DTH
“Disorganisation of analogue cable in Phase III & IV will help DTH”: Harit Nagpal
MUMBAI: While India has witnessed Phase I and Phase II of digitisation, the remaining two phases (i.e Phase III and IV) will go a long way in aiding more transparency. Direct to Home (DTH) platforms too are an enthused lot, hoping it will help them gain additional subscribers.
Speaking about the expected development Tata Sky CEO Harit Nagpal said, “As digitisation rolls out, we are hopeful that a large number of consumers will move to DTH because analogue cable is little less organised in Phase III and IV of digitisation.”
Nagpal said that the first two phases impacted approximately 15 per cent of the TV population. According to him, when it came to the process of conversion from analogue cable to digital, about 40 per cent of the analogue subscribers picked up DTH. Nagpal was speaking at the Asia Pacific Operators Summit (APOS) held in Balli recently.
Speaking about net additions, he said that the pace had not slowed down. “Even when we were acquiring close to 10 million subscribers as gross, we were getting three to four net additions. Today, the industry picks six to seven million gross, it still makes three to four million net.” Nagpal further added that this would be facilitated by digitisation in places where the first two phases were complete.
Nagpal believes that the top four DTH players will become cash positive very soon. “It’s on the horizon now. We have already been covering our operational costs. The investment that is really going into the business is going to fund the growth,” he said.
According to Nagpal, an investor wouldn’t mind finding the growth because on a 10-12 per cent churn, the life of a customer is seven to eight years. As such if the pay back is three years, then an operator has about six to seven years cash life with the customer.
“Thus an investor is happy to invest and add the gross adds faster and does not mind paying for the investment,” he added.
While on the one hand, Videocon d2h CEO Anil Khera expressed his displeasure over premium content being distributed for free by Over The Top (OTT) platforms, Nagpal explained his point of view. “I treat myself, i.e. a content access provider, as a grocer. We buy soaps and cereals in bulk and sell them in small packets. If three generations in a single family want to consume bread, rice and pasta we have it stocked. Secondly, if these three generations ordered the food respectively via in shop, over the phone or placed an order online, I have to cater to that and make it convenient for customers.”
He further said that he would not go about cursing people as to why content is being given out for free. “I have to make it convenient for the customer to find everything at one place,” he stressed.
On the added service of video on demand (VOD), Nagpal said that four years ago when Tata Sky launched VOD, it had seen an investment of close to $10 million. Currently the operator was just breaking even on operating costs. “But we know it’s a long term play. It’s not necessarily a play of premium content. In fact, on our first VOD we made available Hindi movies and not English. The reason being English movies’ rights holders were sceptical and insisted on minimum guarantees.”
On the issue of broadband bandwidth, Nagpal stated that going by the current world wide web phenomenon it was obvious that video cannot be carried by over the air as the last mile has to be connected by at least some form of wire. He hoped a new entity would cater to this business very soon.
“Currently there are a lot of entrepreneurs who provide broadband very well in some areas. They have just been constrained by expansion. We are hoping that in a year’s time the landscape will change. Some funding will come in and then they will expand,” he concluded.
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.
