
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
27/01/2026
L-R: Jonathan Cuchacovich, Sonia Kennebeck, Alan Fischer, Daeil Kim, Andrew Sta...
27/01/2026
Nielsen will continue to drive growth and provide local audience measurement
in...
27/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
27/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
27/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
27/01/2026
Amagi Media Labs Limited, the only cloud-native SaaS provider offering end-to-end solutions across live production, content preparation, distribution, and monet...
27/01/2026
Miri Technologies Inc. today unveiled its V410 live 4K video encoder/decoder for streaming, IP-based production workflows and AV-over-IP distribution. Designed ...
27/01/2026
The Paul E. Tsongas Center at UMass Lowell in Massachusetts has chosen Ikegami cameras for incorporation into its broadcast-quality television production facili...
27/01/2026
SipRadius, specialists in secure, low latency media transport, will show the pro AV community its end-to-end solution for high quality content distribution and ...
27/01/2026
Hiltron will highlight the fruits of its 45-plus years of experience in satellite communications system integration and product development at the annual GovSat...
27/01/2026
Klvr will demonstrate how its Charger Pro solution is delivering cost reduction and performance benefits for live entertainment and pro AV markets at ISE 2026 (...
27/01/2026
Amino, a global media technology leader in enterprise video and digital signage, today announced that its Integrated Systems Europe (ISE) 2026 booth (4N700) wil...
27/01/2026
ANI, India's leading news agency and a major content provider across the Asia Pacific region, today announced a significant expansion of its long standing p...
27/01/2026
Independent analysis confirms faster encoding, lower CPU usage, and improved perceptual quality compared to CBR and CRF
VisualOn, a leader in multimedia playba...
27/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
27/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
27/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
27/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
27/01/2026
Back to All News
When It Feels Real, Is It Still a Lie? The Art of Sarah' ...
27/01/2026
Back to All News
That Night premiering on Netflix March 13
Entertainment
27 January 2026
GlobalSpain
Link copied to clipboard
DOWNLOAD THE KEY ART
DOWNLO...
27/01/2026
Back to All News
Netflix Revealed the Future of Mexican Stories Coming in 2026
Entertainment
27 January 2026
GlobalMexico
Link copied to clipboard
Among t...
27/01/2026
Back to All News
Four New Japan Titles Announced for 2026: Viral Hit', On...
27/01/2026
Back to All News
What's Next on Netflix from Japan: Expanding the Possibili...
27/01/2026
AI, graphics and virtual software power new production capabilities...
26/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
26/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
26/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
26/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
26/01/2026
Advanced Systems Group (ASG) today announced an exclusive partnership with Nu Studio, the company behind the first modular, portable studio designed for immersi...
26/01/2026
OpenDrives, the leader in high-end video data management and workflow solutions, today announced an add-on investment to its previous funding rounds, led by IAG...
26/01/2026
SmallHD today announced a major update to its award-winning PageOS software, introducing Fleet Control, Portrait Mode, expanded Camera Control features, and Dow...
26/01/2026
Whether rigging a PTZ on a truss, sliding a Blackmagic camera across a mezzanine railing, or capturing the mayhem from inside a drum, Filipic delivers visuals t...
26/01/2026
Back to All News
Netflix Unveils Official Trailer for Salvador
Entertainment
26 January 2026
GlobalSpain
Link copied to clipboard
DISCOVER THE TRAILER
DO...
26/01/2026
Back to All News
Netflix Presents Our 2026 Series and Films and Announces New Projects
Entertainment
26 January 2026
GlobalSpain
Link copied to clipboard
...
26/01/2026
Back to All News
Made in Louisiana: People We Meet on Vacation' Lights Up New Orleans
Emily Bader and Tom Blyth film on Royal Street in New Orleans' ...
26/01/2026
LinkedIn Gives Professionals the Edge with Verified Skills and Tools to Navigate the Job Search Show Proficiency of AI Tools such as Descript, Lovable, Relay.ap...
26/01/2026
Alfalite, Brainstorm, Dejero, Domo Broadcast Systems, FOR-A, KitPlus, Ontario So...
26/01/2026
Tyngsboro, Mass. - January 26, 2026 - Broadcast Pix is excited to exhibit at the Alliance for Community Media West Region Conference and Trade Show, taking plac...
25/01/2026
Back to All News
Sins of Kujo' Premieres April 2: Teaser Trailer, Art and ...
24/01/2026
Masami Kawai Selected as the 2026 Merata Mita Fellow; Isabella Madrigal and Tsanavi Spoonhunter Named 2026 Graton Fellows During Native Forum Celebration in Par...
24/01/2026
The MC-55A Peregrine aircraft will give the Royal Australian Air Force information superiority and serve as strategic assets for future Australian Defence Force...
24/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
24/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
24/01/2026
Share Share by:
Copy link
Facebook
X
Linkedin
Pinterest
Bluesky
Email...
23/01/2026
WWE's Virtual Production Playbook: How the Professional Wrestling Super Powe...
23/01/2026
Tight set up: Squeezing the PSA's Tournament of Champions into Grand Central...
23/01/2026
Evolving production: The PSA on bringing squash to more viewers at the Tournamen...
23/01/2026
AFC Championship Preview: Behind the Scenes With NFL on CBS' Producer Jim R...
23/01/2026
NFC Championship Preview: FOX Sports Director Rich Russo Talks Technology, Story...