DTH
Tata Sky & QYOU partner to bring online video content
MUMBAI: QYOU Media, a leading curator of premium ‘best-of-web’ video for multiscreen distribution, has expanded its partnership with Tata Sky, a leading content distribution platform in India, in the largest single-territory deployment of its linear channel to date. Previously available through Tata Sky’s mobile app, this broader deal will make QYOU’s 24/7 service of online video content available to 17 million Tata Sky connections across television and mobile.
The rapid growth in internet access has seen the number of users in India surge to almost 400 million. Online short-form video available through sites such as YouTube, Daily Motion and Facebook is hugely popular, with the average length of a viewed video in India being less than twenty minutes. To cater to the tastes of digital native millennial and generation Z audiences who are engaging with short-form video on a daily basis, Tata Sky will feature The QYOU’s 24/7 service which curates unique digital-first content. This content will be featured through the screens and services its younger customers in India love to use, especially mobile and TV.
As part of the agreement, QYOU and Tata Sky will also start to feature content from local creators in India and some of the most popular online videos from the region in order to create highly localized shows that appeal to Indian audiences. The service will be available on Ch 200 (HD) & Ch 201 (SD) on Tata Sky and keeping in mind the ‘on the go’ nature of the content, it will also be available on the Tata Sky app on Live TV and VOD.
Tata Sky chief content officer Arun Unni commented: “Catering to audiences’ changing preferences and tastes has always been the core focus for Tata Sky. This will be the first time that subscribers can view short format content 24×7 on their TV sets on the Tata Sky Mobile App. With the burgeoning popularity of online video in India and the incredible depth of unique content in QYOU’s archives, it makes complete sense for us to provide this service to our subscriber base.”
QYOU Media CEO Curt Marvis adds: “India is renowned for being a region filled with tech-savvy young people, who navigate the worlds of internet video and traditional television with complete ease. Having a curated mix of the best digital-first video content at their fingertips – whether they’re watching on a mobile device or via the TV screen – means that they can enjoy the best of both worlds and never miss a thing. We are proud that our partnership with Tata Sky is evolving and enabling us to make the largest deployment of our channel in a single market to date.”
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.
