I&B Ministry
Mumbai, Delhi will lead the way in CAS rollout: TAM
Mumbai and Delhi will lead the country in the growth of CAS. Kolkata will be slow in catching the trend, and Chennai will comprise mostly of fence sitters, content with its bundle of FTA channels.
These are a few observations that rating agency TAM is using currently to gauge the CAS mood in the country. With the imminent merger of the two ratings agencies in the country, TAM, backed by Nielsen’s Media Research (NMR) will become the only resource for advertisers and broadcasters alike in tracking consumer preferences on the tube.
Preliminary research conducted by the agency indicate that while Mumbai and Delhi, which caught on fast onto cable and satellite TV, will also see the highest growth of CAS, Kolkata which was one of the slowest to catch the C&S train, will be a slow market in responding to CAS. Chennai, TAM research shows, enjoys the benefits of FTA basic channels, ensuring that most of its potential CAS users will be fence sitters.
TAM India CEO L V Krishnan says the agency already has technology experts from NMR help it in tracking the Indian market during the growth phase of CAS. Most complex TV markets, including the US, also have CAS set top boxes with NMR tracking viewership on a daily basis, with the peoplemeter attached to the tuner of the set top box instead of the TV tuner, he says.
The initial phase will be a hectic one for TAM though, with frequent base-lines to estimate the penetration of CAS, resampling and monitoring changes in viewing behaviour across CAS homes.
From the two discrete universes within TV homes – C&S and terrestrial, CAS will necessitate a move to three universes –
After CAS, we will move from two universes to three Terrestrial C&S : in 4 metros
– FTACS (Free To Air C&S)
– CAS C&S
C&S : Other (Rest of the country)
The early days of CAS will also see instability in household statuses as homes would either take long to take a decision, flirt with several channels before narrowing their choices to a few or those who convert to CAS only if there is a big event and are otherwise content with FTA channels.
Nor will CAS distribution be equitable, says TAM. While lower SEC homes could get bogged down by costs of the boxes and subscriptions, metro markets with multiple MSOs could see feverish CAS marketing activity vis a vis metros dominated by one or two cable ops, says a TAM study.
– It observes that CAS homes may move primarily to an analog set top box for cost reasons rather than a digital set top box enabling only a one way communication between the cable room and the CAS home. This will enable information about the penetration for each of the pay channels, says the study.
I&B Ministry
Prasar Bharati opens AIR to private content under new policy
NIPP introduces revenue share, sponsored and gratis models
MUMBAI: Radio may be the oldest voice in the room, but it’s learning some very modern tricks. In a bid to stay tuned to changing listener habits, Prasar Bharati has opened the doors of All India Radio to private players under a newly rolled-out content framework. The initiative, titled Notice Inviting Programme Proposals (NIPP), marks a significant shift in how the public broadcaster approaches programming moving from a largely in-house model to a more collaborative, market-aligned ecosystem. Issued by Akashvani’s Directorate General in April 2026, the policy invites private producers, content owners and aggregators to pitch programmes across formats, from radio dramas and documentaries to quiz shows, storytelling and music-led content.
At the heart of the framework lies a three-pronged participation model designed to balance creative freedom with commercial viability. The most prominent route is revenue sharing, where advertising and sponsorship income generated by a programme is split between the producer and the broadcaster. The structure tilts in favour of creators offering a 70:30 split when producers bring in advertising, and 65:35 when monetisation is handled by Prasar Bharati.
Alongside this sits the sponsored model, where producers fully fund and monetise their content, subject to compliance with advertising norms and the AIR Broadcast Code. For those less commercially inclined, a gratis route allows content to be submitted free of cost, with Prasar Bharati retaining all monetisation rights effectively turning the platform into a national distribution channel for diverse voices.
The move comes as legacy media grapples with intensifying competition from private FM networks, streaming platforms and digital audio ecosystems. By repositioning AIR as both a public service broadcaster and a content marketplace, Prasar Bharati appears to be recalibrating its role in a rapidly evolving media landscape.
Importantly, the framework does not dilute editorial control. All submissions must adhere to the AIR Broadcast Code, and proposals are evaluated through a layered process that weighs storytelling quality, production capability, audience appeal and revenue potential. Only proposals crossing a defined threshold move forward, signalling that while access has widened, the bar remains firmly in place.
Operational discipline is another cornerstone of the policy. Producers are required to maintain broadcast-ready content, deliver episode banks in advance and navigate a structured approval process. Crucially, all production costs are borne by the content provider, reinforcing Prasar Bharati’s positioning as a distribution and oversight platform rather than a commissioning entity.
What elevates the initiative further is its scale. The framework spans multiple clusters and stations across India, covering both metro and regional markets, with specific language mandates and submission channels. This not only expands the content pipeline but also deepens linguistic and cultural representation, an area where AIR has historically held an advantage.
In effect, NIPP signals a quiet but meaningful transformation. AIR is no longer just broadcasting to the nation, it is inviting the nation to broadcast with it, blending legacy reach with contemporary content economics in a bid to stay relevant in an increasingly fragmented audio universe.
