DTH
Videocon d2h targets advertising revenue; strengthens ad sales team
MUMBAI: Direct to home (DTH) operator Videocon d2h is looking at increasing its advertising revenues. In order to achieve this, the DTH operator will not just offer targeted advertising across its regional language and proprietary channels, but also launch new channels shortly.
In order to achieve the target, the operator has formed a new executive advertising team to be headed by Indian media sales experts.
The advertising initiative, which will target inventory opportunities on the Videocon d2h platform, comes in response to the positive feedback from the operators’ advertisers such as Volkswagen, Honda, Disney, Sony TV, Zee Group and Star Sports. Media buyers will also be able to advertise on Videocon d2h’s home channel and info bar when changing channels.
The new Videocon d2h advertising sales team is led by media veteran Tanmay Srivastava, who joins the company after serving as MSM Network head, advertising sales. Reporting directly to Videocon d2h deputy CEO Rohit Jain, the operator has also recruited two other senior executives with extensive local advertising sales experience.
The operator began offering advertising on its platform only last year. The inaugural effort focused on its home channel and generated approximately US$1.5 million in fiscal 2015. With its expanded initiative, Videocon d2h is anticipating substantially bigger advertising revenue gains in fiscal 2016.
Videocon d2h CEO Anil Khera said, “Today’s announcement reconfirms our commitment to continuously identify growth opportunities for our shareholders. With the goal of generating new revenue through an expansive, targeted ad sales platform, we have assembled a solid team that is more than capable of moving this initiative forward for us. We look forward to being a part of their success in tapping Videocon d2h’s reach of 65 million consumers with exciting, new options, and we anticipate the advertising program to expand even further as we launch our own branded channels in the future.”
Silver Eagle Acquisition founder Harry Sloan further added, “During the recent NASDAQ listing process, we focused on advertising sales as one of the important high margin growth opportunities. As we look to roll out a bouquet of new branded channels we will be able to use the extensive reach of our platform to turn ad sales into bottom-line dollars. This is a programme that will benefit our growing consumer base, as well as those advertisers seeking their stake in the lucrative Indian TV market. Given the exciting growth in overall Indian advertising and the television ad market in India, we are very pleased to see the development of an effective advertising sales force implemented quickly and effectively.”
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.
