For having worked in TV for years, I can say a lot of the format dictatorship comes from the post people. TV and other companies involved in the TV business have a lot more money invested in post equipment than any other category. They have post suite left and right, more than they can use. Cameras come and go. Post sticks like a bad stain because it's so expensive and it's solid: it's build in the house... They seldom own cameras, so they want the camera that accommodates their gear the easiest. Period. They don't care so much for resolution, depth of field and stuff like that... A post production supervisor or editor WORKING FOR TV will always go for the less hassle. And until there's an alternative to the Red Rocket card, there's little we can do to convince people about RAW in TV. It's too damn long to transcode. And NOBODY in this world knows about the Rocket. It's like "oh now we need to buy another expensive and very specific piece of gear just to accommodate this one job. That we may never use again?" I personally think the Rocket should be sold with the camera, in a box, like the Station. And rental companies should have them for rental, like with EVERY camera, just like the station. It's irresponsible today to not use the Rocket with Red footage. I know it's expensive for most folks, but there lies the whole problem for me. With the Rocket, you can output Prores in no time, over coffee. Get that solved and Red will kill the 4K fear in no time.
2 years ago, before I had my Red Rocket, I shot a commercial for a theme park. One week shoot. It took around 7 weeks to down convert. I was running out of arguments with the client. He still doesn't believe me. He never worked with me again. It was my second job for them. They all agreed it was the best footage they ever had, the most beautiful work they ever worked with. But they just don't have time. Now they work with guys with 5Ds, are they're very happy.
But I fight this battle with you everyday Peter!