DTH
Digital rights management market to cross billion dollar mark by 2011: Study
MUMBAI: As organizations continue to digitize content in the current business environment, there is substantial need to emphasize the rights on its usage and establish control to avoid any loss of data. This need is expected to have a huge bearing on the enterprise digital rights management (DRM) systems market.
Frost & Sullivan (www.ITservices.frost.com) and World Digital Rights Management Market, reveal that the market was worth $369.5 million in 2005 and is likely to cross the billion-dollar mark in 2011.
As companies continue to lose sensitive data such as financial information, customer profiles and marketing collateral through e-mail or other forms of data transfer, there is a rising need to deploy systems that not only track but also control the use of information. Theft of sensitive data can not only cause a company financial loss, but can also result in brand erosion and eventually, reduce its revenue generation capacity.
“The need to minimize liability by ensuring that only authorized users have access to appropriate documents will have a positive impact on the demand for DRM solutions,” says Frost & Sullivan research analyst Zippy Aima. “DRM solutions enable content owners to assign specific rights such as view, copy, edit and print to files that need to be protected and these rights remain active and travel with the protected file unless changed by the content owner.”
An official statement issued states that despite these obvious advantages, DRM vendors will find it challenging to convince companies that DRM will not severely curtail access and that organizations can meet their revenue generation goals using this technology.
DRM systems have garnered greater attention in the media industry than in the enterprise sector. Some end users consider DRM to be a hindrance to the entertainment sector, but the success of the iPod and iTunes is an indicator of the change in consumer buying behaviour. Users are gradually regarding DRM more as ‘enabler’ than a ‘disabler’ for accessing digital content.
“Apart from the shift in perception, the need to comply with regulations such the Health Insurance Portability and Accountability Act (HIPAA), Gramm Leach Bliley, and Sarbanes Oxley is also driving the market ahead,” notes Aima. “Vertical markets such as financial services, manufacturing, healthcare, and energy are focusing on regulatory compliance, thus ensuring the steady uptake of DRM solutions.”
World Digital Rights Management Market is part of the Digital Media subscription. The study provides an overview of the enterprise and entertainment DRM segments and the factors that will affect its growth in future. The study’s evaluation of the market includes revenue and demand forecasts for DRM solutions in the coming years. Also, the study identifies factors driving and restraining the growth of the market along with key challenges faced by the industry.
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.
