
D j vu: Are we back to Betamax?
Predicting the rate and direction of technology adoption often seems to be as much of an art (indeed, perhaps a dark art) as it is a science. It was nearly half a century ago (!) that one of the first real format wars emerged - where Sony and JVC clashed in the VHS/Betamax battle. Decades of economic analysis have been devoted to the emergence of the war - and its outcomes. For all intents and purposes, Betamax should have been the winner: it offered greater horizontal resolution, lower noise, reduced luma/chroma crosstalk, and overall was visually the better standard. It also had a year more than VHS to penetrate and shore-up its market hold. But consumers are tricky things, and a significant range of what economists like to call network externalities' ended up holding sway on the outcome.
And even with 50 years of observing both consumer and industry behavior in relation to technology adoption, it seems that collectively we're not necessarily any better placed to guess what factors will influence take-up. One only has to look at Zuckerberg's quiet withdrawal away from the multi-billion dollar Metaverse, as his eyes turn to the parallel multi-billion dollar rise of ChatGPT, to see how even the biggest players can't always read the market.
ATSC, as easy as 1,2 3. Right?
So, what does all this talk of tech-take-up rates tell us about the ATSC 3.0 saga? The standard, in development for more than a decade and approved by the FCC for rollout in 2017, still seems to languish in no-man's land, failing to hit its true potential, always on the cusp but never in the limelight.
Well, as with Betamax, it's certainly not any factors pertaining to its technological capabilities holding it back. We've talked about the benefits at some length in our previous blog, but to sum up its benefits in a sentence: ATSC 3.0 has the ability to bring all the advantages of IP to an entirely wireless environment - improving broadcast quality, increasing functionality, augmenting reliability and security, extending reach, and just generally improving everything for broadcasters, for advertisers, and for audiences. Indeed, the benefits really can't be overstated, because although there is a great focus on ATSC 3.0 as Next Gen TV', the truth is it has applications that extend well beyond just broadcast, since it in effect represents more generally a wireless IP distribution platform. Which is quite a big deal really.
So, where's the issue? Broadcasters are champing at the bit to make use of its commercial potential. Consumer manufacturers are (mostly) supporting it. What's the obstacle?
It is, essentially, regulatory. While the FCC was ready to endorse the standard all the way back in 2017, their approach was a tad tepid.
In essence, in 2017, the FCC authorized -but did not instruct -television broadcasters to use ATSC 3.0 if they so wished - meaning it was a voluntary and market-driven approach to adoption. More than this, they implemented a requirement that broadcasters maintainnearly-identical broadcast in the original ATSC 1.0 standard as well. So, broadcasters could choose to move to ATSC 3.0, but only as well, not instead. While that requirement was due to sunset' this year, it appears to have been given a stay of execution: broadcasters are still having to devote dual resources to ATSC 1.0 and 3.0 outputs, despite being eager to move forward properly with the latter.
Note how much this differs from the approach taken in the transition from analog NTSC to ATSC back in 2007 - 2009, which was mandatory. Indeed, it's almost the inverse of it - since with the NTSC/ATSC switch they actually requiredbroadcasters to stop broadcasting analog in 2009. So there's a marked difference in approach here: in the NTSC/ATSC transition, the FCC actively pushed for the end of an old standard, and the harkening of a new one. Now, in this new era of ATSC 1.0/3.0 transition, the FCC is actively pushing the maintenance of an old standard, and crippling broadcasters in their adoption of the new one - not just in terms of operational inefficiency, but the undue occupation of huge swathes of the broadcast spectrum.
Arguably then, it has nothing to do with the technology, and nothing to do with the market - and all to do with the regulatory handcuffs that the FCC has imposed.
None-the-less, the FCC argues it is on the side of progress. In April, FCC chair Jessica Rosenworcel said: Today, we are announcing a public-private initiative, led by the National Association of Broadcasters, to help us work through outstanding challenges faced by industry and consumers. This Future of Television initiative will gather industry, government, and public interest stakeholders to establish a roadmap for a transition to ATSC 3.0 that serves the public interest. A successful transition will provide for an orderly shift from ATSC 1.0 to ATSC 3.0 and will allow broadcasters to innovate while protecting consumers, especially those most vulnerable.
The pressure is on
It is clear in Rosenworcel's statement that the FCC's motivation to push forward comes strongly from pressure being put on them by the NAB. And in turn, the NAB is feeling that pressure from below, because the market seems set to undergo another seismic shift. What do we mean by that?
Well, streaming hit the industry hard and fast, and by all accounts appeared to fundamentally change the paradigm. Every article you read in, say 2010, declared the death of Linear TV and conventional advertising. But a decade on and the streaming market looks very different; fragmented, with lower subscription numbers, greater frustration from audiences regarding commissioning and content creation strategies, a lack of transparency, and an apparent need to resort to more traditional profit models, in
North America Stories
11/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/07/2026
Boston Conservatory at Berklee Awards Grants to Five Alumni, Supporting Work in ...
11/07/2026
Berklee Alumni and Faculty Recognized with 2026 Emmy Nominations The 27 nominees include Trey Parker (South Park) and seven-time Emmy winner Pablo Mungu a of ...
10/07/2026
In-venue and creative video staffers at the professional and collegiate level ha...
10/07/2026
FUJIFILM North America Corporation has announced the FUJINON GF19-35mmT3.5 PZ OIS WR, a cinema power zoom lens for the GFX System with native G Mount. The lens ...
10/07/2026
Dalet has announced a new Long-Term Supported (LTS) release of Dalet Flex, expanding AI capabilities, workflow automation, and integration with Dalia, Dalet'...
10/07/2026
Blackmagic Design has released Fairlight Live, a free software-based broadcast audio mixer for Mac and Windows, available for download now. Simultaneously, the ...
10/07/2026
FloSports and the USA South Athletic Conference have announced an exclusive medi...
10/07/2026
Daktronics has manufactured and installed an LED video display at Field of Dream...
10/07/2026
Registration is now open for NAB Show New York 2026, taking place October 21-22 ...
10/07/2026
Sphere Entertainment Co. and the Formula 1 Heineken Las Vegas Grand Prix have an...
10/07/2026
CBS Sports and the Asian Football Confederation (AFC) have announced a media rights partnership covering the AFC Asian Cup Saudi Arabia 2027 and the AFC U23 Asi...
10/07/2026
Sony Electronics has announced the RX10 V, the fifth generation of its RX10 all-in-one camera series. The camera will be available in August 2026 at a suggested...
10/07/2026
Chyron has announced PRIME 5.4, an update to its unified graphics, playout, and ...
10/07/2026
The nine-time Emmy Award-winning video engineer was a pioneer of NASCAR in-car cameras and a longtime fixture in FOX Sports' video-control operation...
10/07/2026
FuboTV Inc. has announced the appointment of Alisa Bowen as Chief Executive Officer, effective July 10. Bowen succeeds David Gandler, who co-founded the company...
10/07/2026
Every entry on Nielsen's Top 25 Live Sports Events Telecasts for the week of...
10/07/2026
The Braves opted to keep production in-house rather than hand it off to MLB...
10/07/2026
Drones, jibs, robos are part of the expanded camera complement for the Professional Bull Riders series
PBR Teams' 2026 season, with a 10-team field competi...
10/07/2026
(L-R) Michael Arndt, Paul Dano, Toni Collette, Valerie Faris, Abigail Breslin, Jonathan Dayton, and Greg Kinnear attend the Park City Legacy program screening o...
10/07/2026
Why CRAS Upgraded to Symphony I/O MK II When an audio school runs studios all day, every day, gear doesn't just need to sound good , it needs to survive rea...
10/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/07/2026
Hey Man, Cheech & Chong's Last Movie Rolls With SNS EVO
Melanie Ciotti July 10, 2026
0 Comments
Richard Cheech Marin and Tommy Chong have long b...
10/07/2026
Alex Zarfati's Fail Safe Shot with Blackmagic PYXIS 12K
Brie Clayton July 10, 2026
0 Comments
Camera's full frame sensor supports anamorphic s...
10/07/2026
Dalet, a leading technology and service provider for media-rich organizations, today announced the latest Long-Term Supported (LTS) release of Dalet Flex. Build...
10/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/07/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/07/2026
Data has always been central to media operations. Every ad that airs, every campaign that delivers, and every audience that's measured- all of it generates ...
09/07/2026
With 50+ cameras, three trucks, 60+ EVS channels, RFID hole-card workflows, and ...
09/07/2026
A recent graduate from Westchester, NY, this experienced technician has already started her first gig in the industry, as a REMI A2 Comms Specialist at ESPN
In...
09/07/2026
Live sports production is a fast-paced industry with no signs of slowing down. W...
09/07/2026
From a rooftop studio in Manhattan, multiple Germany-based companies share respo...
09/07/2026
Overtime has announced a content partnership with FOX One to produce Race to Glo...
09/07/2026
Clear-Com has announced that Ross Production Services (RPS) has standardized on ...
09/07/2026
The NFL has announced that NetApp will return as Presenting Partner of the NFL Madrid Game, featuring the Atlanta Falcons against the Cincinnati Bengals at the ...
09/07/2026
The R&A and Cisco have announced a multi-year partnership making Cisco the Official Network Supplier of The R&A and its Championships. Cisco will deploy AI-read...
09/07/2026
Fox Television Stations, Extreme Reach (XR), and LTN have announced the completi...
09/07/2026
Kiswe has announced a partnership with Wynn Records to launch the Wynn Records Network streaming platform, debuting Saturday, July 11 with a Salita Promotions b...
09/07/2026
NEP Europe has announced a new multi-year agreement with Wimbledon Broadcast Ser...
09/07/2026
Thropic Games, a company offering casual mobile games tied to fan fundraising for sports programs, has announced a pre-seed funding round led by The Famous Grou...
09/07/2026
Game Creek Video has reached an agreement with Grass Valley to purchase 10 K-Frame production switchers as part of a two-year fleet expansion. Two systems have ...
09/07/2026
Gravity Media is delivering a three-hub remote production workflow for ITV's...
09/07/2026
A new report from Quickplay and Caretta Research, The Broadcaster Revolution Wi...