
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
Most recent headlines
11/12/2025
Dalet, a leading provider of cloud-native, end-to-end media workflow solutions, ...
26/11/2025
Following the Nov. 21 blackout of NBCUniversal channels on Fubo, the two sides have traded barbs about their inability to reach a new carriage deal....
26/11/2025
LONDON As TV sports rights become increasingly important for both broadcasters and streamers, Ampere Analysis predicts global investment in the genre will surpa...
26/11/2025
LOS ANGELES Vubiquity said it has achieved the Amazon Web Services (AWS) Media & Entertainment Competency as part of the AWS Partner Network (APN). This designa...
26/11/2025
WASHINGTON The Federal Communications Commission's Enforcement Bureau said it has entered into a consent decree with Comcast calling for the cable company t...
26/11/2025
Berklee Named to the Hollywood Reporters Top Music Schools List The publication highlights the college's screen scoring program, industry partnerships, and ...
25/11/2025
Tracy Bonareri Onchoke, an investigative journalist from Kenya is the winner of the Thomson Foundation's Young Journalist Award 2025.
The 26-year-old-sele...
25/11/2025
SVG All-Stars: Blayke Scheer, Senior Director, Creative Content, YES NetworkThe Indiana alum has turned storytelling into an artform for more than two decadesBy...
25/11/2025
Op-Ed: With FCC's C-Band Auction on the Horizon, Broadcasters Need Proven, C...
25/11/2025
Analysis: Is Baller League really the future of sport? By Callum McCarthy, Editor-at-Large
Tuesday, November 25, 2025 - 10:10
Print This Story
With KSI on...
25/11/2025
Platinum Whitepaper: The Growth of Broadcast in the World of Major Large Scale E...
25/11/2025
SVG Summit 2025 Preview: SVG Women's Sports WorkshopBy Samantha Gabay
Tuesday, November 25, 2025 - 10:27 am
Print This Story | Subscribe
Story Highlig...
25/11/2025
SVG New Sponsor Spotlight: CacheFly's Matt Levine on the Evolving Role of th...
25/11/2025
Peacock's EA SPORTS Madden NFL Cast Levels Up on Thanksgiving With SkyCam as...
25/11/2025
Mathias Broe attends the 2025 Sundance Film Festival premiere of Sauna at Library Center Theatre. (Photo by Michael Hurcomb/Shutterstock for Sundance Film Fes...
25/11/2025
The best playlists, podcasts, and audiobooks bring a little extra magic to your daily routine. With new features and offerings, Spotify Premium delivers even mo...
25/11/2025
Comprehensive new research confirms what we already knew: Australian music fans love the quality, quantity, and access they have to new and local music on strea...
25/11/2025
Applicable Products
Objectives The purpose of this application note is to give a brief background on 5G (NR) wireless communication an explain the reason a SN...
25/11/2025
Nielsen will now measure both Lionsgate's FAST channel MovieSphere and Movie...
25/11/2025
FREMONT, Calif. Blackmagic Design said the Associated Press has completed the transition of its global video-editing platform to DaVinci Resolve Studio....
25/11/2025
Berklees Inaugural Nat King Cole and Natalie Cole Scholarship Awarded to Paris P...
25/11/2025
NEW YORK NFL and college football coverage, the MLB postseason and the new fall broadcast-TV season contributed to major gains for traditional media companies a...
25/11/2025
SAUGERTIES, N.Y. Tower Products, a manufacturer and distributor of pro video and audio equipment here, said President and CEO Jim Veltrie will retire from the c...
25/11/2025
Following last week's disclosure that it had acquired a 8.2% stake in E.W. Scripps, Sinclair has filed papers with the Securities and Exchange Commission pr...
25/11/2025
25 Nov 2025
VEON's QazCode and MeetKai Sign Agreement to Power National LLM...
25/11/2025
UKTV has acquired a high-profile slate of US dramas from Paramount Global Conten...
25/11/2025
A symphony of genius, rivalry and vengeance, boldly reimagined from Peter Shaffe...
25/11/2025
Article courtesy of Cinematography World
Read the article
FilmLight has finalised the prestigious 2025 FilmLight Colour Awards jury and welcomed award-winning...
25/11/2025
Article courtesy of Prensario
Read the article
La serie fue dirigida por Juli n de Tavira, Rodrigo Santos, y David Leche Ruiz, con direcci n de fotograf a a...
25/11/2025
Article courtesy of The Hollywood Reporter
Read the article
The awards, celebr...
25/11/2025
Article courtesy of Televisual
Read the article
Already live in Los Angeles and rolling out in New York and London, Nara gives producers, colourists, conform ...
25/11/2025
Article courtesy of Digital Media World
Read the article
ARTONE post-house in Tokyo is the first facility in Japan to integrate Baselight M, choosing its prec...
25/11/2025
Article courtesy of The Hollywood Reporter
Read the article
Once hidden in post-production suites, the artists who make movies and TV shows look the way they ...
25/11/2025
Article courtesy of Deadline
Read the article
The Brutalist' & Bad Bunny's Nuevayol' Music Video Among 2025 FilmLight Colour Award Winners - Cam...
25/11/2025
Black Forest Labs - the frontier AI research lab developing visual generative AI models - today released the FLUX.2 family of state-of-the-art image generation ...
24/11/2025
HBO's The Shuffle' Reveals Longtime Connection of Sports and Entertainm...
24/11/2025
2025 Sports Broadcasting Hall of Fame: Hiroshi Kiriyama, Sony Broadcast (and Ind...
24/11/2025
SVG Summit 2025 Preview: FIFA, NBC Olympics, Fox Sports, CBS Sports, Netflix, NF...
24/11/2025
Case Study: YES Network Streamlines Broadcast Operations with Beam DynamicsBy SVG Staff
Monday, November 24, 2025 - 11:18 am
Print This Story | Subscribe
...
24/11/2025
Platinum White Paper: More of Everything: How Broadcasters are Changing Their Ap...
24/11/2025
Versant Media USA Sports President Matt Hong on How Versant Has Best of Both Wor...
24/11/2025
SVG Sit-Down: NABA Director-General Rebecca Hanson on How FCC's C-Band Aucti...
24/11/2025
SVG New Sponsor Spotlight: Bolin Technology's Sapan Doshi on the Proliferati...
24/11/2025
Robyn made her long-awaited return to the stage this week, as Spotify and Acne Studios brought friends and top fans together for an unforgettable evening at the...
24/11/2025
After more than two years of redevelopment, FC Barcelona returned to its spiritual home on November 22, hosting Athletic Club in the first La Liga match at the ...
24/11/2025
The L3Harris next-generation imager for NOAA's GeoXO satellite system will c...
24/11/2025
Mumbai - November 24, 2025 - In a first-of-its-kind initiative, JioStar, in coll...
24/11/2025
Disney Achieves Largest Monthly Share Increase, Followed by FOX and Paramount, w...
24/11/2025
ROCHESTER, N.Y. Sinclair said it has elevated Sean LaRose, director of sales at WUHF and partner station WHAM here, to vice president and general manager, effec...
24/11/2025
Back to All News
Chaos and Connection: Meet the Unfiltered Cast of Reality Dati...