
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
11/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
11/03/2026
Utah Scientific today announced the expansion of its Technology Partner Program with the addition of Audinate, Bitfocus, and Skaarhoj, three industry leaders wh...
11/03/2026
DigitalGlue, creator of the creative.space on-premise managed storage platform, today revealed plans to launch creative.space Intelligence (CSI) at NAB 2026 (Bo...
11/03/2026
Maxon, maker of powerful, approachable software solutions for creators working in 2D and 3D design, motion graphics, visual effects, gaming, and more, has annou...
11/03/2026
Composer and Re-recording Mixer Michael Phillips Keeley has built his career around immersive storytelling. Working from his Dolby Atmos-equipped studio, Sound ...
11/03/2026
Leading video software provider Synamedia today announced that YES, the pay-TV subsidiary of the telco Bezeq (TASE: BEZQ), has selected Synamedia Iris to delive...
11/03/2026
As media companies face increasing cost pressures and operational complexity, at the 2026 NAB Show in Las Vegas, Viaccess-Orca (VO), a global leader in OTT / TV...
11/03/2026
Digital Alert Systems, a global leader in emergency communications solutions for media providers, today announced the release of Version 6 software for its DASD...
11/03/2026
Foundry releases Nuke 17.0
Brie Clayton March 1, 2026
0 Comments
Native Gaussian Splat support, new 3D system based on USD, expanded machine learning ca...
11/03/2026
Preserving UNESCO World Heritage with URSA Cine Immersive
Brie Clayton March 1, 2026
0 Comments
The Explorers turned to France's cultural landmark...
11/03/2026
I Clicked This By Accident And It Made After Effects SO Much Faster
Graham Quince March 1, 2026
0 Comments
Discover how Region of Interest in Adobe A...
11/03/2026
Cine Gear Connect Brings a Focused All-Day Experience to Industry City, NY
Brie Clayton March 4, 2026
0 Comments
Registration is now open for Cine Gea...
11/03/2026
La Vor gine Edited and Finished with DaVinci Resolve Studio
Brie Clayton March 4, 2026
0 Comments
One of Colombia's most ambitious projects goes g...
11/03/2026
SoundMarket Launches 18,000 Tracks of Real Music by Award-Winning Composers for...
11/03/2026
Capta Center Supports NOVO19 Remote Production with Blackmagic Design
Brie Clayton March 5, 2026
0 Comments
The facility provides production and playo...
11/03/2026
DigitalGlue Ends the Post-Production Tax: creative.space Intelligence (CSI) Unif...
11/03/2026
Kochi Sun Sun Uses Blackmagic Replay for High School Volleyball Finals
Brie Clayton March 9, 2026
0 Comments
Versatile Blackmagic Replay system proves...
11/03/2026
Richard Bona Joins Berklee for Signature Series Concert The Grammy-winning Cameroonian bassist and vocalist collaborates with students and faculty in a progra...
11/03/2026
Launched today, NVIDIA Nemotron 3 Super is a 120 billion parameter open model with 12 billion active parameters designed to run complex agentic AI systems at sc...
11/03/2026
Scripps Research scientists awarded nearly $5 million by NIH to investigate cancer growth Researchers will investigate how a common dietary nutrient may control...
10/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
10/03/2026
Game developers and artists are building cinematic worlds and iconic characters ...
10/03/2026
Game development teams are working across larger worlds, more complex pipelines and more distributed teams than ever. At the same time, many studios still rely ...
10/03/2026
The Cat 306 CR mini-excavator weighs just under eight tons and fits inside a standard shipping container. It's the machine a contractor rents when the job s...
10/03/2026
NVIDIA and Thinking Machines Lab announced today a multiyear strategic partnersh...
09/03/2026
Foos Gone Wild and Combate Global have teamed up to create a twist on combat sports competition, announcing the launch of a special amateur Mixed Martial Arts (...
09/03/2026
At the 2026 NAB Show, Harmonic will introduce significant enhancements to its video appliances and SaaS solutions, highlighted by a next-generation media server...
09/03/2026
ESPN's March 3 spring training matchup between Team USA and the San Francisc...
09/03/2026
Most Valuable Promotions (MVP) announces the launch of MVPW, a new global platfo...
09/03/2026
Behind The Mic provides a roundup of recent news regarding on-air talent, includ...
09/03/2026
From Super Bowl compounds to Final Four setups, the Hofstra graduate helps coord...
09/03/2026
Stamford plays a key role, but a small team in Cortina and Milan powers local presence and mixed-zone coverage...
09/03/2026
The event brings together SVG's previous Cloud Production and Content Management Forums into a single, comprehensive day of programming...
09/03/2026
Updated Mar 9, 2026
Live surround sound has been a part of the plan for Roman a...
09/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
09/03/2026
Share
Copy link
Facebook
X
Linkedin
Bluesky
Email...
09/03/2026
Broadpeak, a leader in streaming and monetization at scale, will showcase its latest innovations for broadcasters and streaming platforms at NAB Show 2026 (boot...
09/03/2026
Back to All News
The Predator of Seville premieres on Netflix on 27 March
Entertainment
09 March 2026
GlobalSpain
Link copied to clipboard
Download the im...
09/03/2026
Back to All News
Netflix Debuts the Trailer for Love is Blind: Sweden Season 3
Entertainment
09 March 2026
GlobalSweden
Link copied to clipboard
That wait...
09/03/2026
AI is everywhere and accelerating everything - becoming essential infrastructure...
09/03/2026
ABB Robotics and NVIDIA today announced a breakthrough partnership that brings i...