It’s sort of been the motto with the engineers because this is our cash register. Let’s look at the past five to ten years and how that affects today.
Philip Grossman, Editor-in-Chief at TFT 1957, Atlanta, Georgia, USA
I think the best place to start is with: “Where have we come from?” As we always say, you know, I say, I should say, the fastest way between two points is a straight line. And we typically know where we want to get to, but we always forget where we’re coming from. So, in that case, let’s take a look at what has happened over the last five to ten years and see how that might affect what’s happening today.
Our industry is slow to change. Always has been.
If it’s not broken, don’t fix it. It’s sort of been the motto with the engineers, because this is our cash register.
How Broadcasters Navigate Rapid Tech Shifts: From SDI to IP, UHD, and OTT
Over the last five years, we’ve seen an accelerated amount of change. You know, if we take a look back SDI, analog to digital, took, you know, a decade or more SDI, the growth of SDI, going to SD, going to HD, has taken a very long time. But in the last five to eight years, we’ve gotten two forms of IP. Some don’t remember. We had 2022, and we have 2110, we have OTT. We have HD, we have UHD, we have HDR, we have Rec 2020, there’s so much technology that’s been sort of thrown at our market, and a lot of organizations have the difficult task of deciding what things are going to make them money.
Now, let’s be frank, at the end of the day, the television industry, the broadcasters, their job is to make money. They do it off of their product, which is entertainment, news, and sports. But again, their job is to make money and reduce costs. So they’ve had a hard time sort of digesting all this different technology and how it’s going to affect them.
Post-Pandemic Reset: Why HDR and 8K May Stall in 2025 as Broadcasters Focus on Scalable Distribution
And I think especially with the pandemic several years ago, we rushed in and just sort of threw everything at the wall, trying to figure out what was going to stick or what was going to work.
I think this year, over the next 12 months, we’re going to see a lot of our industry sort of netting out, identifying the tracks they want to go down and which technologies are going to stick.
HDR is wonderful. I love HDR. Have been shooting in HDR since 2016, been shooting in 8K since 2016. I don’t think we’re going to see much HDR, much 8K this year. We’re going to be moving towards that, and part of it’s because of distribution. At the end of the day, we have to get our technologies out there — our product out there — and the distribution just isn’t there yet.
TFT 1957 (Television & Film Technologies): What’s Next in Tech: NAB & ISE 2025 Highlights
The Evolving Battle for Viewers: How Broadcasters and OTTs Like Hulu and Netflix Redefine Distribution
We’re going through this shift from OTTs and cable networks to OTTs and broadcast, and how are all these things going to interact? I think we’ve seen the rise of the OTT market for sure. We’ve seen a lot of organizations, and, you know, Hulu is one example. The history of Hulu originally was that all three of the major networks, or four of the major networks, got together, and that was going to be their distribution channel.
Slowly, the individual broadcasters have sort of pulled out. And ABC is the primary shareholder of Hulu and their tech and their shows.
We have Netflix growing, you know, from being a DVD mail company to being a video distributor to now being a partner in producing shows.
If you look at it, it’s sort of like the HBO model. HBO started off showing second-run movies, then moved to first-run movies, and eventually began producing its shows and specials. We’re seeing a similar trend with several OTT platforms.
I think we’ll see more competition, like Sling.
Much of this is driven by contracts that most broadcasters rely on for revenue. Broadcasters have historically made significant income through retransmission fees—fees paid by cable companies per subscriber for their content.
From Subscribers to Viewers: How Pay-Per-View Models Challenge Traditional Broadcast Revenue Streams
That is, the fees that cable companies paid were based on subscriber numbers, whether or not they actually watched the content. Now, with technology advancements, it’s possible to track viewership. This creates pressure to shift towards a “pay-per-view” model, where payments are tied to actual audience engagement.
For some broadcasters, this shift is challenging because not all of their content is competitive enough to sustain viewership-based revenue.
If the product doesn’t attract viewers, they can’t monetize effectively.
This has led to resistance within the industry, as such changes could destabilize established revenue streams.
Digital Tools and Platforms Reshape Content Creation: How Indie Creators Compete in a Crowded Streaming Market
From a technology standpoint, the past five years have marked a shift towards digital production and independent content creation. The emergence of platforms like YouTube, Rumble, and Twitch has enabled individuals and small teams to distribute their work globally, making it easier than ever for independent creators to enter the market.
However, this democratization of content has also introduced challenges. While access to tools and platforms has grown, the competition for audience attention has intensified. The sheer volume of available content means only the most compelling, well-produced material will stand out and succeed.
The increase in digital production tools, such as 6K and 8K cameras, affordable lighting, and access to cloud-based editing software, has also lowered the barriers to entry for new creators.
These advancements have allowed small production companies to compete with larger studios in terms of quality. Additionally, the ability to distribute content through platforms like Hulu or Netflix has created more opportunities for these creators to find their audience and monetize their work.
At the same time, the market has seen a significant shift in the cost structure of content production. Budgets for episodic series and reality television have decreased, forcing creators to find innovative ways to deliver high-quality content on a smaller budget. This trend is reshaping the production landscape, encouraging creativity and efficiency.
The Rise of Indie Production: How Affordable Tech and Streaming Platforms Are Redefining Content Creation
However, with reduced budgets come challenges. While smaller production companies benefit from lowered costs, the pressure to deliver exceptional content remains high. This has led to a dual trend: an increase in quantity but a mixed quality of content. The democratization of tools has enabled more creators to enter the market. But it has also led to an oversaturation of content, making it harder for audiences to find truly standout work.
For traditional broadcasters, this oversaturation presents another layer of complexity. Competing for viewer attention in a fragmented market requires leveraging innovative distribution methods and adopting new technologies. Platforms like YouTube and social media channels now allow individual creators to compete with large studios, further disrupting the traditional model.
As we look to the future, one thing becomes clear: adaptation is key.
Broadcasters and content creators who embrace change, invest in technology, and focus on audience-centric strategies will have the edge. Live content, for instance, remains a unique draw that continues to command high engagement and viewership. However, even live production must evolve, leveraging AI and remote production technologies to streamline costs and improve efficiency.
Advertising models are also shifting.
With data-driven insights, advertisers are now demanding measurable ROI for every dollar spent.
This trend compels broadcasters to optimize their ad placement strategies, focusing on targeted ads that resonate with specific demographics. The rise of programmatic advertising is another game-changer, automating ad buying and enhancing campaign precision.
