DTH
Prasar Bharati concludes 54th e-auction; adds five new MPEG-2 slots
Mumbai: Public broadcaster Prasar Bharati has added five new MPEG-2 slots for its DD Free Dish DTH platform at the end of the 54th e-auction.
Hindi general entertainment channel (GEC) Ishara TV, teleshopping channel Naaptol, music channel Showbox, Marathi channel Sun Marathi, and Bengali channel Enterr10 Bangla have been successful in acquiring slots. The new channels will be on DD Free Dish platform from 16 August onwards.
The allotment period for the channels is from 16 August, 2021 to 31 March, 2022 and successful bidders will have to make payment in six monthly instalments, said Prasar Bharti.
The public service broadcaster had invited applications for the vacant slots on 31 July, which were only open to the satellite channels licensed by the ministry of information and broadcasting for downlinking in India. Only license holder companies or their authorised distributor partners could apply for allocation of DD Free Dish slots.
Applications for the e-auction were received under five different buckets in accordance with genres/language of channel and their starting reserve price for the allotment period.
The five buckets C, A+, A, B and D are classified as follows.
Bucket C – news and current affairs (Hindi), news and current affairs (English) and news and current affairs (Punjabi) channels.
Bucket A+ – All general entertainment (Hindi) channels.
Bucket A – All movie (Hindi) channels.
Bucket B – All music (Hindi), sports (Hindi), GEC (Bhojpuri), movies (Bhojpuri) and teleshopping (Hindi) channels.
Bucket D – All other remaining genres (language) and teleshopping (regional) channels.
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.
