DTH
Tata Sky introduces first ever daily recharge voucher
MUMBAI: In yet another first, DTH operator Tata Sky has introduced the first ever daily recharge voucher empowering subscribers to pay only for the days they watched TV. This pioneering concept allows a minimum recharge value starting at Rs 8, making it the smallest denomination of recharge voucher in the television viewing sector globally.
This innovation by Tata Sky puts the subscriber in control of his/her TV viewing expenses. There are a substantial number of subscribers who pay a monthly charge, but for some reason or another are unable to view TV on a daily basis.
Tata Sky’s daily recharge enables them to now choose when to pay for their TV viewing. For a large part of the population, they can economize and re-charge their set top box on days when electricity is available, or when they are back from vacation. Similarly, they can decide on days when not to recharge for example during exam days or when travelling away from home.
Tata Sky MD and CEO Harit Nagpal said, “We are confident that the introduction of Tata Sky’s ‘Daily Recharge’ will gain traction across the nation. The ‘Daily Recharge’ option available at Rs 8, 10, 20, 50 and 100 enables us to put power in the consumer’s hands to choose their level of convenience. It also elevates the DTH sector by redefining the pace of digitization and reach to markets nationwide.”
With the understanding that there is a demand in smaller towns and villages for bite sized consumption (much like shampoo sachets and small sized mobile recharges), the ‘Daily Recharge’ card enables Tata Sky to make inroads into these untapped markets. Moreover, with digitization phase III still a year away, this plan should help accelerate acceptance of DTH sector in India.
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.
