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Tag: distribution

  • DTH license to be issued for 20 years, 100% FDI allowed in the sector

    DTH license to be issued for 20 years, 100% FDI allowed in the sector

    KOLKATA: The ministry of information and broadcasting (MIB) announced major key decisions for the direct-to-home (DTH) segment on Wednesday. The cabinet has revised guidelines for providing DTH service in India as well as licensing norms.

    I&B minister Prakash Javadekar stated in a briefing that 100 per cent foreign direct investment (FDI) will be allowed for the DTH sector. He also added that the decision was taken earlier by the ministry of commerce and industry but the sector could not avail the benefits due to existing MIB guidelines.

    Moreover, DTH licenses will be issued for 20 years and license fee will be collected quarterly. Further, the period of license may be renewed by 10 years at a time. The cabinet has also approved the sharing of infrastructure between DTH operators. Distributors of TV channels will be permitted to share the common hardware for their subscriber management system (SMS) and conditional access system (CAS) applications. Javadekar said that the decision has been taken to create a level playing field.

    The other salient features of the decision are:

    DTH operators shall be permitted to operate to a maximum of five per cent of their total channel carrying capacity as permitted platform channels. A one-time non-refundable registration fee of Rs 10,000 per platform service channel shall be charged from a DTH operator.

    The cap of 49 per cent FDl in the existing DTH guidelines will be aligned with the extant government (DPIIT's) policy on FDl as amended from time to time. The decision will come into effect as per revised DTH guidelines issued by the ministry of information and broadcasting.

    "The proposed reduction is intended to align the license fee regime applicable to telecom sector and will be prospectively applied. The difference may also enable DTH service providers to invest for more coverage leading to increased operations and higher growth and thereby enhanced and regular payment of license fee by them. Registration fee for platform services is likely to bring a revenue of approximately Rs 12 lakh. Sharing of infrastructure by the DTH operators may bring in more efficient use of scarce satellite resources and reduce the costs borne by the consumers. Adoption of the extant FDI policy will bring in more foreign investment into the country," the government said in a press statement. 

    The authority also added that the DTH sector is a highly employment intensive sector that operates pan-India. It directly employs DTH operators as well as those in the call centres, besides indirectly employing a sizeable number of installers at the grass-root level. The amended guidelines, with longer license period and clarity on renewals, relaxed FDI limits, etc will ensure a fair degree of stability and new investments in the DTH sector along with employment opportunities.

  • Sony acquires Crunchyroll from WarnerMedia’s AT&T

    Sony acquires Crunchyroll from WarnerMedia’s AT&T

    NEW DELHI: WarnerMedia’s AT&T has agreed to sell Crunchyroll to Sony in a deal worth $1.175 billion.

    Crunchyroll is an anime direct-to-consumer service within AT&T’s WarnerMedia segment with three million plus SVoD subscribers. It currently serves 90 million registered users across more than 200 countries and territories offering AVoD, mobile games, manga, events merchandise and distribution.

    Funimation is a joint venture between Sony Pictures Entertainment and Sony Music Entertainment (Japan) subsidiary, Aniplex.

    “The Crunchyroll team has done an extraordinary job of not only growing the Crunchyroll brand but also building a passionate community of anime fans. Crunchyroll’s success is a direct result of the company’s culture and commitment to their fans,” WarnerMedia CRO Tony Goncalves said. “By combining with Funimation, they will continue to nurture a global community and bring more anime to more people. I’m incredibly proud of the Crunchyroll team and what they have been able to accomplish in the digital media space in such a short period of time. They’ve created an end-to-end global ecosystem for this incredible art form.”

    “We are proud to bring Crunchyroll into the Sony family,” Sony Pictures Entertainment chairman and CEO Tony Vinciquerra said. “Through Funimation and our terrific partners at Aniplex and Sony Music Entertainment Japan, we have a deep understanding of this global art form and are well-positioned to deliver outstanding content to audiences around the world. Together with Crunchyroll, we will create the best possible experience for fans and greater opportunity for creators, producers and publishers in Japan and elsewhere. Funimation has been doing this for over 25 years and we look forward to continuing to leverage the power of creativity and technology to succeed in this rapidly growing segment of entertainment.”

  • Guest Column: TRAI needs to focus on sectoral hygiene rather than economic regulation

    Guest Column: TRAI needs to focus on sectoral hygiene rather than economic regulation

    MUMBAI: A silent crisis has been brewing in the residential segment of TV viewing sector. Even as its viewership increased during the Covid-induced lockdown, sectoral revenues took a severe hit. While Covid was termed an act of god, TV’s current state appears to be a man-made disaster. TV is an integral part of media, the fourth pillar of democracy. Therefore, it is crucial to respect and preserve it.

    TV accounts for over 40 per cent of the Indian media and entertainment ecosystem’s revenues, making it the sector’s largest contributor. As per pre-pandemic estimates, the M&E industry was slated to grow at 10 per cent CAGR to touch $34 billion by 2022. Covid’s impact has slowed down that march, particularly because advertisement revenues have shrunk, production of new entertainment programs remained suspended and the addition of new subscribers, by direct marketing, has become difficult. The alternative lies in adopting a subscription-led model.

    Broadcasters source content from content producers and manage its distribution over electronic media for viewer consumption. There are costs involved in this management such as content editing, server storage, opex for uplinking, transponder rentals and taxes. Broadcasters rely on meeting these expenses through advertisements inserted into and cheek by jowl with content.

    Besides these, distribution platform operators (DPOs) charge broadcasters a fee to carry programs and their placement in their electronic program guides (EPGs). TV players  have to pay this fee even for channels which are free for viewers. Advertisement revenue covers approximately 60 per cent of such costs. The DPOs, in turn charge subscribers for connectivity and pay content charges besides taxes.

    Read more news on Trai

    Since the nineties, business models were skewed in favour of ad-driven revenues because the amount of video content to be distributed over the  networks exceeded network capacity. Further, business practices were not transparent as broadcasters were unable to verify how many subscribers were watching their channels.

    2011 onwards, the TV digitisation process was supposed to usher in transparency and help overcome capacity constraints by relaying encoded and encrypted program streams from broadcasters to consumers via approximately 1,500 MSOs and over 60,000 cable operators. Digitisation improves picture and sound quality and allows more content to be transmitted using the same resources, thus enhancing consumer choice. Coupled with encryption, this system is called the digital addressable system (DAS), which means the facility to enable or disable program viewing selectively and remotely. Encrypted broadcasting signals can only be decoded via a set top box (STB) programmed uniquely for each consumer as per their indicated choice. Consequently, consumers can access and watch only those programs that they have chosen and pay accordingly. Empowering consumers to exercise choice was the intended first step to enable a subscription-led industry model.

    While the government claims that the entire digitisation process was over in March 2017, the truth is otherwise. MIB tracked DAS implementation using only the number of STBs reportedly shipped out of headend service providers’ warehouses. It did not consider if these STBs had been programmed to show only those channels that viewers had opted for. The STBs, therefore, functioned only as digital to analog converters that enabled viewers to watch all programs in the network’s stream. The task force to oversee DAS implementation did not seek proof to verify that ‘addressability’ had actually been implemented in the subscriber management system, which was the very essence of DAS implementation. Thus, a lot of TV subscribers do not have STBs which allow them to watch only those programs that they opt for.

    In 2017, TRAI issued a tariff order that supposedly aligns regulations with the new digital regime. However, the explanatory memorandum of the tariff order is full of contradictions, attributable to limited knowledge of ground realities.

    One possible infirmity, in TRAI’s demonstrated inability, could be that their staff consists of bureaucrats and professionals from the IT enabled services sector. Telecom generically facilitates one-to-one communication without any concern for the content it carries. The charges too cover fixed and variable levies based on usage time. With such a background, TRAI has been entrusted with regulation of broadcast, which is based on content that is intended for mass consumption.  Since 2004, they have not been able to acquire information about how broadcasters price their content.

    Read more news on broadcasters

    In the explanatory memorandum to the tariff order from March 2017, TRAI says that content pricing is a dynamic process, best understood by broadcasters. At the same time, it restricts them from deciding the price of pay programs included in bouquets. A commercial approach to determine prices requires an understanding of the expected channel viewership, and the cost of producing or acquiring content. Addressing ground realities is important to gather accurate data on channel viewership.

    One must understand that most subscribers use cable operators’ networks, which are local monopolies. Such operators get STBs issued in bulk without requisite programming and pairing them with subscriber details. These STBs enable access to all programs contained in the stream net casted from the MSO, since they are not individually programmed to cater to consumer choice. The cable operators then started charging subscribers a fixed monthly sum without any bill or receipt.

    To address this situation, multiple suggestions were made to TRAI. An important one was to incorporate broadcast expertise, which differs from telecom, into regulation. This is especially important for content handling to ensure that the deployed distribution networks meet desired addressability and content security norms. This author too has suggested that an eminent person, with broadcast video distribution experience, should conduct a demonstrative audit for all empaneled auditors. However, TRAI remains reluctant to change its telco-oriented mindset, where the concern for content has never factored in. The most glaring example is  the regulator’s latest list of auditors to audit the digitalization process. Almost all of them are charted accountants with no experience in broadcast audit. The regulations prescribe the employment of a graduate engineer in the empaneled auditors’ teams, without even mentioning his/her educational background. Finding suitable talent is also challenging, as broadcast engineering, in general, and wired line broadcasting, in particular, are yet to find a place in Indian academia. To sum up, one can’t get the TV business right without getting the number of consumers right.

    TRAI will therefore do well to pay attention to the safe and secure delivery of content, rather than economic regulation that is confined to subscription fund flow audits. As it is, the regulator’s misadventure since March 2019, has resulted in a loss of estimated 26 million subscribers, besides reported closing down of multiple video broadcast programs. It can’t and shouldn’t create a situation where more programs are forced to go off air.

    (The author of the article is Lt. Col. V C Khare, a cable TV expert. The views are personal and Indiantelevision.com may not subscribe to them)

  • “The goal is to create a $100 million IP company”: GoQuest’s Vivek Lath

    “The goal is to create a $100 million IP company”: GoQuest’s Vivek Lath

    Goquest Media is an independent distributor of global entertainment content offering a broad portfolio of international television series, scripted formats, factual content and films. Supplementing its portfolio of Indian content with key acquisitions from Europe, GoQuest Media is looking to serve the scripted needs of buyers across the globe.

    The Indian OTT space is booming, with platforms clamouring to raise the bar in local scripted content. According to GoQuest Media, this new age of premium Indian drama is creating a wealth of opportunities. In the long run the company is looking at becoming a global content agency. The firm’s primary vision is to promote India on a global stage and also expand their footprint in the global market. The company recently landed the distribution rights to two original series from OTT platform MX Player, Ek Thi Begum (The Mafia Queen) and Queen.

    In a special interaction with indiantelevision.com GoQuest founder and MD Vivek Lath spoke at length about Indian and international content market, his plan going forward and much more.

    How huge is the Indian market for GoQuest in terms of storytelling and content?

    Indian market is a pretty big market for GoQuest overall. We have been in touch with all the local OTT platforms for selling content which is dubbed in Hindi or in local languages. Most of the content that we are talking about comes from outside India. There is a large amount of transaction that has been going around remake rights or adaptation rights of international shows and films into India. Indian market is growing every year and slowly as more consumers demand more content, there will also be more demand for ready content coming outside India which would be plugged into the system here.

    So, GoQuest is looking at building a major distribution/production company out of India. What's your vision.

    The vision is to ultimately build up a very strong content monetisation company across various platforms and mediums. We are currently sitting between production, consumer facing platforms. Our services are essentially limited to the montisation part. Right now, we want to vertically move towards the production side of the business. In the coming two to three  years we will also enter the consumer side of the business and become a consumer entertainment brand. The goal is to create a 100 million-dollar IP company out of India, which is not only producing content but a holding company of very large and good IPs. The vision is creating a gamut of entertainment services including production, consumer driven business and distribution. We are also planning to create financial products around entertainment. The focus is to become an end to end entertainment media conglomerate.

    GoQuest has appointed people overseas and it is trying to become India’s global agency. Can you elaborate more on this.

    We will continue to hire people outside India. Most of the people that we are hiring overseas are from the business development and partnership side. Paula, who is a Keshet alum, is based in Tel Aviv and manages businesses in Europe and US. Harshad,who is in Vietnam manages South East Asia and East Asia. From a sales reach point of view, it is important for us to put these offices in place, if we have to expand our business. GoQuest will continue to hire leaders in those regions. We have also onboarded consultants who help us with partnerships and outreach. All in all a mix of full time and part time employees. We have a team of 5 outside India and 48 within India

    Are you looking at becoming a specialist in this field?

    We are specialists in this field. We are the only company out of India, which does the kind of licensing business . GoQuest doesn’t have a direct competition in India as of now. We will continue to build in this niche, that is where we stand out. We are picking up more and more fiction stories from across the world. Our immediate goal is to build a strong fiction distribution pipeline . Pushing India to the global stage is something we are keen on. One of our goals is to push Indian content, especially the one made for the OTT players on par with the other global content that is there in the market

    How are you planning to utilise Queen and Ek Thi Begum considering Queen has recently come on Zee as well.

    Well our arrangement with MX Player is largely for distributing the show internationally. We don’t hold the rights for India. But internationally we do, and we have already started many conversations there. OTT players with in India are already licensing shows to each other and to tv broadcast. Our battleground will be to mount the shows outside India

    What is the cost of licensing?

    We act as pure play service providers distributing content in the international market. As far as Licensing is concerned, the spectrum goes anywhere between $500 per episode in a small market to $5000 in a large market. There is no fixed benchmark, it completely depends on the market and different territories. It also depends upon the quality and story of the show.

    Do you also have TV distribution rights for Queen? Also, OTT contents are now going to TV. Do you think it is viable?

    We have all the distribution rights for Queen on both OTT and TV, for the international market. According to me OTT content going to TV is a viable position. At the end it is all about who is the audience what is the audience overlap between TV and OTT. I think it is good for different companies, mediums and platforms to share the cost of content in a way. Because production costs are shooting up and to make sense of the economics of each content that is being produced, I think it is a good way of monetising it.

    Any new Indian content in the pipeline that you are planning to acquire?

    We are in advance conversation with almost all the OTT producers in India at this point for the intellectual properties they own. We are making sure that whatever show we handpick is of extremely good quality rather than taking it as a commodity approach and cross-selling product at super cheap price.

    In the current situation, where production is on hold, what is your strategy going forward?

    With production on hold, it hasn’t changed much for us. Of course, we need more and more content to drive our business. However, it’s just been three months now, there is enough content for us to sell even if the production is on hold. If the hold continues for a longer period, then it will be challenging to get new products. But our challenges will be minuscule as compared to the challenges faced by the overall industry. I am not worried as such as far as our business is concerned.

    Are you looking at content that can be remade in India?

    Absolutely, in fact we are putting together packages for about four different shows for which have acquired remake rights for India. We have put the right people behind them to i.e. writers, showrunners anddirectors and then go out to pitch the script to OTT platforms. Some of the shows we have are being commissioned by the networks in France, US and in Europe. All the shows that we have, are tried and tested so there is very limited risk about the story line. I believe there is a lot of scope of remaking content in India.

    How has the pandemic impacted your business?

    We all forced ourselves to efficiently work from home. A lot of our interactions are documented for better clarity. Use of collaborative tools to make sure things don’t go out of hand. The business momentum was significantly big at the start of this year, and that momentum has been slowed down for us now. But I believe things won’t be that bad for us going forward. Because content companies are now springing back up, consumer spending is slowly increasing. Yes, we have been affected but it is not going to be long term as far as the pandemic is concerned.

    Apart from Indian content, will you be bringing more international content in India.

    Indian content that we are distributing is for outside India. But we are bringing a lot of international content in India. We are looking at our Ruby Ring, which has done really well all across the world. We are approaching all the leading OTT players now to buy the rights. We are also looking at making that show for regular GEC broadcast. There are a lot of international shows that we are bringing in India, details will be out soon.

  • MIB extends time for feedback on Cable TV Networks Amendment Bill 2020

    MIB extends time for feedback on Cable TV Networks Amendment Bill 2020

    MUMBAI: The ministry of information and broadcasting (MIB) has extended the timeline to receive feedback or comments on the proposed amendments of Cable Television Networks Amendment Bill 2020. While it was extended upto 17 March first time, the ministry has extended the date now till 13 April.

    “In response to request received from various quarters with reference to this Public Notice dated 15.01.2020 and its letter of even number dated 21.01.2020 and 10.02.2020 respectively on the subject cited above, this ministry has decided to extend the time again upto 13 April, 2020 for furnishing suggestions/feedback/comments/inputs/views on the proposed amendments,” the MIB said in a notice.

    MIB published the draft on 15 January inviting feedbacks from the stakeholders and generale public. The ministry is bringing in a slew of amendments to the Cable Television Networks (Regulation) Act, 1995 through the draft Cable Television Networks (Regulation) Amendment Bill, 2020.

    While MIB is planning to bring amendments to the Cable Television Networks (Regulation) Act, 1995 through the proposed  draft, one of the major changes planned by the ministry is to prevent state governments or the entities as well as religious and political parties from entering the TV distribution space. The clause 4(1) now reads as follows: “Registration as cable operator–(1) Any person who is desirous of operating or is operating a cable television network may apply for registration or renewal of registration, as a cable operator to the registering authority.”

    “Provided that such a registration or renewal of registration shall not be granted to the state governments, urban and local bodies, political and religious bodies, state government departments, state government-owned companies, State government undertakings, joint ventures of the state government and the private sector and state government funded entities.

  • MSO applicants seek approval status in OHM

    MSO applicants seek approval status in OHM

    MUMBAI: Five MSO applicants and registered MSOs participated in an open house meeting to ascertain the status of their MSO application for grant of registration along with other queries.

    Representatives from TJ  Cable Network, World Phone Infrastructure Services, Haur Cable Network, Lamjingba Times Pvt Ltd, Yadav Cable Network were present in the meeting.

    Representatives from TJ Cable Network raised a query regarding change of entity from proprietorship firm to partnership firm and asked whether it is possible to transfer MSO registration from proprietor to partnership. But such a change is not possible since there is no such provision in the CTN Act.

    The representative of applicant MSO World Phone Infrastructure Services informed about the status of the application and were told that their application is under examination in the DAS Section of the Ministry.

    In addition to that, the  representatives of Haur Cable Network, Lamjingba Times  Pvt Ltd, Yadav  Cable  Network  mentioned  were informed about the  status of their applications that is under scrutiny in  the DAS section and security clearance from  MHA awaited. 

  • GTPL Hathway posts consolidated revenue of Rs 4,470 mn in Q2 2020

    GTPL Hathway posts consolidated revenue of Rs 4,470 mn in Q2 2020

    MUMBAI: Gujarat-based multi system operator (MSO) GTPL Hathway has posted consolidated revenue of Rs 4,470 million (ex EPC contract) for the quarter ended 30 September, which increased 41 per cent year-over-year. While the cable TV subscription revenue stood at Rs 2,608 million, broadband revenue stood at Rs 398 million.

    The company posted a consolidated net profit (ex EPC contract) of Rs 195 million for the quarter and the EBITDA increased 5 per cent to Rs 1,156 million . Subscription revenue reached Rs 2,608 million, up 47 per cent year-over-year.

    “GTPL continued to demonstrate superior business and financial performance in the second quarter of FY20. GTPL’s cutting edge technology allows us to expand our CATV business in other regions without any major CAPEX. Our robust cash flow will not only support our capital expenditure plan that is required but also will help us in reducing our debts,” GTPL Hathway MD Anirudhsinhji Jadeja commented on the performance.

    GTPL Hathway seeded 200,000 STBs during the second quarter FY20, taking total seeded STBs as on 30 September to 9.90 million. Digital paying subscribers as on 30 September 2019 stood at 7.25 million, increased by 150,000.

    During Q2 FY20, the company added 260,000 home pass taking it to total 2.92 million as of 30 September. The MSO added 15,000 net broadband subscribers during Q2 and 11,000 FTTX subscribers while the broadband average revenue per user (ARPU) for Q2 FY20 was maintained at Rs 415.

  • Disney’s acquisition of 21st Century fox leads to employee layoffs: Report

    Disney’s acquisition of 21st Century fox leads to employee layoffs: Report

    MUMBAI: Disney’s acquisition of 21st Century Fox has again led to more employee layoffs. Disney has laid off nearly 60 employees within its media distribution division, according to a Variety report.

    Fox TV Distribution worldwide marketing executive vice president Greg Drebin and 20th Century Fox Home Entertainment worldwide marketing and strategy senior vice president Jennifer Chai are being counted among the affected ones. Drebin was promoted from SVP to EVP of Worldwide Marketing last year.

    A few days after Disney’s $71.3 billion acquisition of Fox’s entertainment and studio assets was completed, 20th Century Fox TV distribution president Mark Kaner was let go. After the closure of the deal, the distribution department was hit by the first round of layoffs.

    Earlier in August, another round of layoffs was executed where a large number of employees have been let go from both sides. Visual effects head  John Kilkenny, feature production executive VP Fred Baron, physical production executive VP Dana Belcastro and post-production executive VP Fred Chandler are among the executives who have received pink slips on the Fox side.

  • IMCL highly optimistic about impact of tariff order on business

    IMCL highly optimistic about impact of tariff order on business

    MUMBAI: Indusind Media & Communications Ltd (IMCL), the Hinduja Ventures Ltd (HVL) subsidiary, is highly optimistic about the impact of the new tariff order on its business. The MSO asserts that the new regime ensures a more equitable distribution of economic benefits in the value chain. After overcoming major legal battles the new tariff order by Telecom Regulatory Authority of India (TRAI) has finally come to effect from 1 February.

    While earlier the deals between broadcasters and distribution platform operators (DPOs) were not transparent and consumers did not have the option to select channels as per their choice, with the new regime the industry is moving towards an MRP based model. IMCL in its third quarter earnings release said that through proper packaging and pricing and giving the consumers the channels of their choice, the company will now be able to move very fast on the path to profitability. The MSO also added that the change will also enable the company to have a better return on capital employed.

    HVL reported a total income of Rs.10.16 crore for the third quarter on 7 February while the media and communication segment contributed 10 crore. HVL operates across three segments including media and communication, real estate and investment, and treasury and IMCL comes under the first category.

    "IMCL being a progressive player in the MSO industry has looked at the developments in the industry both with respect to the new tariff order and the consolidation very positively and is today in the forefront of providing excellent consumer service through seamless implementation of the new tariff order while ensuring excellent viewership through world class technology. This along with efficient packaging and pricing adopted by it will result in the company move on the path to profitability," IMCL CEO Vynsley Fernandes said.

    Last year another major development took place in the distribution industry with the entry of Jio FTTH. To reach last mile consumers easily, JIO announced majority stake in two large MSOs, Hathway Cable and Datacom and Den Networks.

    “IMCL believes that such consolidation is good for the industry as it creates an environment for technology driven organisations who will now focus on better consumer experience leading to better pricing rather than pure volume growth in a frittered industry,” the release read.

  • IndiaCast, Hathway strike deal after TDSAT order

    IndiaCast, Hathway strike deal after TDSAT order

    MUMBAI: Setting aside their differences, IndiaCast Media Distribution Pvt Ltd (IndiaCast) and Hathway Digital finally came to an agreement on Wednesday and signed a deal. As a result, IndiaCast, the content monetisation arm of TV18 and Viacom18, has switched on the signals of its channels to the multi-system operator (MSO).

    The deal came to fruition after the Telecom Disputes Settlement and Appellate Tribunal (TDSAT), on Wednesday, ordered the companies to restore signals.

    The parties have agreed to sign a one-year fixed fee deal until 31 March 2019.

    Earlier, IndiaCast channels had been pulled off from Hathway. Despite several meetings, Hathway could not fulfill the growth aspiration of IndiaCast in terms of the carriage and subscription fees. The subscription and carriage agreements between Hathway and IndiaCast had expired on 31 March 2018.

    On 1 April 2018, IndiaCast issued a 21-day public notice to Hathway to meet regulatory requirements. Earlier, reports stated that the notice was issued due to non-payment of dues, non-submission of monthly subscriber reports, under-declaration of subscribers, failure to allow an audit of systems and unauthorised retransmission of channels.

    Across the cable industry, multi-system operators (MSOs) are now doing fixed-fee deals. While all the players are waiting for the new tariff order, due to the delay in the roll out, cable operators are relying on fixed-fee deals only. To move forward with these fixed-fee deals, the parties negotiate on the last fee structure and agree on certain percentage growth.

    The disagreement between IndiaCast and Hathway came about with the renewal of these deals. As IndiaCast acquired Turner channels recently, the distribution company demanded more subscription money than ZEE.

    Though IndiaCast was due to switch off its channels on 21 April, it eventually pulled off from Hathway on 25 April. Other than the disagreement on the hike in fees, IndiaCast had also asked Hathway for a two-year commitment and was not satisfied with the format of the subscription report.

    Also Read :

    IndiaCast, Hathway fail to concur on carriage, subscription fees

    TDSAT prohibits Scod18 from relaying IndiaCast channels