DigiCAP’s ATSC 3.0 Air Chain Serves Half Of US Deployed Markets And Is Ready For Pure Cloud Play

In the four years since ATSC 3.0 Air Chain technology was first introduced in 2017, it has gone through three evolutions. The first installations were used in preparation for the 2018 Winter Games in PyeongChang, South Korea. DigiCAP provided Air Chain technology for all three major South Korean broadcast networks, enabling them to transmit live 4K over the air during the 2018 Winter Games. These first-generation Air Chains were eight rack units (RU) tall.

From 8 RU To 2 

After the PyeongChang games, DigiCAP analyzed data from their 14 live ATSC 3.0 broadcast sites. Two years later they introduced an improved version that was only two RU tall, a 75% reduction in size.

But the inside changes were even more significant. According to Sang Jin Yoon, SVP Business Development at DigiCAP, “We took data from extensive field tests at our Korean broadcast sites and analyzed the data using static and dynamic code analysis to holistically optimize our software. In addition, we rebuilt the software to be more useful in the US, including improving the user experience by redesigning the system administrator, making our software compliant with the evolving ATSC 3.0 spec, and providing more meaningful system status information, and adding features to make DigiCaster more operation friendly.”

From 2 RU To A Single COTS Blade Server 

in June 2020, as the first commercially licensed ATSC 3.0 broadcast stations were launching in the US, DigiCAP introduced a new version on a single RU COTS blade. Added Yoon, “Every year COTS servers get less expensive and more productive. The use of software infrastructure in this configuration is a way to take advantage of the savings and efficiency boosts.” He continued, “Migrating from appliance to software is the unstoppable trend.”

From A Blade Server To The Cloud

In February of this year, DigiCAP posted the first ATSC 3.0 Air Chain on Amazon Web Services (AWS). This service will enable installations to go more quickly and let broadcasters pay for their Air Chains with a low monthly service fee instead of a large upfront equipment charge. 

In just four years, DigiCAP Air Chains have gone from the first eight RU installations in South Korea, to two RU units in the US, to a single COTS blade server, to the first cloud application. 

Concluded Yoon, “Our software infrastructure approach is catching on. Of the 28 US markets that have launched ATSC 3.0, DigiCAP has one or more users in over half of them. Add to that the 14 broadcast stations we have in South Korea and it makes a solid footprint for moving forward.” 

You might also like...

Mobile Codecs: The Battle Of The Codecs Continues But AI May Disrupt The Field

The continued proliferation of streaming video consumption on mobile devices and especially smartphones has boosted activity around mobile codecs with new releases of VVC and AV2 slated in the next 2 years. At the same time, Generative AI is disrupting the…

BEITC At NAB 2025: Conference Sessions Preview - Part 2

Once again in 2025 The Broadcast Bridge is proud to be the sole media partner for the BEIT Conference Sessions at NAB. They are not free, but the conference sessions are a unique opportunity to engage with very high quality in-person…

Microphones: Part 8 - Audio Vectorscopes

The audio vectorscope is an excellent tool for assuring quality in stereo sound production, because it makes the virtual sound image visible in the same way that a television vectorscope allows the color signals to be seen.

BEITC At NAB 2025: Conference Sessions Preview - Part 1

Once again in 2025 The Broadcast Bridge is proud to be the sole media partner for the BEIT Conference Sessions at NAB. They are not free, but the conference sessions are a unique opportunity to engage with very high quality in-person…

HDR & WCG For Broadcast - The Book

‘HDR & WCG For Broadcast – The Book’ is a multi-article exploration of the science and practical applications of all aspects of High Dynamic Range and Wide Color Gamut within broadcast production.