DD Free Dish saw robust bidding with 15 successful slots sold to channels across genres and languages.”
“The e-Auction saw slots being taken at an average price that was nearly 8 to 9 times the invitational price underscoring the high competition. With this overall projected annual revenue from DD Free Dish will cross 400 cr between MPEG2 and MPEG-4 slots,” he said.
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.
