DTH
Videocon d2h rolls out India’s first 4K Ultra HD channel
MUMBAI: Direct to home (DTH) platform Videocon d2h, the first in India to have had a preview of 4K Ultra HD DTH service in July last year, has taken a step further as it launched a 24 hour 4K Ultra HD multi genre channel on 26 January, 2015.
Videocon Group director Saurabh Dhoot said that the company is bringing the path breaking technology into Indian homes using its 4K Ultra HD set top box and the channel. “We are the first in the country to provide this experience,” he said.
When queried by Indiantelevision.com as to what the channel feed will contain, Videocon d2h chief executive officer Anil Khera said, “We are planning to showcase Video on Demand (VOD), lifestyle and travel content, sports, infotainment, concerts and Hollywood movies.”
Khera preferred calling the channel as a 4K content pipe wherein 4K content available from international broadcasters will be telecast. “The pipe is not dedicated to any one channel. It is a pipe that also consumes a lot of bandwidth,” he added.
To begin with, as part of its contract with Star India, the DTH platform will broadcast the upcoming ICC Cricket World Cup matches, which will be produced with the new technology. “We are in talks with producers who are the content providers from India and abroad,” informed Khera. The channel will be uplinked from the company’s Greater Noida facility.
The 4K ultra HD set top box redefines TV viewing experience delivering four times the picture resolution of Full HD. It has 27 times the normal Standard Definition (SD) picture quality. It provides a resolution of more than eight million pixels, resulting in better sharpness and clarity.
The package also includes a next generation User Interface (UI) powered by technology company CISCO to easily access content. A ‘super speed’ USB allows subscribers to be future ready to play pause and rewind the live stream of 4K content.
In lay man’s terms, a 4K channel is equivalent to four HD channels put side by side and two HD on top of the four, which basically makes it an image with four times the resolution of HD.
When asked whether the new edge technology will be promoted through live events during the Cricket World Cup, Khera said, “We are in talks with the broadcaster, but no final decision has been taken on that as yet.”
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.
