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There is still the issue of the hetrodyne color under used by S/VHS, Betamax and Umatic that limits the color resolution to about 30 lines give or take so while the actual luma detail may be higher in the S-format there were still logistical challenges in the broadcast world wired for composite. The only real reason the M format fizzled is Sony had already established the Betacam format in the broadcast arena, sort of like a beta revenge despite the M format being technically superior in several aspects. That being said you're right on the mark regarding the modern DV technology as both Panasonic and the founder of VHS JVC didn't want another format monopoly. My biggest bitch is with tape compatibility. The Sony DVCAM decks will accept both a large and small DV tape without an adapter but Panasonic requires a difficult to find adapter to run both consumer and professional small DV tapes in their DVCPRO decks... thought we learned a lesson with VHS-C. Sony runs the DVCAM tapes faster than DVCPRO but does not have the linear cue track. I have a Sony DSR-50 portable that I use as both a 1394 feeder and 4-channel DAT for capturing older quadraphonic material plus two DSR-1 docks on D-55WS cameras for DVCAM and Panasonic AJ series for DVCPRO, one SD-755 and HD-150 along with two Sony DVW-A500/1 Betacam decks. they're from my "classroom in a can" days of technical training production that has been taken over by amateurs on YouTube.
I do have a Panasonic AG-7500 SVHS editor with "most" of the pro connectors, RCA audio rather than XLR and while its been a good deck I found U-Matic to "look" better on the screen than an S-tape running side-by-side.
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