Television news

NBC News, CBS News and ABC News are the news divisions of the Big Three broadcasters.

Eyewitness News and Action News are the most successful and influential formats in America's local television news industry, doubling as newscast titles.

The Eyewitness News concept uses visual elements and action video, with reporters in the field being known as "eyewitnesses" to an event to the anchor in the studio and the viewer at home.

Conversely, Action News uses a tight format with strict time limits on set packages, a focus on young people and a focus on surrounding outskirts.

11 p.m. serves as the frequent time for late-night local television news in America's Eastern and Pacific time zones.

Meanwhile, in America's middle time zones, late-night local television news is often aired at 10 p.m.

The iconic and famous names for late-night local television news in both the Eastern and Pacific time zones of the United States include The Eleven O'Clock News and News at Eleven.

Stations in America's middle time zones often use a similar name structure based on the hour.

Film at 11 is a phrase in American television news to indicate the late-night local newscast being seen typically at 11 p.m., keeping viewers informed with the day's top stories and breaking news.

Non-Big Three television stations in the United States, including many independent stations, have a primetime local newscast being seen typically at 10 p.m. in the Eastern and Pacific time zones.

In the middle time zones of the United States, there is a primetime local newscast on non-Big Three television stations being seen typically at 9 p.m.

The iconic and famous names for primetime local television news in both the Eastern and Pacific time zones of the United States include The Ten O'Clock News and News at Ten.

Plus, in America's middle time zones, stations use a similar name structure based on the hour.

For non-Big Three television stations in the United States, they typically air a primetime newscast, one hour earlier than the traditional late-night newscasts seen on major network-affiliated stations.

NewsCentre, NewsWatch and NewsChannel, aside from Eyewitness News and Action News, are some other newscast titles.

Reuters, the Associated Press (AP) and United Press International (UPI) are some of the world's major news agencies.

Where the News Comes First, Coverage You Can Count On and Live, Local, Late-Breaking are usual slogans being iconic and famous in North America's local television news scene.

For this Where the News Comes First slogan, it is widely used to emphasize a station's commitment to breaking news, often paired with a fast-paced "news-heavy" image.

Plus, the other variations of the iconic and famous Where the News Comes First slogan include Where News Comes First, Where Local News Comes First and Where Your News Comes First.

Coverage You Can Count On is a variant of a common brand technique in North America's local news scene, known as franchise news; it is designed to build viewer trust and reliability in local news.

Some of the other variations of this iconic Coverage You Can Count On slogan include News You Can Count On, News You Can Use, News You Can Trust and Experience You Can Trust.

Live, Local, Late-Breaking is also a news catchphrase that highlights three of the core pillars shaping modern local news: immediacy, community relevance and speed.

Besides the three iconic and famous slogans in local television news in North America, other slogans include On Your Side, The News Leader, The News Station.

Independent Television News (ITN) is ITV's news service, doubling as one of the world's major news providers.

Cable News Network (CNN) is the first television network in the world to offer live and uninterrupted news coverage around the world, around the clock, also one of the world's major news providers.

The CNN effect is a theory of television news.

For the CNN effect, television networks, utilizing their ability to provide live 24-hour television news coverage from around the world, play a role in deciding the actions and outcomes of events.

Headline News is CNN's spin-off channel.

While CNN blends newscasts with specialized topical and feature programs, Headline News formerly strictly focused on rolling news coverage, featuring half-hour newscasts 24 hours a day.

On television, online or in other sources, CNN is one of the world's most successful and trusted media sources for news and information.

CNN has had a significant impact in pop culture across the globe, influencing news trends.

Your 24-Hour News Source is a testament to short news updates at the top and bottom of the hour.

Inspired by CNN and CNN Headline News, Your 24-Hour News Source belongs to viewers who keep tuning in to the television set at home and who want fast-paced news coverage.

For 45+ years since 1930, Lowell Thomas was the most famous radio newscaster.

Besides his iconic radio work, Lowell Thomas worked in the film industry.

In 1914, when he visited Alaska, Lowell Thomas took a film camera with him and was one of the first people to use the new medium to make travelogues.

After the United States entered the First World War, Lowell Thomas moved to Europe to report on the conflict and from there to the Middle East and North Africa, where he met T.E. Lawrence.

Having been fascinated with the movies, Lowell Thomas was the narrator for 20th Century-Fox's own twice weekly Movietone News.

Moving to television, Lowell Thomas delivered the first news broadcasts on this medium and on both a regularly-scheduled and a commercial basis, plus the first live telecast of a political occasion.

Despite these firsts on television, Lowell Thomas preferred radio, and this allowed him to present news stories from his home or while travelling around the world.

For Lowell Thomas, his sign-on was "Good evening, everybody," and his sign-off was "So long, until tomorrow," or for his Friday night broadcasts "So long, until Monday."

The iconic catchphrase during Walter Winchell's work as a radio newscaster is "Good evening, Mr. and Mrs. North America, and all the ships at sea," often followed by "Let's go to press."

Some of the variants of this iconic and famous catchphrase during Walter Winchell's radio newscasting career include adding "and South America" or "from border to border and coast to coast."

For years, Walter Winchell, known for his fast-paced delivery, has begun each newscast with the iconic phrase set to the teletype sounder.

By assembling an eponymous group of professional broadcast journalists, Edward R. Murrow has set standards for modern broadcast journalism.

William L. Shirer is the first of the original Murrow Boys.

Howard K. Smith, Charles Collingwood, Eric Sevareid and Richard C. Hottelet are some other original Murrow Boys.

The second generation Murrow Boys include Daniel Schorr, Alexander Kendrick, George Polk, Robert Pierpoint, David Schoenbrun and Marvin Kalb.

Bernard Kalb is Marvin Kalb's brother.

Edward R. Murrow begins his own radio news reports during World War II, especially during the Blitz campaign, with "This is London," with a emphasis on the word "this," then a slight pause. 

For its first edition in March 1938 as a one-time special in response to growing tensions in Europe, the CBS World News Roundup presented, for the first time, Edward R. Murrow's voice to the world.

Robert Trout was the main anchor for the first edition of the CBS World News Roundup.

For the CBS World News Roundup, it used on-the-scene reporters from around the world being linked with a central anchor for a national broadcast.

This multi-reporter newscast format, which both CBS and Edward R. Murrow pioneered, is still being practiced in television news across the United States and around the world.

I Can Hear It Now 1933-1945 (1948) is the first documentary record to become widely popular, which Edward R. Murrow narrated and co-produced with Fred W. Friendly.

With the huge success of this first I Can Hear It Now record and two follow-ups in 1949 and 1950, the Edward R. Murrow and Fred W. Friendly pair parlayed them into a weekly program for CBS.

Hear It Now, which used a magazine format, was originally known as Report to the Nation, but had its name changed to capitalize on the high popularity of the albums from Edward R. Murrow.

Every Friday night at 9 p.m. Eastern, Hear It Now is a radio documentary that Edward R. Murrow had hosted/narrated on CBS.

Since its first edition in mid-December 1950, Hear It Now lasted 6 months until June of the next year.

During WWII's last stages, the War As It Happens was NBC's weekly news program.

Initially a local weekly program in New York on NBC, the War As It Happens was later being aired in Philadelphia and Schenectady, the first news program to be aired in multiple cities.

When WWII ended in August 1945, the War As It Happens became the NBC Television Newsreel.

Not long after 1945, Esso began to sponsor the NBC Television Newsreel.

With Esso as its sponsor, the NBC Television Newsreel became known as the Esso Newsreel, meaning that it aired, not every week like the NBC Television Newsreel, but 2 nights a week.

Under Esso, the Esso Newsreel lasted until February 1948, when Camel Cigarettes stepped in.

The newly-named Camel Newsreel Theatre started airing in February 1948 on a handful of stations all across the Northeast Corridor affiliated with NBC.

Having aired every weeknight from Monday to Friday on a regular basis, the Camel Newsreel Theatre became network television's first regular daily newscast.

Fox Movietone News is a series from which the NBC Television Newsreel aired footage.

John Cameron Swayze was the off-camera narrator of the NBC Television Newsreel.

December 1948 was when NBC purchased a 11-storey building owned by French-rooted Pathé, which innovated the newsreels.

Using a building that Pathé formerly held, NBC had access to news footage from around the world.

CBS News decided to put Douglas Edwards at the news desk before the television studio cameras on a regular basis weeknights from Monday to Friday in May 1948, the first newscaster to do so.

Just before Douglas Edwards, television news was limited to film-exclusive and faceless narrations, a formula being made à la newsreels or radio news.

Douglas Edwards' on-camera presence had a more personal and engaging experience than newsreels.

By offering a stark contrast to the NBC Television Newsreel (which utilized film-exclusive and faceless narrations), CBS Television News with Dougas Edwards used newscasters directly on-camera.

This format of delivering the news on camera, which both CBS and Douglas Edwards pioneered, is still being practiced in television news across the United States and around the world.

In February 1949, 9 months later, both NBC and John Cameron Swayze followed in the footsteps that both CBS and Douglas Edwards have made with the Camel News Caravan for NBC.

For the Camel News Caravan on NBC, John Cameron Swayze utilized his fast-paced style (similar to commentators like Walter Winchell).

Plus, the Camel News Caravan on NBC was the network's first news program not to use footage from newsreels; instead, it used footage being made by the network's own camera personnel.

Renamed Douglas Edwards with the News in 1950, it then became the first television news program to simultaneously be broadcast on both the East and West Coasts in September of the next year.

Coaxial cable bridged the gap between the East and West Coasts for Douglas Edwards with the News.

Before coaxial cable, Douglas Edwards with the News was seen on a handful of stations all across the Northeast Corridor.

Using coaxial cable, Douglas Edwards started the flagship CBS television newscast with the updated phrase: "Good evening everyone, coast to coast."

Five years after coaxial cable, Douglas Edwards with the News made another first: using videotape to delay the broadcast (from New York) for the Western United States.

For John Cameron Swayze, his sign-on was "Ladies and gentlemen, a good evening to you."

Plus, the sign-off for John Cameron Swayze was "That's the story, folks-glad we could get together."

Another catchphrase for John Cameron Swayze was "Hopscotching the world for headlines."

Using his fast-paced approach à la Walter Winchell, John Cameron Swayze (through the Camel News Caravan on NBC) dominated the ratings over Douglas Edwards on CBS.

This situation was reversed in the mid-1950's era, when Douglas Edwards on CBS, often acting as the straight man, outperformed John Cameron Swayze and his hopscotching style on NBC.

See It Now, which is the television answer to Hear It Now, is one of the earliest documentary series on television, but also the program setting standards in broadcast journalism via Edward R. Murrow.

Both Edward R. Murrow and Fred W. Friendly made an arrangement with the Hearst Metrotone News series from MGM for technical services and film library footage as needed for See It Now.

Unlike other news programs using newsreel companies to record events, See It Now utilized its own camera crews to coordinate filming on location.

Plus, See It Now had no rehearsed interviews, plus no background music to accompany the visuals.

Although See It Now relied on news correspondents from around the world, the first autonomous news unit was organized by Edward R. Murrow and Fred W. Friendly.

Don Hewitt, Joseph Wershba and Palmer Williams were involved in the first autonomous news unit for See It Now, which Edward R. Murrow and Fred W. Friendly organized.

For its debut, See It Now presented the first simultaneous live transmission from both the Atlantic and Pacific Oceans on a commercial television program.

Before Edward R. Murrow, television news was divided into (and heavily influenced by) three separate components: newsreels, documentaries and radio news.

Newsreels are short segments that are pre-recorded, often curated or staged, and being shown in movie theatres.

Documentaries, on film or on radio, take an in-depth look at controversial or inspirational subjects.

Radio news are early television newscasts, with anchors delivering news reports simply in audio, with limited, often static, visuals.

However, due to Edward R. Murrow, the newsreel, documentary and radio news components forged television news.

See It Now blended on-location filming (inspired by newsreels), investigative reporting (inspired by documentaries on film or radio) and an authoritative anchor delivery (refined in radio).

The iconic sign-off for Edward R. Murrow is "Good night, and good luck."

Person to Person, which Edward R. Murrow had also hosted, features celebrities in their homes from a comfortable chair in his New York studio, pioneering the celebrity interview concept.

One of the noted guests on the original Person to Person version is the sex icon Marilyn Monroe.

John Facenda, who earned fame as the primary narrator for NFL Films, also served as the primary news anchor for WCAU-TV from 1948 to 1973.

Under John Facenda, for most of his run, WCAU-TV was the ratings leader in the Delaware Valley.

Both WCAU-TV and John Facenda pioneered the usual concept still being practiced in television news across the United States and around the world: news-sports-weather.

Some of the innovations that shaped the modern local television news concept being pioneered by John Facenda at WCAU-TV include the 11 p.m. news and a four-person news team.

Besides John Facenda doing WCAU-TV's 6 p.m. news, others include Phil Sheridan doing the weather, Jack Whitaker doing sports and Ed McMahon as the announcer.

Charles Shaw, who worked with Edward R. Murrow as a CBS reporter in London during World War II, served as the news director at WCAU-TV under John Facenda from 1948 to the early-1960's.

Just as Douglas Edwards was the first newscaster to appear regularly on a national network basis from Monday to Friday in May 1948, John Facenda later did the same on a local level in September.

The sign-off for John Facenda on WCAU-TV's newscasts is "Have a nice night tonight, and a good day tomorrow. Good night all."

Initially, WSAZ-TV operated from its primary headquarters in Huntington without its secondary one in Charleston.

Following the opening of its secondary studios in Charleston in August 1954, WSAZ-TV pioneered the formats of having the news from two different cities and also being read by two anchors.

These dual-city and dual-anchor concepts that WSAZ-TV pioneered are likewise still being practiced in television news across the United States and around the world.

Nick Basso was WSAZ-TV's first news anchor when its news department was set up two years after its launch in November 1949.

Bos Johnson was the first Charleston-based news anchor for WSAZ-TV when its secondary Charleston studio opened in August 1954.

Having succeeded Nick Basso as the Huntington-based news anchor for WSAZ in 1960, Bos Johnson's replacement as its Charleston-based anchor was Charles Ryan.

The main weather forecaster on WSAZ-TV was Budd Dailey, who remained until his 1981 death, while Jim Thacker delivered sports for 13 years since 1954.

Lawrence H. (Bud) Rogers developed the dual-city and dual-anchor formats that WSAZ-TV used.

WSAZ-TV's innovative newscast format featured two anchors having chemistry that the single anchor format had lacked, but also broke from the newsreel mold.

David Brinkley was an NBC News reporter in Washington for the Camel News Caravan, on which he became known for his wry wit and for covering the White House and Congress.

United Press International is where David Brinkley worked before moving to NBC.

Prior to television, Chet Huntley was a radio-friendly newscaster for the Big Three networks, such as NBC, which initially viewed him as its answer to CBS' Edward R. Murrow.

In the mid-1950's, the radio-friendly Chet Huntley teamed up with the telegenic David Brinkley (of the Camel News Caravan) for the national political conventions.

Due to the successful Chet Huntley and David Brinkley team at the national political conventions in the mid-1950's, they began their own newscast to replace John Cameron Swayze's own.

Using the dual-city news concept that WSAZ-TV pioneered, when its secondary studio facility based in Charleston was opened, the Huntley-Brinkley Report broke from the newsreel mold.

Reuven Frank, born in Canada, was behind the success of the Huntley-Brinkley Report.

Bill McAndrew suggested using the dual-city news format, which WSAZ-TV pioneered earlier, for the Huntley-Brinkley Report on NBC, which Reuven Frank implemented.

Chet Huntley offered the national and international news from 30 Rockefeller Plaza in New York, and David Brinkley read the news from Washington, both for the Huntley-Brinkley Report on NBC.

In addition, for the Huntley-Brinkley Report on NBC, Chet Huntley often acted as the straight man to David Brinkley's witty style.

Each edition of the Huntley-Brinkley Report ended with the catchy sign-off: "Good night, Chet. Good night, David. And good night, for NBC News."

Some of the key aspects for the success of the Huntley-Brinkley Report include its innovative dual-city news format on a national network basis, Reuven Frank's contributions and its high viewership.

Due to the chemistry of both Chet Huntley and David Brinkley (plus its dual-city newscast format), the Huntley-Brinkley Report is a popular and successful news institution in the US and the world.

From 1962 to 1981, Walter Cronkite led the CBS Evening News to ratings success and popularity.

Until March 6, 1981, Walter Cronkite famously ended each edition of the CBS Evening News with the catchy sign-off: "And that's the way it is," followed by the date of the broadcast.

Sometimes, Walter Cronkite omitted the sign-off if he ended with an opinion or commentary piece.

Initially, since April 1962, Walter Cronkite with the News lasted a quarter-hour.

Just one year after Walter Cronkite's 1962 arrival, the flagship CBS television newscast expanded to 30 minutes or a half-hour, the first weeknight newscast on American network television to do so.

With this half-hour expansion, the newscast was renamed the CBS Evening News.

At first, the flagship quarter-hour CBS television newscast was a short summary of the day's news.

But the CBS Evening News, in a half-hour format, offered stories in longer and in-depth manners.

Meanwhile, both NBC and the Huntley-Brinkley Report followed in the footsteps that both CBS and Walter Cronkite have made one week later.

In television's early years, newscasts lasting a quarter-hour often acted as headline services.

Doubling the broadcast length for television newscasts, however, required building out a massive (and expansive) network of foreign and domestic correspondents.

Responding to this situation, deeper and investigative film packages about major events debuted.

Besides, in television's early years, news gathering relied on physical film.

For television newscasts extending beyond the usual quarter-hour time limit, however, they imported twice as much raw footage worldwide.

Using field news units to shoot, develop, edit and transport film reels to prevent dead air is simple.

Plus, in television's early years, the studio and the newsroom were separate.

News anchors delivered the day's news stories from an isolated and enclosed studio, while writers and editors (journalists) in the bullpen physically sprinted across a high catwalk to deliver scripts.

This frantic setup was impossible to maintain for a longer, fast-paced newscast.

However, for television newscasts extending beyond the quarter-hour time limit, news anchors sat in a bullpen, surrounded by busy journalists, plus the teletype and its clattering sound.

Computers, which are silent, replace the teletype and its clattering sound in the newsroom.

From 1962 to 1981, the CBS Evening News with Walter Cronkite was a popular and successful news institution in the US and the world.

In the mid-1960's, since NBC was a colour television pioneer, the Huntley-Brinkley Report became the first daily evening newscast on network television to go colour.

The CBS Evening News followed suit in late-January 1966.

Besides the Murrow Boys and the Kalb brothers, the other CBS News personnel working under Walter Cronkite include Dan Rather, Bob Schieffer, Roger Mudd, Charles Kuralt and Bernard Shaw.

Harry Kramer was the main announcer for the CBS Evening News for 9 years since 1962.

As the first CBS Evening News announcer under Walter Cronkite, Harry Kramer said: Direct from our newsroom in New York, this is the CBS Evening News with Walter Cronkite.

Plus, Harry Kramer announced a roll call of reporters, during Walter Cronkite's early run with the CBS Evening News, often emphasizing their names and locations with "And," then a slight pause.

Bob Hite was the second announcer for the CBS Evening News under Walter Cronkite; he said: From CBS News headquarters in New York, this is the CBS Evening News with Walter Cronkite.

In addition, Bob Hite also announced a roll call of reporters under Walter Cronkite, like Harry Kramer, starting them with "And," but in a smooth delivery and without a pause.

Meanwhile, in Los Angeles, KNXT pioneered the concept of a local newscast that would last for over a quarter-hour: The Big News.

For the Big News, KNXT offered stories in longer and in-depth manners.

Sam Zelman and Pete Noyes are some individuals who masterminded The Big News on KNXT.

Jerry Dunphy was the main anchor of The Big News on KNXT from 1960 to 1975.

Having been in Los Angeles from 1960 to 2002, Jerry Dunphy's iconic and famous sign-on: "From the desert to the sea, to all of Southern California, a good evening" opened his newscasts.

Prior to The Big News on KNXT, local television newscasts were typically short summaries.

However, The Big News on KNXT proved that local television news, in a format that means lasting for over a quarter-hour, offered longer and in-depth stories.

Meanwhile, WTVT pioneered Pulse, a hour-long news block like The Big News on KNXT.

WTVT pioneered the hour-long local news format in the Southern United States with Pulse, but KNXT popularized this one in a major market with The Big News.

Jayne Boyd coined the Pulse name for WTVT's newscasts.

CBS was a model for the hour-long news block via both KNXT and WTVT, in addition to the half-hour news format that Walter Cronkite pioneered on a national level.

Al Primo created the Eyewitness News format for KYW-TV in Philadelphia, forever changing the way television news is being made.

Prior to the Eyewitness News format that Al Primo created, television news relied on one person doing news stories (for example, Walter Cronkite and John Facenda).

However, Eyewitness News changed television news by using reporters on the scene.

Vince Leonard was the evening news anchor for KYW-TV when Al Primo's Eyewitness News concept started; he used a traditional approach.

Tom Snyder had a hard-hitting approach for the noon news for KYW-TV when Al Primo's Eyewitness News concept began.

Marciarose Shestack joined Tom Snyder for KYW-TV's noon edition of Eyewitness News.

Due to the success of his own Eyewitness News format on KYW-TV, Al Primo moved to New York to perfect this one for WABC-TV.

Roger Grimsby and Bill Beutel served as the primary anchors for the WABC-TV version of Eyewitness News until 1986.

For Roger Grimsby, he had a hard-hitting approach, whereas Bill Beutel used a laid-back style, both for the WABC-TV version of Eyewitness News.

The Eyewitness News name actually originated in Cleveland, where KYW-TV pioneered a 90-minute local news block; it is also used by WEWS for a longer period from 1972 to the early-1990's.

WEWS also had the first female news anchor in the United States named Dorothy Fuldheim.

Still in Cleveland, WJW-TV pioneered putting two news anchors on one news desk in one studio and directly putting sports and weather segments on one newscast/set, both in the mid-1960's.

Countering the dual-city and dual-anchor news format, notably used by the Huntley-Brinkley Report, which WSAZ-TV inspired), WJW-TV used two anchors, but in one city and in one studio.

Like WSAZ-TV and the Huntley-Brinkley Report, WJW-TV's innovative one-desk, two-person news format had chemistry that the single anchor format had lacked.

Plus, WJW-TV directly integrated the weather and sports segments into one single newscast, one of the first television stations to do so.

Doug Adair and Joel Daly co-anchored WJW-TV's newscast called City Camera News.

These formats, notably one-desk/two-person and weather/sports in a single set, both of which WJW-TV pioneered, are still being practiced in television news in the US and the world.

Back in Philadelphia, the success of this Eyewitness News format on KYW-TV prompted its own rival WFIL-TV to pioneer a news format of its own called Action News.

Influenced by the top forty concept of its sister radio station WFIL-AM, WFIL-TV's own Action News format was faster-paced and more youth-focused than KYW-TV's Eyewitness News.

Jim O'Brien, who was a DJ on WFIL-AM, also served as the primary weatherman for Action News on WFIL-TV/WPVI-TV.

Larry Kane, who covered The Beatles at WFUN-AM, was the first Action News anchor.

For Al Primo, he codified and popularized the Eyewitness News brand and structure that has been an industry standard, which KYW-TV in Philadelphia had pioneered.

WNEW-TV has earned its reputation for airing the first regular primetime television newscast in New York City called The Ten O'Clock News.

John Corporon and Ted Kavanau shaped The Ten O'Clock News on WNEW-TV.

Under Ted Kavanau, WNEW-TV made a fast-paced style for The Ten O'Clock News, often featuring tabloid focus and quick reports from field teams.

Before WNEW-TV, John Corporon worked at WDSU from the late-1950's era to the late-1960's era, at which he served as the news director during the Civil Rights movement.

Having arrived at WNEW-TV, due to his experience at WDSU-TV, John Corporon began the first ever television newscast in New York to air at 10 p.m.

Due to the success and popularity of The Ten O'Clock News on WNEW-TV, John Corporon supervised the news operations for all Metromedia stations in the late-1960's as well.

WTOP-TV was where John Corporon served as General Manager until 1972, when he returned to New York City to serve as the news director at WPIX, a rival of his former station WNEW-TV.

As for Ted Kavanau, prior to his equally-innovative career at WNEW-TV, he worked at WBZ-TV and WBBM-TV, both of which shaped his fast-paced and investigative reporting approach.

In 1974, Ted Kavanau left WNEW-TV and went to WPIX, reuniting with John Corporon.

Ted Kavanau's reunion with John Corporon at WPIX lasted briefly from 1974 to 1975.

Despite their brief reunion from 1974 to 1975, both John Corporon and Ted Kavanau did make the first steps to revamp WPIX from a traditional news format into a fast-paced, reporter-driven one.

The climax of these steps made by both John Corporon and Ted Kavanau was the Action News concept being pioneered by WFIL/WPVI, brought to New York by WPIX in 1977.

Mark Monsky replaced Ted Kavanau in 1974, lasting until the mid-1980's, when John Parsons Peditto replaced him.

Earlier on, in 1966, WNEW-TV's sister station WTTG started the first 10 p.m. newscast on a non-Big Three station in the United States.

Launching the 10 p.m. news model on a non-Big Three television station in the United States through WTTG was Ed Turner, who also worked at KWTV (where he grew up with 10 p.m. newscasts).

Before the 10 p.m. newscast model pioneered by WNEW/WTTG, America's non-Big Three television stations focused on general entertainment, like reruns or films, at this time slot.

The 10 p.m. newscast format that WNEW/WTTG pioneered was deemed a huge success, proving that America's non-Big Three stations could produce/sustain newscasts.

WTTG started America's first 10 p.m. newscast in 1966 under Ed Turner, but WNEW-TV adopted and refined its formula a few months later due to Ted Kavanau's work.

So successful was this 10 p.m. newscast concept that WNEW/WTTG pioneered that the other non-Big Three stations across the United States followed its trend. 

Initially airing for a half-hour, the success of The Ten O'Clock News on WNEW-TV prompted its own expansion to 60 minutes, not long after its launch.

For years, The Ten O'Clock News on WNEW-TV has begun with an iconic and famous public service announcement: "It's 10 p.m. Do you know where your children are?"

Mel Epstein, who was WNEW-TV's on-air promotions director, coined this iconic and famous "Do you know where your children are?" phrase for The Ten O'Clock News.

However, Tom Gregory, best known as the WNEW-TV staff announcer, became mostly associated with this "Do you know where your children are?" phrase for The Ten O'Clock News.

Bill Jorgensen was the first main anchor for The Ten O'Clock News on WNEW-TV.

Known for his authoritative approach à la Walter Cronkite, Bill Jorgensen anchored The Ten O'Clock News on WNEW-TV with success, popularity and acclaim.

During its first 12 years, Bill Jorgensen ended The Ten O'Clock News on WNEW-TV with the catchy sign-off: "I'm Bill Jorgensen, thanking you very much for your time this time, until next time."

After 12 years as the first anchor of the Ten O'Clock News, Bill Jorgensen left WNEW-TV for its rival WPIX, where he reunited with John Corporon, with whom he once worked at WNEW-TV.

John Roland replaced Bill Jorgensen as the main anchor for The Ten O'Clock News on WNEW-TV, 12 years after its launch.

Besides both WNEW-TV and WTTG, KTLA and KPLR-TV were pioneering non-Big Three stations having a functioning news department

Klaus Landsberg was KTLA's general manager and its engineering mastermind.

During Klaus Landsberg's nine-year tenure, KTLA pioneered noted trends in television news, including continuous breaking news and a nuclear bomb telecast presented live.

Even after Klaus Landsberg's death, KTLA still pioneered the helicopter as a trend for live television.

Having launched its operations on Halloween 1960, CHAN-TV had officially been known as British Columbia Television (BCTV) from 1973 to 2001.

Plus, BCTV (CHAN-TV) had a long affiliation with CTV from 1961 to 2001.

Until 2001, despite its CTV affiliation, BCTV (CHAN-TV) used its distinctive presentation.

Some key drivers that pushed BCTV towards its distinctive identity despite its CTV network affiliation included its home-grown ownership and its conflict with CFTO-TV in Toronto.

Western International Communications (WIC) was a media company based in Vancouver, under which BCTV prioritized regional interests over national network mandates.

For BCTV, BCTV (CHAN-TV) operated in the form of an independent station affiliated with the CTV network.

The Pacific Dogwood flower (which serves as British Columbia's provincial flower) also served as an iconic and famous symbol for BCTV from 1973 to 2001, refined in the mid-1990's.

From its rebrand in the mid-1990's to 2001, the slogan for BCTV was TV for BC with some variants.

When it began on Halloween 1960, BCTV emanated from its studios, based at the corner of Davie and Richards Streets in downtown Vancouver.

Not long after its launch on Halloween 1960, BCTV made its move to its permanent and purpose-built studios at Enterprise Street in the Lake City Industrial Park in 1961, fully opened in 1962.

Although it was no longer officially used after the 2001 realignment, the BCTV name is respected and known in BC on CHAN-TV.

Ray Peters was the powerhouse behind BCTV from around its 1960 launch to January 1990.

Having begun in the sales portion, Ray Peters made his ascent to the BCTV (CHAN-TV) leadership in 1961, when it began to carry some programs from CTV, which it formally joined not long after.

Not confined to BCTV, Ray Peters also served as WIC's President and CEO from 1978 to 1989.

When Ray Peters joined in 1960, BCTV (CHAN-TV) was in debt and had a struggling situation.

But by the time Ray Peters retired in January 1990, BCTV (CHAN-TV) had turned into a financial and ratings success.

From 1975 to December 2009, Tony Parsons was the main news anchor for BCTV, delivering its 6 p.m. newscast called the News Hour, doubling as news and public affairs VP since 1998.

Cameron Bell was BCTV's news director from the late-1960's to 1989.

Under Cameron Bell, BCTV pioneered a tabloid news approach that revolutionized television news in British Columbia and helped this station dethrone the CBC's ratings crown.

Robert Malcolm anchored the News Hour Final on BCTV from 1972 to the early-1990's.

Linden Soles anchored the News Hour Final on BCTV until being replaced by Ted Chernecki, who did this one from the early-1990's to 2001.

Jill Krop anchored the News Hour Final on Global BC from September 2001 to the early-2010's, when Global News BC1 was about to launch in 2013.

During Robert Malcolm's tenure as its anchor, the late-night newscast on BCTV was the News Hour Final; under his successors, it was simply News Hour Final.

Pamela Martin delivered the news as well on BCTV from 1977 to 2001.

In addition, Tony Parsons anchored Canada Tonight, produced by BCTV for WIC television stations outside British Columbia, from its 1993 inception to its 2001 demise.

Bill Good anchored Canada Tonight in its local BCTV version from its 1993 launch to its 2001 end.

Norm Grohmann was the primary weatherman for BCTV (CHAN-TV), lasting in separate stints until 1998.

For his humorous approach/wit doing the weather on BCTV, Norm Grohmann had earned popularity.

Between Norm Grohmann's departure and return, Fred Latremouille filled in his shoes.

Wayne Cox carried on the legacy begun by Norm Grohmann and Fred Latremouille.

Until 1997, Bernie Pascall, John McKeachie and Barry Houllihan alternated doing sports for BCTV's newscasts.

Squire Barnes, Barry Deley, Keith Wells and Jay Janower replaced the sports team comprising Bernie Pascall, John McKeachie and Barry Houllihan on BCTV in 1997.

Jim Conrad, who was rooted in Canadian radio, served as the primary announcer for BCTV, doing its promos, tags and news intros from the early-1990's to August 2001.

From 1996 to 2001, Jim Conrad famously opened BCTV's newscasts (especially the News Hour) with these words: "Live, from BCTV, here are tonight's...top stories."

After three main news headlines were summarized live on BCTV, Jim Conrad also delivered a famous hand-off with: "Right now, the News Hour, with Tony Parsons."

When its promos end, Jim Conrad announced the words: "on BCTV," "TV for BC" or "BCTV."

The huge success/popularity of the News Hour on BCTV stemmed from its formula being made by its collective trio of architects.

Ray Peters' management, Cameron Bell's editorial direction and Tony Parsons' on-air presence are just some factors in the formula that made the News Hour on BCTV a profound success.

Jack Webster, well-known as the king of the Vancouver airwaves, is the host of the eponymous BCTV current affairs program called Webster!

Having aired at 9 a.m. from its October 1978 inception to 1986 (during Expo 86), Webster! discusses issues important to British Columbians.

The signature catchphrase for Jack Webster on BCTV's Webster! program is "9 a.m. precisely."

A Current Affair came from WNYW, which featured both Mark Monsky and John Parsons Peditto.

Mark Monsky and John Parsons Peditto also created Hard Copy for Paramount Domestic Television.

Prior to ITN, the BBC's television news program was simply film with voice narration.

ITN countered the BBC's television news formula with on-camera anchors, on-the-scene reporters and more human interest stories.

Launched in the late-1960's, News at Ten (ITV) is the United Kingdom's first daily half-hour television newscast on a permanent basis, but also the ratings leader in British television news in its first run.

Despite a trial run lasting 13 weeks, News at Ten (ITV) quickly became a huge success.

Before News at Ten (ITV), short newscasts, with a man-on-camera format, lasted a quarter-hour.

With News at Ten (ITV), half-hour newscasts became a fixture in British television news; a two-person news team taking turns to bring flexibility and personality to the news desk became firm as well.

Some of the innovations that made News at Ten (ITV) successful include a more in-depth and detailed outlook on hard news, populist stories and issues and on-the-scene reports.

The "...And Finally" story is an often humorous end piece to send the viewing audience to bed after 30 minutes of dramatic news at the end of each and every News at Ten (ITV) broadcast.

Just before the "...And Finally" story on News at Ten (ITV), the anchor recaps the day's headlines.

When the "...And Finally" story on News at Ten (ITV) ended, the anchor signed off with the catchy and simple farewell: "And that's the news tonight. Good night."

The person, who is mostly associated with this original News at Ten (ITV) version, doubled as the main political voice for ITV; his first name was Alastair.

Aside from the news anchor mostly being associated with this original News at Ten (ITV) version (who was also ITV's political voice) named Alastair, other faces became known through this program.

Reginald Bosanquet, Andrew Gardner, Sandy Gail, Anna Ford, John Suchet and Trevor McDonald are some of the other ITN faces who became known through News at Ten (ITV).

The other Alastair for ITN anchoring News at Ten (ITV) is Alastair Stewart.

From 1972 to 1977, Andrew Gardner and Reginald Bosanquet formed one of the most well-liked news teams on British television through News at Ten (ITV).

Known as the Morecambe and Wise of television news, the news team comprising the likes of Andrew Gardner and Reginald Bosanquet won popularity for their chemistry on News at Ten (ITV).

During their run as a respected duo on News at Ten (ITV), which lasted from 1972 until 1977, Andrew Gardner acted as the straight man to Reginald Bosanquet's flamboyant style.

Plus, the team of Andrew Gardner and Reginald Bosanquet on News at Ten (ITV) pioneered a chatting approach used at the end of each and every newscast.

Both Andrew Gardner and Reginald Bosanquet have transfomed News at Ten (ITV) into a popular and successful news institution in the UK and the world with their chemistry.

The news team of Andrew Gardner and Reginald Bosanquet on News at Ten (ITV) ended in 1977, the latter remaining for another two years, pairing with Anna Ford, who joined in February 1978.

Geoffrey Cox, who was born in New Zealand (and who had served as the news editor for ITN since the mid-1950's), created News at Ten (ITV).

Brian Henderson served as the primary anchor for National Nine News at 6 p.m. in Sydney/New South Wales, and Brian Naylor did the same for this newscast in Melbourne/Victoria.

Together, both Brian Henderson and Brian Naylor dominated National Nine News in their markets.

Incidentally, due to the success of the two Brians (Brian Henderson and Brian Naylor), National Nine News was the ratings leader for many years until the 21st century.

Chuck Faulkner was the first news anchor on Australian television, whereas Alan Wilkie was the first weather forecaster in this field.

Since its debut in the mid-1950's, Chuck Faulkner was the weeknight news anchor for TCN-9.

Meanwhile, Brian Henderson did the weekend newscasts for TCN-9 since 1957.

In the mid-1960's, Brian Henderson replaced Chuck Faulkner as the primary anchor for National Nine News in Sydney/New South Wales, staying until 2002.

Alan Wilkie was the primary meteorologist for National Nine News in Sydney/New South Wales from 1977 to 2001, often working with Brian Henderson.

Mike Gibson and Ken Sutcliffe respectively did sports during Brian Henderson's tenure for TCN-9.

Eric Pearce was the primary anchor for National Nine News in Melbourne/Victoria in separate periods until 1978, when Brian Naylor replaced him.

During Brian Naylor's later tenure, Rob Gell did the weather forecasts, whereas Tony Jones did sports, forging an iconic news team on National Nine News in Melbourne/Victoria.

The successful two Brians (Brian Henderson and Brian Naylor) on National Nine News, both serving Sydney/New South Wales and Melbourne/Victoria, retired in 1998 and 2002, both in November.

Peter Hitchener, who anchored the weekend newscasts for National Nine News in Melbourne/Victoria, replaced Brian Naylor on weeknights on November 30, 1998.

Since November 30, 1998, in his first 5 years as the main weeknight anchor for National Nine News in Melbourne/Victoria, Peter Hitchener's tenure had earned ratings success.

Ian Ross, who was an anchor for National Nine News in Sydney/New South Wales, went to Seven with David Leckie, Peter Meakin and John Stephens, in an effort to make its turnaround.

Eventually, by 2005, Seven's turnaround, spearheaded by the efforts made by former Nine stalwarts Ian Ross, David Leckie, Peter Meakin and John Stephens, paid off.

Dougal Stevenson, Philip Sherry and Bill Toft are the first news anchors on New Zealand television.

In 1986, the traditional single-anchor news format being used by TVNZ was replaced by a two-person news team taking turns to bring flexibility and personality to the news desk.

Neil Billington and Judy Bailey were the first anchors in this new two-person news format for TVNZ.

Richard Long replaced Neil Billington to join Judy Bailey, starting a long-lasting partnership.

From its launch in November 1989 to February 1998, 3 National News used the single-anchor concept being formerly used by TVNZ from 1969 to 1986.

Tagesschau (ARD) and Heute (ZDF) are the main newscasts in Germany's public television sector.

For years, both Tagesschau (ARD) and Heute (ZDF) have used the traditional single-anchor format.

Karl Heinz-Koepcke, known as Mr. Tagesschau for his longevity, had set standards for television news presentation in Germany, Switzerland and Austria.

Gerhard Klarner, known as Mr. Heute, loves American culture, especially jazz, city life and literature.

While Sat.1 aired short newscasts, in cooperation with the FAZ newspaper, upon its 1984 launch, RTL Plus aired 7 Vor 7, the first full-length newscast within Germany's private television sector.

Upon its 1984 launch, 7 Vor 7 was an unconventional news program on RTL Plus, providing a stylistic contrast to both Tagesschau (ARD) and Heute (ZDF) on a national basis.

The noted innovation for 7 Vor 7 (RTL Plus) was a dynamic American-influenced news presentation.

Due to the fast-paced, tabloid and aggressive approach in its American-influenced format, 7 Vor 7 (RTL Plus) established news programming in Germany's private television sector.

Plus, 7 Vor 7 (RTL Plus) broke the duopoly held by both Tagesschau (ARD) and Heute (ZDF).

Luxembourg was the first location for 7 Vor 7 (RTL Plus); four years after its 1984 launch, it moved to Cologne, prompted by the need to offer better terrestrial broadcast reception.

A few months after moving to Cologne, 7 Vor 7 (RTL Plus) became RTL Aktuell.

Hans Meiser, whose journalistic career was rooted in radio with his American-style approach, was the first anchor for RTL Aktuell from its 1984 launch to the early-1990's.

Peter Kloeppel was the main anchor/managing editor for RTL Aktuell from the 1990's to the 2020's.

Ulrike von der Groeben served as the sports anchor for RTL Aktuell, having usually worked with Peter Kloeppel from the early-1990's until the 2020's.

With the strategy being made by Peter Kloeppel, RTL Aktuell has become a ratings success.

RTL Nachtjournal is the first late-night television newscast in Germany.

The success created by RTL Nachtjournal led to other late-night television newscasts in Germany, like Nachtmagazin (ARD), Heute Nacht (ZDF) and Die Nacht - Sat.1 Nachrichten.

Jacobo Zabludovsky was the main anchor for 24 Horas (Televisa) for 26+ years.

As Mexico's first television news program entirely produced by a dedicated news team from the same network without articles from newspapers, 24 Horas (Televisa) was the most-watched ever.

For its own news coverage, 24 Horas (Televisa) favoured the then-ruling PRI party, having been biased towards the government.

Plus, 24 Horas (Televisa) incorporated interviews and direct telephone calls from reporters.

In the 1990's decade, in response to criticisms surrounding Televisa and limited freedom of expression being introduced, changes came to the Mexican media landscape.

Ricardo Salinas Pliego, a businessman, purchased most of the assets held by Imevision to become TV Azteca in 1993; months later, its own newscast Hechos began.

Emilio Azcarraga Milmo, who served as Televisa's president since 1972, died in April 1997 in Miami, Florida; his younger son Emilio Azcarraga Jean ascended to the post.

Modernizing Televisa is what Emilio Azcarraga Jean did through many aspects, one of which was to cancel 24 Horas.

With those changes to Mexican media in the 1990's, 24 Horas (Televisa) came to an end with Jacobo Zabludovsky leaving this program.

Federico Wilkins had developed the fast-paced, tabloid and aggressive approach at rival TV Azteca's Hechos, which was carried over to Televisa.

Teletrece was once the ratings leader in Chilean television news, having used a more independent and professional approach than the pro-government newscast 60 Minutos (TVN).

24 Horas (TVN) has been the ratings leader in Chilean television news since the mid-1990's.

Bernardo de la Maza and Cecilia Serrano were the first faces of 24 Horas (TVN), which started at the dawn of the democratic era for Chile in October 1990.

Meanwhile, 24 Horas (Panamericana) had been the ratings leader in Peruvian television news until the late-1990's.

Humberto Martinez Morosini was the face of 24 Horas (Panamericana) from its 1973 debut to 1997.

QAP Noticias (or QAP) is a former news program produced by TV13 (or TV-13) and backed by Nobel Prize in Literature recipient Gabriel Garcia Marquez.

Maria Elvira Samper and Maria Isabel Rueda are journalists who created QAP.

Before QAP, television news in Colombia had a staid approach: it was state-run and tied to political or economic corporations.

However, QAP had earned its reputation for its independent, often critical, investigative journalism.

For QAP, it broke the mold for Colombian television news: the nation's first television news service to come from its purpose-built studios and to use microwave equipment.

What led to the launch of QAP was the licensing reforms in the early-1990's.

Despite being short-lived, QAP was one of the most innovative television news programs in Colombia, helping to modernize this field.

Canal A (Inravision) aired QAP from the early-1990's until December 1997.

TV Patrol (ABS-CBN) and 24 Oras (GMA Network) have been the main forces in the television news scene in the Philippines since the dawn of its democratic era in 1986.

What distinguished TV Patrol from other Filipino newscasts in the past was its tabloid approach.

Seputar Indonesia (RCTI) is Indonesia's first television newscast within its private sector, lasting from November 1989 to October 2017.

Buletin Malam (RCTI) is the first television newscast on a private network in Indonesia to offer world news stories, lasting until February 2009.

Nuansa Pagi and Buletin Siang, aside from Seputar Indonesia and Buletin Malam, are the morning and afternoon newscasts on RCTI.

With both Nuansa Pagi and Buletin Siang, they were the first newscasts aired in both the mornings and daytime within Indonesia's private television sector.

Pete Langlois, who came from KCRA-TV, an NBC station in Sacramento, honed RCTI's programming and operational strategy based on  networks.

February 2009 was when RCTI unified all its newscasts under one Seputar Indonesia banner.

On July 13, 1948, United Press agreed with Fox's Movietone News service to shoot news film for local television stations across the United States.

United Press Movietone (UPMT) had innovations in the news-gathering business for television.

With the BBC as its first European client, United Press Movietone became the first agency in television news to operate on a truly international level.

In the mid-1960's, UPI ended its partnership with Fox-Movietone, the latter remaining in the newsreel business, also resulting in the loss of its contract with the BBC.

Meanwhile, UPI set up a new entity of its own called United Press International News Film (UPIN).

The BBC's main domestic rival ITN joined forces with United Press International to form United Press International Television News (UPITN) in the late-1960's era.

UPI suffered financial difficulties, and in the early-1980's, sold its stake in UPITN, which was renamed Worldwide Television News (WTN) in 1985.

Stakes in WTN, which ITN partly owned, were by ABC (America) and the Nine Network (Australia).

With the other broadcasters from the British Commonwealth and the Rank Organization, the BBC also formed Visnews, with Reuters joining in 1960.

From 1957 to 1993, Visnews, based in London, served as the primary non-American competitor of the US-involved UPITN/WTN agency, which formerly had the BBC as its first European client.

Changes in Visnews came in the late-1960's period, when Rank left Visnews and Reuters took a bigger interest.

NBC, which, since 1962, had a long-term partnership with Visnews, acquired a minority interest in this London-based television news agency, effective January 1, 1989.

Television News Inc. (TVN) is a short-lived syndicated news service, offering daily news film feeds to independent television stations in the United States and Canada from 1973 to 1975.

Joseph Coors, a Colorado businessman with conservative views, owned a majority stake in Television News Inc., a conservative alternative to the Big Three networks, whose news output was liberal.

Robert Pauley, a former ABC Radio executive, was the chief executive for Television News Inc.

Visnews, a UPITN rival formed by the BBC and other Commonweath broadcasters, had owned a small stake in Television News Inc.

TVN (partly-held by Visnews, which the BBC and Reuters held) took the US business of its competitor UPITN (partly-held by ITN, which was the BBC's main domestic rival) in 1974.

In January 1975, TVN disclosed plans to change newsfeed distribution from a long-distance phone line method to a satellite delivery one, using Westar 1, which could send HBO to a national level.

Like HBO's own innovative satellite distribution proposal, TVN's plan was equally-innovative in that it marked the first full use of an American domestic satellite for television program distribution.

Having suffered financial difficulties and having not executed a proposed satellite distribution plan that would have made it a pioneer, TVN closed in 1975 after Coors withdrew its financial support.

Reese Schonfeld, Roger Ailes and Dennis Swanson were notable members of the TVN personnel.

Upon its 1974 purchase of the American business of its rival UPITN, Reese Schonfeld became TVN's Vice President of Operations.

Meanwhile, Roger Ailes worked at TVN from January 1975 to its September 1975 closure.

Plus, Dennis Swanson, who formerly worked in Chicago television, first at the WGN stations in 1966, then at the Chicgao hub of NBC News joined TVN in 1974.

After TVN closed its doors in 1975, Reese Schonfeld founded his own newsfeed distributor named the Independent Television News Association (ITNA).

For ITNA, it was a non-profit independent alternative to the Big Three networks.

Not related to the British television news provider ITN, which partly owned UPITN, for whom Reese Schonfeld worked, ITNA was based at WPIX in the Daily News Building in New York.

John Corporon, the news director for WPIX from 1972 to 1996, was also ITNA's first president.

Using Westar 1, which also carried HBO for its national launch, ITNA had provided both pooled news coverage and newsfeed to independent stations in the United States.

Before ITNA, non-Big Three television stations in the United States relied on film or videotape via air freight for news syndication.

However, ITNA was the first company to provide a daily satellite-delivered news service to America's independent television stations.

ITNA marked the end of the traditional "film via air" era for indies.

With ITNA's successful satellite plan, Reese Schonfeld joined Ted Turner to launch CNN.

Countering the humorous tone of the 17 Update program on WTCG, CNN used a serious, dramatic and hard-hitting tone.

Satcom 1, which already carried other pioneering cable networks like HBO and TBS, also carried CNN upon its 1980 debut, after its intended satellite Satcom 3 failed to reach orbit and was lost.

Besides Reese Schonfeld, whose ITNA came from WPIX, Ted Kavanau, who began the first primetime newscast in New York through rival WNEW-TV, was also involved with CNN's launch.

At WNEW-TV, Ted Kavanau developed the tabloid and fast-paced news style that other indie outlets in major markets across the United States also used, as well as CNN.

Ed Turner, unrelated to Ted Turner despite sharing a surname, was also involved with CNN's launch.

In 1966, Ed Turner started the 10 p.m. news format on a non-Big Three television station in the United States through WNEW-TV's sister station WTTG.

Prior to his work at WTTG, Ed Turner worked at KWTV, where he grew up with the 10 p.m. newscast time slot he later brought to a non-Big Three television station.

For both Ed Turner and Ted Kavanau, they put the 10 p.m. news model on the map of a non-Big Three station through WNEW-TV and WTTG, which Metromedia owned.

Preparing itself for its 1980 debut, CNN recruited some news veterans from the independent television landscape rather than the Big Three networks.

Reese Schonfeld, Ed Turner and Ted Kavanau are some of the notable individuals from non-Big Three television stations who were involved in CNN's launch.

Sam Zelman, who revolutionized local news in both North America and the world with a newscast that would last over a quarter-hour through KNXT, was also involved with CNN's launch.

Turner Broadcasting System sold WRET-TV, which used NBC, to Group W/Westinghouse to raise the capital needed for its new venture CNN; under Group W, it was renamed WPCQ-TV.

Daniel Schorr, who was one of the later recruits of the legendary newsman Edward R. Murrow at CBS News, was CNN's first on-air employee and its Senior Washington Correspondent.

Bernard Shaw, a recruit of another legendary newsman Walter Cronkite at CBS News, was CNN's first official news anchor; his idol is Edward R. Murrow.

ITNA, which was a early template for CNN, both of which Reese Schonfeld co-founded, was also the company where Daniel Schorr freelanced.

For both Daniel Schorr and Bernard Shaw, they were correspondents on the CBS Evening News with Walter Cronkite.

As one of the CBS News personnel directly being recruited by Edward R. Murrow, Daniel Schorr also worked with Walter Cronkite, often contributing to the CBS Evening News.

On the other hand, Bernard Shaw, who named Edward R. Murrow his idol, served in the United States Marine Corps, during which time he met Walter Cronkite, the latter two from CBS News.

Chicken Noodle Network is the nickname that some people used to mock CNN before (and after) its launch.

Some noted aspects that led some people to mock CNN before (and after) its launch include its on-air gaffes, its technical issues and a perceived rag in 24-hour television news.

Plus, before (and after) its launch, CNN had fewer resources than the Big Three networks.

In addition, many people also believed that a 24-hour television news channel in CNN would lead to a boring experience.

Daniel Schorr and Bernard Shaw, both already using CBS News experience (under the legacy that both Edward R. Murrow and Walter Cronkite began), brought credibility to the upstart CNN.

With Daniel Schorr and Bernard Shaw, both hailing from CBS, CNN bridged the gap between the high standards of journalism they honed at broadcast TV and cable TV in its early low-budget era.

Although Daniel Schorr left CNN in 1985, Bernard Shaw held on until 2001, becoming the face of the network's global emergence.

Hired by Reese Schonfeld, both Daniel Schorr and Bernard Shaw, along with others, overcame CNN's reputation of being Chicken Noodle Network.

The husband-and-wife anchor team from Sacramento, Dave Walker and Lois Hart, delivered the first newscast from CNN upon its launch.

Lou Dobbs, who previously worked at KING-TV in Seattle and KTVK in Phoenix, was the last of the original anchors to leave the CNN launch team.

Mary Alice Williams, who was born in Minneapolis-St. Paul, where she began her career at KSTP, and who also came from WPIX and WNBC-TV, was also a CNN trailblazer.

Having been one of the original CNN personnel, Mary Alice Williams oversaw the building of its New York hub at the World Trade Centre.

Don Farmer and his wife Chris Curle also arrived at CNN from ABC, the earlier being its Washington reporter on a national basis, the latter working at WJLA-TV.

Nick Charles and Fred Hickman, both of whom started their television careers at WICS, were CNN's iconic sports anchors.

On August 12, 1981, ABC joined Group W/Westinghouse to form their own news venture.

In response, Turner launched its response to the ABC/Group W news service with its similar format.

CNN's faster-paced service CNN2, later known as CNN Headline News, started operations 19 months after its original launch.

Driving the vision for CNN2/CNN Headline News was Ted Kavanau.

The Satellite News Channel (SNC) was a joint venture between ABC Video Enterprises and Group W Satellite Communications, doubling as the first rival to CNN.

Just over one year after its launch, SNC, together with its transponders, was bought and shut down by Turner Broadcasting System.

With Turner's purchase of SNC, many cable providers carrying SNC would carry either CNN or, more frequently, CNN Headline News.

CNN produced an hour-long weeknight newscast for WTBS called the TBS Evening News.

At 10 p.m. Eastern Time, the TBS Evening News delivered national and international news stories, plus national weather and sports, due to the national superstation status being held by WTBS.

In July 1984, the TBS Evening News made the move to CNN and was relaunched as the CNN Evening News.

Meanwhile, CNN Headline News assumed production responsibilities for TBS NewsWatch.

At first, TBS NewsWatch was produced in-studio with an on-screen anchor format by WTBS, but with CNN Headline News, changed to video content with voice narration.

The CNN Headline News simulcasts were also aired on SuperStation WTBS.

By loosening the public affairs programming requirements held by the FCC, both the TBS NewsWatch segments and the CNN Headline News simulcasts were phased out in 1996.

The first two CNN presidents, like Reese Schonfeld, came from UPITN, a joint venture between United Press International and ITN.

Georgia-born Tom Johnson was the third CNN president, hailing from the Los Angeles Times.

During its first decade, CNN lagged behind the established evening newscasts being aired on network television in the United States.

However, CNN's coverage of the first Gulf War made it a major force in 24-hour television news.

Whilst other broadcasters lost communication links, CNN used a working four-wire telephone line that allowed them to broadcast live from Baghdad during the first Gulf War.

Robert Wiener and Eason Jordan installed a link from Baghdad to CNN during the first Gulf War.

The trio that comprised Bernard Shaw, Peter Arnett and John Holliman brought CNN to unprecedented success and popularity during Operation Desert Storm, due to Robert Wiener's telephone link.

Peter Arnett was the sole CNN voice from Al-Rashid after Bernard Shaw and John Holliman left.

Beyond North America, CNN International distributed the American counterpart's coverage of the first Gulf War to many other countries around the world.

Global broadcasters aired CNN's coverage of the first Gulf War, some in the Arab world, where, before this conflict, television news was state-controlled and state-run.

The success of the first Gulf War, as covered by CNN, spurred Waleed bin Ibrahim Al Ibrahim, a Saudi businessman educated in the United States, to begin MBC as part of his ARAvision group.

London, England was chosen as the base for the first headquarters of Waleed bin Ibrahim Al Ibrahim's MBC service.

Having been MBC's first site, London had freedom of press and a neutral and independent territory.

Except Lebanon, television stations around the Arab world were state-controlled and used prerecorded news coverage, often focusing on government announcements and.ceremonial events.

Backed by Saleh Kamel and the Saudi royals, Waleed bin Ibrahim Al Ibrahim's MBC had professional Western-made broadcast production standards previously unused in the Arab world.

The 1986 Space Shuttle tragedy and the Jessica McClure rescue also contributed to CNN shedding its initially-derided perception, besides the first Gulf War.

Fionnuala Sweeney, who was a journalist at RTÉ since the late-1980's after a stint at pirate radio, also served as the host of the 1993 Eurovision Song Contest.

Incidentally, hosting the 1993 Eurovision Song Contest, presented by RTÉ, was Fionnuala Sweeney's worldwide breakthrough, making her known to a wider audience outside Ireland.

Besides, Fionnuala Sweeney worked at CNN for 21 years from the mid-1990's to the mid-2010's.

Hired by CNN, a year after her Eurovision breakthrough, Fionnuala Sweeney bridged the gap between Eurovision's glitzy and glamorous entertainment and CNN's serious global news and information.

WPIX was the originating station for Independent Network News (INN), which was the national news extension of the television service of the New York Daily News.

Just before INN's launch, WPIX reunited Bill Jorgensen with John Corporon, both of whom came from WNEW-TV, where they launched New York's first primetime newscast in the late-1960's.

Having been a national news alternative for non-Big Three television stations in the United States, INN started on June 9, 1980, 8 days after CNN's launch on June 1.

Incidentally, Ted Kavanau, who also came from WNEW-TV, developed the tabloid and fast-paced news style that other non-Big Three outlets and CNN used in the late-1960's.

Besides Bill Jorgensen, Steve Bosh and Pat Harper also co-anchored INN.

Responding to competitive pressure from CNN and INN, both of which provided more comprehensive national news alternatives for independent stations, ITNA closed its doors.

Distributed by Tribune Entertainment, INN was seen over non-Big Three stations that lacked in-house production capabilities for a news program.

SSS launched the Satellite Program Network (SPN), which became Tempo Television.

Tempo Television's transponder space was sold by SSS to NBC in the late-1980's, and NBC used it to launch the Consumer News and Business Channel (CNBC) in 1989.

Roger Ailes was hired by NBC in August 1993 to be the President of CNBC, tasked by NBC CEO Bob Wright to turn around this then-ailing channel.

Despite Roger Ailes' short reign as its president, CNBC made its turnaround; its spin-off channel called America's Talking, which Roger Ailes created, had low-budget discussion programs.

In January 1996, NBC announced plans to partner with Microsoft to begin MSNBC, both on cable and online, with the satellite transponder that America's Talking used, ending the latter network's life.

Having disagreed over NBC's decision to partner with Microsoft to start MSNBC, Roger Ailes left and moved from NBC to Rupert Murdoch's News Corporation empire to launch Fox News Channel.

Both MSNBC and Fox News Channel were the first rivals to CNN since SNC folded.

Incidentally, Reese Schonfeld and Roger Ailes, both involved with the former TVN news film service, played roles in guiding CNN, CNBC, MSNBC (using the AT transponder) and Fox News.

During its initial years, from 1996 to 2002, Fox News lagged behind CNN, but still made its first steps towards surpassing the latter.

Since January 2002, Fox News has officially been the top-rated news channel in the United States.

9/11 and its aftermath were the catalysts for Fox News officially earning the ratings crown in January 2002.

Although he left (and died), Roger Ailes' own influence on Fox News (the "Fox look" and pacing) still remains; it shifts towards personality-driven digital content, however.

For HBO, TBS and CNN, they are pioneers in satellite-delivered cable television.

Charles Dolan was to cable infrastructure in urban areas and non-commercial premium television what Ted Turner was to superstations and 24-hour news channels.

In October 1996, Turner merged with Time Warner, which ran 20% of the earlier's stake in the past.

HBO, Cinemax, TBS, CNN, CNN Headline News and TNT became sister channels with the 1996 Time Warner/Turner merger.

In the Arab world, MBC has maintained dominance, especially through MBC1 and Al-Arabiya.

The flagship newscast on MBC1 initially aired at 6 p.m. before moving to the iconic 9 p.m. time slot.

Nicole Tannoury is the first woman to anchor the news on a pan-Arabic channel.

Plus, Nicole Tannoury is the first woman to anchor worldwide cable news in Arabic, and to present the news in the Arab world while standing up and using video wall.

As the main anchor for the flagship newscast on MBC at both 6 p.m. and 9 p.m. during its London and Dubai tenures, Nicole Tannoury has been a television news pioneer in the Arab world.

Liliane Tannoury, not related to Nicole Tannoury, is a sportscaster on Al-Arabiya, which is MBC's own sister news channel.

Olina El-Hajj, Mayssoun Azzam and Ola Al-Fares are also highly-popular women in MBC's channels.

Nashwa Al-Ruwaini is the Oprah Winfrey of the Arab world.

In Vietnam, CNN has a presence.

For the 10th anniversary of the Fall of Saigon, CNN used the Lotus satellite earth station to deliver its signal back to the United States in April 1985.

By the early-1990's, due to Doi Moi, VTV was permitted to use a satellite to air CNN International.

When Vietnam's first pay television service via MMDS launched its operations in the mid-1990's, CNN International was one of its first four channels.

Initially, in order to watch CNN International in Vietnam, viewers required special licenses.

Coaxial-based cable services deployed around 2002, eliminating the need for viewers to have special licenses to watch CNN International.

Metropolitan places in Australia have three commercial television channels, plus the ABC and SBS.

Regional television stations in Australia operated under the solus system, where most viewers provided access to one local commercial station, plus the ABC and later SBS.

Under the solus system, commercial television stations in Australia's rural/regional places were fiercely independent and were not affiliated with any metro-based network.

This solus system meant allowing Australia's rural/regional television outlets to offer programs from all metro-based networks, as well as local programs.

During the era of the solus system, regional television in Australia endured a localized and independent approach (unique logos, locally-produced programs and low-budget presentation).

With aggregation, regional television in Australia became equal to their metropolitan counterparts.

For the solus system, it means that television stations located in Australia's rural/regional places have a basic and archaic look.

However, aggregation means using the high-gloss and metro-based look for Australia's regional areas.

Conversely, aggregation in Australia's regional television scene leads to a decline in independent local television content, a loss that a local identity suffered and reduced local employment in production.

This aggregation process was made possible through the Aussat system, which was the first domestic communications satellite system in Australia.

With its first two satellites launched in 1985 via NASA's Space Shuttle, plus a third one by an Ariane rocket, Aussat changed telecommunications down under.

Australia's aggregation model is studied and referenced by other countries seeking to modernize their television landscapes in a Western-like approach after the end of the Cold War.

Some of the regions seeking to modernize television in a Western-like approach in the post-Cold War period include the Eastern Bloc, the Arab world and South and Southeast Asia.

Besides, Australia's regional TV aggregation model recalls America's cable television channels, which started on a low-budget and regional basis, then scaled nationally via satellite.

Noted US cable channels recalling Australia's regional television scene in this post-aggregation period include HBO, TBS and CBN.

Incidentally, both HBO and TBS are cable TV pioneers being held by TimeWarner, the latter of which spawned its sisters like CNN, the first 24-hour television news in the world.

Glasnost and perestroika, which are policies that Mikhail Gorbachev spearheaded, led many television services in the Eastern Bloc to modernize themselves, along with Solidarity, led by Lech Walesa.

The first Gulf War, as covered by CNN, modernized the technology and speed of television journalism around the world, moving towards continous, live 24-hour news reports.

Lowell Thomas, Walter Winchell, Edward R. Murrow, Douglas Edwards, John Cameron Swayze, Chet Huntley, David Brinkley and Walter Cronkite shape broadcast journalism.

Dave Garroway, who used to be a radio disc jockey on WMAQ-AM in Chicago, moved to the nascent television industry with his eponymous program called Garroway at Large in 1949.

Garroway at Large notably revolutionized television presentation under Dave Garroway.

Saturday is the usual day on which Garroway at Large, which Dave Garroway hosted, was seen on the NBC television network (and later, on Sundays and Fridays).

When regular commercial television operations began in New York, many programs have incorporated theatrical proscenium concepts, separating the stage from the audience area.

After WWII, some programs came from Chicago, where Dave Garroway was a DJ on WMAQ-AM.

For his own Garroway at Large television program, Dave Garroway defied television's early theatrical conventions for a more casual approach in which the reality of the studio was acknowledged.

Using one camera, Dave Garroway walked around large studios and simple abstract sets as he directly talked to guests and television viewers for Garroway at Large.

Having originated from Chicago, Dave Garroway's eponymous Garroway at Large television program pioneered an informal presentation style, which was at odds with New York-centric programs.

The Chicago Style (used in Dave Garroway's eponymous Garroway at Large program) was developed further through his other innovative program called Today (NBC).

During its initial years, Today (NBC) emanated from the RCA Exhibition Hall.

In the first studio used for Today (NBC) from the RCA Exhibition Hall was an ultra-modern open-plan working area with teletypes, wall clocks and workstations all visible (and audible) on the air.

The official name of this working area included in this first studio ever used for Today (NBC) from the RCA Exhibition Hall was the World Communications Centre.

Many people all around the United States described this open-plan working area in the first studio ever utilized for Today (NBC) from the RCA Exhibition Hall as television's command centre.

Plus, this open-plan working area in the first studio ever used for NBC's Today program from the RCA Exhibition Hall was described by Dave Garroway as "the nerve centre of the world."

Incidentally, this open working area in the first ever studio for Today (NBC) from the RCA Exhibition Hall served as a window on the world or a fishbowl.

For the open newsroom included in the first ever studio being utilized for Today (NBC) from the RCA Exhibition Hall, it bridged the gap between backstage and on-stage.

Based at Rockefeller Plaza and West 49th Street in New York's Midtown Manhattan portion, the RCA Exhibition Hall was down the block from the current studio used for Today (NBC).

Over the years, this working area in the first studio for NBC's Today program emanating from the RCA Exhibition Hall has become working newsrooms, though not as immersive as its original space.

Instead, working television newsrooms are usually placed directly behind the news anchor desk, with a physical or a imaginary divider between the studio and newsroom area.

Layouts for working television newsrooms include glass separating them from the broadcast area.

However, designs placing news anchors in the middle of the newsroom have been used by numerous programs over the years - in varying degrees.

In addition, numerous other news studios include smaller, scaled down work areas seen on camera.

TV stations also feature camera positions placed inside newsrooms named flash cams; they are used for live reports/updates, as well as prerecorded teases and promos.

Newsrooms are used by television stations as temporary news sets, because enclosed and isolated news studios are being renovated or updated with a new set or equipment.

A similar idea is also often used for working weather centres in modern television studio sets.

When NBC's Today program started in the 1950's, weather centres did not utilize chroma key, since it requires, by definition, colour cameras.

Upon its debut in early-1950's, NBC's Today program utilized panels, with printed maps, handwritten notations and movable cutout pieces to symbolize weather conditions.

On many local news studio sets, the weather team works in the studio from built-in workstations and video panels, while usually starting/ending their weather reports from in front of a working area.

Many weather centres use a desk or pod allowing weather forecasters to appear on screen (facing the camera) while also viewing computer monitors and manipulating graphics/maps in real-time.

Street-level and windowed studios, meanwhile, are still used from now on.

Technically, all Big Three networks have their morning newscasts from street-level studio sets.

Local US television stations also have street-level and windowed studios, though they often serve as secondary sets or double as a satellite operation for the station's main newsroom.

In many ways, however, street-side studios are public showcases for local television stations.

Many street-side and windowed studios feature sets, built inside of a traditional windowless studio and having looked much indifferent for all intents and purposes.

Besides, modern and efficient news tickers seen on television were not launched until 1993, nor fully popularized until September 2001.

The news ticker being used when Today (NBC) began was an actual piece of paper with typewritten headlines superimposed on the lower third of the screen.

For Dave Garroway, his tenure as the first Today (NBC) host meant that the New York-based national network television scene embraced the innovations from Chicago.

Dave Garroway's relaxed style, which had its roots in radio, was adapted for television.

Plus, the first studio for Today (NBC) from the RCA Exhibition Hall served as an influence on modern broadcast design, like the newsroom and the windowed concept in downtown cores.

Just before its expansion to a half-hour in the mid-1960's, both Douglas Edwards and Walter Cronkite delivered the main quarter-hour news on CBS Television in an isolated and enclosed studio.

Grand Central, a historic rail terminal, served as a testing ground for CBS Television's main newscast.

With its expansion to 30 minutes, the CBS Evening News started using a set, which comprised a desk created in the form of a fishbowl, the newsroom and a world map.

Studio 33 at the CBS Broadcast Centre served as a testing ground for the Walter Cronkite-era studio set being used for the CBS Evening News until 1986, when it moved 14 studio numbers up.

The Graybar Building, adjoining Grand Central, was the testing ground for the CBS Evening News, the first half-hour evening newscast on network television.

Initially, at the Graybar newsroom, the Walter Cronkite-era studio set being used for the CBS Evening News featured a chalkboard.

But its relocation to the CBS Broadcast Centre meant that the chalkboard being included in the Walter Cronkite-era set for the CBS Evening News was replaced by a wall with teletypes.

The CBS Broadcast Centre was formerly a milk depot and distribution centre for Sheffield Farms.

With the 1972 Summer Olympics

Plus, Grand Central housed Edward R. Murrow's See It Now program.

For Edward R. Murrow's innovative See It Now program, Studio 41 broke from tradition by using the control room, which he and its director Don Hewitt devised.

WBBM-TV, which began regularly as WBKB from Balaban & Katz/Paramount, revolutionized local television with a studio set, featuring the newsroom as a regular backdrop, in March 1973.

McClurg Court, a rink, became a television studio in the mid-1950's, but also a testing ground for the regular newsroom-as-set trend that WBBM-TV had pioneered in 1973 until the early-1990's.

Prior to March 1973, WBBM-TV's McClurg Court location had Studios 3 and 4 divided by walls.

During the first of the 1960 presidential debates, a total of 380 reporters were inside Studios 3 and 4 at WBBM-TV.

In March 1973, the walls between Studios 3 and 4 at WBBM-TV's McClurg Court location were being torn down to introduce the regular newsroom-as-set trend.

Bill Kurtis and Walter Jacobson first teamed up at WBBM-TV as its main news anchors in 1973.

Robert Wussler and Van Gordon Sauter, both involved with WBBM-TV, were the geniuses behind the creation of its regular newsroom-as-set trend.

For the regular newsroom-as-set trend that WBBM-TV had made, under both Robert Wussler and Van Gordon Sauter, it forever changed/revolutionized television news set design.

Introduced in March 1973, WBBM-TV's regular newsroom-as-set trend marked a shift away from the standard and isolated "ticket-office" environments and rigid desk stages.

Some elements of the regular newsroom-as-set trend, which was conceived for WBBM-TV by Robert Wussler and Van Gordon Sauter, are used in the US, but also around the world.

On April 29, 1974, WNBC-TV launched its own 2-hour newscast called NewsCentre.

Just prior to the launch of WNBC-TV's NewsCentre on April 29, 1974, Chuck Scarborough arrived in New York from WNAC-TV in Boston, where he did his final newscast there on March 8, 1974.

Fred Harpman designed the Probe Control Centre, which acted as a NASA-like nerve centre, for NBC's science fiction series Search, which is based on the 1972 television film Probe.

The Probe Control Centre design for both Probe and Search (which Fred Harpman had created) was the direct inspiration for his own NewsCentre studio set design for NBC.

Having been inspired by his own Probe Control Centre design for Search, Fred Harpman's NewsCentre design had a futurist, high-tech and cinematic look.

Plus, Fred Harpman's NewsCentre design was made to have a working newsroom feel.

Monitors based behind the anchors for Fred Harpman's NewsCentre design, which was inspired by his Probe Control design, create a sense of being in the middle of a working hub.

Lee Hanna, the former WNBC-TV news director, was the genius behind the creation of its NewsCentre format.

The inspiration for Lee Hanna to conceive this NewsCentre studio set was an episode of Search that he watched, featuring Fred Harpman's Probe Control Centre design.

Studio 6B at 30 Rockefeller Plaza was a testing ground for Fred Harpman's NewsCentre for NBC.

In 1974, Studio 6B at 30 Rock was used for WNBC-TV's NewsCentre 4, but also for the national NBC News broadcasts when the Watergate scandal reached its climax.

Just like WBBM-TV innovated the concept of a studio set with the regular newsroom backdrop, Fred Harpman's futurist WNBC-TV NewsCentre changed television news set design.

The elements of this futurist, dynamic, high-tech and cinematic NewsCentre design (which both Fred Harpman and Lee Hanna conceived) are used in the US and around the world.

For Fred Harpman, his NewsCentre design paralleled his Probe Control for Search.

Plus, Fred Harpman's NewsCentre design paralleled the open working area in the first ever studio for Today (NBC) under Dave Garroway.

Dave Garroway pioneered the Chicago Style concept for his eponymous Garroway at Large television program, being brought to New York through Today (NBC).

Also in Chicago, WBBM-TV pioneered the regular newsroom-as-set trend, based on the working area being used in the first studio for Today (NBC) under Dave Garroway.

Global, which began its operations in January 1974 as a regional network, with CIII-TV as its flagship station, broke from tradition by using the newsroom-as-set trend, the first of its kind in Canada.

Upon its January 1974 debut, Global borrowed elements of the Walter Cronkite-era Studio 33 set of the CBS Evening News, like a U-shaped desk a world map backdrop.

81 Barber Greene Road, a factory located in Don Mills, became a television studio in 1974, but also the testing ground for the CBS-style newsroom-as-set trend for Global.

Lasting until 1998, this newsroom-as-set trend for Global was rebuilt many times to modernize.

Also in Canada, BCTV (CHAN-TV) used the newsroom-as-set trend being synonymous with the Tony Parsons era from 1975 to October 4, 2010.

Enterprise Street, which is located in the Lake City Industrial Park, housed a purpose-built building for BCTV, and was a testing ground for its own innovative newsroom-as-set trend.

Some of the local television stations based in North America often converted existing studio spaces into testing grounds for newsroom-as-set trends, but BCTV built one from scratch.

BCTV's Enterprise Street studios, built from scratch in 1961 and officially opened in 1962, also built its newsroom-as-set trend from scratch in 1975, 13 years after its official 1962 move.

Whereas stations with converted studios as testing grounds for newsroom-as-set trends represented the past, like WBBM-TV and Global (CIII-TV), BCTV's purpose-built one represented the future.

Early adopters of this newsroom-as-set trend, like WBBM-TV and Global (CIII-TV), usually retrofitted older studio spaces.

Those conversions by WBBM-TV and Global (CIII-TV) required squeezing newsrooms into spaces not designed originally for cameras, leading to cramped, noisy or compromise-filled enviroments.

CBS was the model for the newsroom-as-set trend by both WBBM-TV and Global (CIII-TV), the latter using a set derived from the Walter Cronkite-era Graybar/Studio 33 set of the CBS Evening News.

Purpose-built adopters of the newsroom-as-set trend, such as BCTV, allowed designers to integrate the studio and newsroom from the ground up.

BCTV's specially-made newsroom-as-set trend offered better and more open-concept visuals, improved lighting, superior acoustics and a smoother flow between on-air personnel and journalists.

The newsroom-as-set trend, specially-designed for BCTV (CHAN-TV), made the news studio look less conventional and more like a high-functioning, authentic and professional newsroom.

Having been a purpose-built concept, this BCTV newsroom-as-set trend being synonymous with Tony Parsons was unique, as it mixed the newsroom backdrop with multi-monitor control rooms.

For BCTV's purpose-built newsroom set, it felt like a room with desks, but also the nerve centre of the entire British Columbia, indeed BC's command centre.

NBC was the model for Fred Harpman's futurist WNBC-TV NewsCentre, the elements of which were being adapted from his own Probe Control Centre design for its sci-fi series Search.

BCTV also used the WBBM-TV newsroom-as-set trend (modelled by CBS) in its purpose-built one.

Juxtaposing the news studio elements being created by both NBC and CBS with autonomy, the BCTV newsroom-as-set trend popularized this trend on a purpose-built basis.

The CBS element in BCTV's newsroom-as-set trend is the studio, featuring the newsroom as a regular backdrop, conceived for WBBM-TV by Robert Wussler and Van Gordon Sauter.

Plus, the NBC element in BCTV's newsroom-as-set trend is the NewsCentre (made for WNBC-TV by Fred Harpman, which, in turn, is inspired by his Probe Control design in Search).

Lee Hanna, who watched Search, co-conceived Fred Harpman's NewsCentre set, the elements of which were adapted from this series and for BCTV's newsroom-as-set trend.

On the autonomous side of its newsroom-as-set trend, BCTV was a locally-owned station.

Cameron Bell, who was formerly the news director for BCTV, was the genius behind the creation of its purpose-built newsroom-as-set trend being synonymous with the Tony Parsons era.

Ray Peters led BCTV through Cameron Bell's creation of its newsroom-as-set trend being synonymous with the Tony Parsons era.

During the Expo 86 world's fair, BCTV operated a broadcast pavilion.

As the fishbowl version of its own newsroom set, the BCTV pavilion at Expo 86 allowed the public to watch a live newsroom and control room in action through glass.

BCTV's pavilion at Expo 86 further emphasized this newsroom-as-set trend.

In the early-1990's period, this BCTV newsroom set, conceived by Ray Peters and Cameron Bell, was rebuilt by moving the desk out of the studio, but kept the newsroom as its main backdrop.

Since WIC was purchased by Canwest Global, BCTV (CHAN-TV) rebuilt this newsroom-as-set trend twice, firstly in September 2001.

While WBBM-TV and Global (CIII-TV) pioneered newsroom-as-set trends in both the US and Canada from converted spaces, BCTV (CHAN-TV) perfected it with its purpose-built one.

Before Roone Arledge turned around the ailing ABC News, both NBC and CBS have maintained more traditional formats in their news presentation, while not entirely plain.

Under Roone Arledge, ABC News put newsroom-as-set trends on the network news map.

During its first 30 years/3 decades, Cable News Network (CNN) had used the newsroom as its primary studio backdrop from its two primary headquarters in Atlanta.

Just before CNN's June 1980 debut, co-founders Ted Turner and Reese Schonfeld were trying to find a model for the newsroom-as-set trend.

BCTV (CHAN-TV), which used its newsroom-as-set trend at its purpose-built studios during the Tony Parsons era, was the closest model to the vision of CNN's Ted Turner and Reese Schonfeld.

Using this BCTV newsroom studio (conceived by Ray Peters and Cameron Bell) as CNN's model, Ted Turner took over an Atlanta country club at Techwood Drive called the Progressive Club.

Established in 1913, the Progressive Club is a red brick structure with white columns; its ballroom was renovated into CNN's first studio, inspired by the Tony Parsons-era BCTV newsroom-as-set trend.

Incidentially, CNN's first newsroom-as-set trend, based on the BCTV newsroom set (conceived by Ray Peters and Cameron Bell under Tony Parsons), was television's first 24-hour newsroom set.

Carl "Bunky" Helfrich, who was one of the friends of Ted Turner, adapted many of the elements of the BCTV newsroom set (conceived by Ray Peters and Cameron Bell under Tony Parsons) for CNN.

For the Three Musketeers at WTBS, Gene Wright, Jack Ormand and Jack Verner served as their noted members; they built the technical infrastructure for CNN's first newsroom-as-set trend.

Playfully referred to as Kosher Kolumns or the "news kibbutz," the Progressive Club was CNN's first headquarters.

By 1985, years after its June 1, 1980 launch, CNN had outgrown its original Techwood Drive hub, and Ted Turner acquired the Omni International complex in downtown Atlanta from Tom Cousins.

With Ted Turner acquiring this Omni complex, CNN incorporated its BCTV-inspired newsroom-as-set aesthetic on a larger scale.

Seven years after its June 1, 1980 launch, CNN officially completed its relocation to the former Omni complex, which became known as CNN Centre.

Mirroring his earlier feat of turning the Atlanta country club into the BCTV-inspired newsroom-as-set trend for CNN, Carl "Bunky" Helfrich turned the former Omni complex into CNN Centre.

By turning the Omni complex into CNN Centre, Ted Turner revived Atlanta's ailing downtown core.

During its first 6 years at CNN Centre, the colours of some elements being used in CNN's BCTV-style newsroom-as-set trend were red.

In 1993, the colours of some of the elements being used in CNN's newsroom set based on BCTV were changed from red to blue.

Just 11 years after its official move to the former Omni complex, CNN renovated its own set in October 1998, still incorporating its BCTV-inspired newsroom-as-set trend.

Rene Lagler supervised the scenic design for this renovated CNN newsroom-as-set trend, whilst Robert Dickinson did its lighting construction.

This October 1998 renovation of CNN's BCTV-inspired newsroom set design was the final pre-digital revolution of its aesthetic before LED-heavy studios came along in May 2010.

For Linden Soles, he bridged the gap between the two channels that shared the same newsroom-as-set trends: BCTV (under Tony Parsons) and CNN (under Tom Johnson).

Studio 7, introduced in May 2010, marked the end of CNN's long-standing signature newsroom-as-set aesthetic.

This setup for CNN's Studio 7 in Atlanta influenced its Washington studio in the early-2010's.

Clickspring Design designed Studio 7 for CNN.

By 2014, as production shifted to New York and Washington, CNN's real Studio 7 was dormant, and it utilized virtual backdrops before abandoning the use for daytime programs.

Jeff Zucker masterminded the brief reinstatement of the newsroom-as-set trends for CNN before Chris Licht removed them permanently.

During the early-to-mid-2020's, both CNN and HLN moved away from CNN Centre and went back to their origins at Techwood Drive.

In June 2025, The Source with Kaitlan Collins moved to Washington D.C. with the newsroom-as-set trend, reinstating CNN's iconic aesthetic.

From its launch in the early-1980's (which came 19 months after the original CNN started), to February 2005, CNN Headline News used a multi-monitor control room-like set.

In 1993, CNN Headline News introduced its constant SportsTicker, and 6 years later, in the late-1990's, CNN Headline News introduced a newsroom-as-set trend to facilitate four watches.

On August 6, 2001, a revamp for CNN Headline News came with an internet-inspired presentation.

Similarly, both BCTV (CHAN-TV) and CNN made obsolete their iconic and famous newsroom-as-set trends in 2010 after the late-2009 departures of both Tony Parsons and Lou Dobbs.

Lou Dobbs left CNN in November 2009, and Tony Parsons later left BCTV (CHAN-TV) in December 2009.

For CNN, its newsroom-as-set trend during its first 30 years on air, based on BCTV (conceived by Ray Peters and Cameron Bell under Tony Parsons), is the DNA for 24-hour television news.

This first CNN newsroom-as-set trend was based on BCTV, in turn, combining the regular WBBM-TV newsroom-as-set trend with Fred Harpman's futurist and cinematic WNBC-TV NewsCentre design.

Roone Arledge and Reese Schonfeld served as masterminds in bringing newsroom-as-set trends to the world through ABC News and CNN.

In 1981, after Dan Rather took over the anchor position, the studio set used by Walter Cronkite for the CBS Evening News at Studio 33 was revamped with a world map backdrop.

After moving 14 studios up from 33 in August 1986, the CBS Evening News set was revamped with a world map backdrop recoloured and a deeper blue background.

For the 1990 midterm elections, the CBS Evening News introduced the newsroom-as-set trend, which became permanent during the Gulf War and was revamped in 1996 by BDI.

Plus, the BDI-designed newsroom-as-set trend for the CBS Evening News was similar to CNN.

Upon its relocation to 299, CityPulse changed its format to a desk-less open working newsroom.

This desk-less CityPulse newsroom was based on the open-plan area for Today (NBC) from the RCA Exhibition Hall, in turn, the basis for CHUM-City's entire 299 Queen Street West headquarters.

Moses Znaimer developed the desk-less stand-up CityPulse newsroom-as-set formula for CityTV.

In 1993, to commemorate its own news crew, a retired Live Eye truck for CityPulse was added to 299's east wall, appearing as if it were going through the brick.

So successful was Moses Znaimer's informal CityPulse format for CityTV that it was utilized by many others all around the world, as well as its elements.

By late-March 1993, when the new Canadian Broadcasting Centre became fully operational, the CBC started using a newsroom-as-set trend for its English-language television assets.

Radio-Canada used the CNN-style newsroom-as-set trend from 2002 to the mid-2010's.

However, this newsroom-as-set trend was not new for Radio-Canada, as it was already being used from the mid-1980's to 1989, and in the mid-1990's until 1997.

Still in Quebec, TVA used the newsroom-as-set trend based on one for CNN (and in turn, BCTV) from the late-1980's to the early-2010's.

Ville-Marie, a borough in Montreal, was a testing ground for TVA's newsroom-as-set trend: Studio N.

In the early-2010's, TVA introduced a news studio set designed by AKA Creative.

CFCF used the newsroom-as-set trend from 1986 to the mid-1990's.

In South Florida, WSVN has two news studio sets, both built a few months before its 1989 switch: one with a control room backdrop, the other featuring the newsroom.

Not long after, WSVN began building the Newsplex project, bringing two of its 1989 sets together.

Using the CNN-style newsroom-as-set trend, based on BCTV, the WSVN Newsplex is one of the most influential news sets in the world.

Sister station WHDH began using the WSVN format in 1993.

For BCTV, its newsroom-as-set trend became so successful that other television stations across British Columbia began using this format.

CHEK-TV, a sister station to BCTV (CHAN-TV), used the newsroom-as-set trend from 1984 to 1997.

780 Kings Road was a testing ground for CHEK-TV's newsroom-as-set trend from 1984 to 1997.

However, the CHEK-TV newsroom-as-set trend from 1984 to 1997 never reached the similar theatrical scale to BCTV's at Enterprise Street, which is located in the Lake City Industrial Park.

Plus, CIVT and CKVU are Vancouver's independent stations that formerly used the CityTV format.

During its first years, VTV (CIVT) used the CityPulse formula that Moses Zniamer developed.

Baton's president and CEO Ivan Fecan was mentored by CityTV's Moses Znaimer, whose format was a new inspiration for the new Vancouver station in VTV (CIVT).

Monika Deol, who hosted music-themed programs on CityTV/MuchMusic, was also a news anchor for both CIVT and CKVU, bridging the two BC stations that shared the same CityPulse trend.

Initially, the New VI (CIVI) used the CityPulse formula until Hudson Mack from CHEK-TV came.

Under Hudson Mack, the New VI (CIVI) abandoned the informal CityPulse style and made changes to attract a broader audience, like adding a news anchor desk and a more traditional approach.

Since his arrival, Hudson Mack has revived the credibility and reputation of the New VI (CIVI).

CBUT has also used the newsroom-as-set trend since 2009.

Michaela Pereira also bridged the gap between the two television services that formerly shared the same newsroom-as-set trends: CHEK-TV and CNN.

The BCTV newsroom-as-set trend, however, serves as the gold standard for television news in British Columbia; it lasted until 2010, after Tony Parsons departed in December 2009.

With its purpose-built newsroom-as-set trend, BCTV was like Canada's CNN.

Still in the Pacific Northwest, but in the US portion, KING-TV, KIRO-TV and KOIN-TV all used the newsroom-as-set trends.

During its final years as the KING Newservice prior to its 1978 rebrand as KING 5 News, KING-TV utilized the newsroom-as-set trend.

In Calgary, CICT used the newsroom-as-set trend from the mid-1990's to the mid-noughties.

Meanwhile, in Atlantic Canada, stations such as Atlantic Television (ATV) and Maritimes Independent Television (MITV) used the newsroom-as-set trends.

For Live at 5, ATV revolutionzed television news in Atlantic Canada.

In the mid-1990's era or after 1993, Today (NBC) revived the Dave Garroway-era window on the world concept, but with a difference; it was built for the modern era as Studio 1A.

Jeremy Conway designed the set for Studio 1A in Today (NBC), spearheaded by Steve Friedman.

Meanwhile, by completing of the March 2013 move of its news operations from Television Centre to Broadcasting House, the BBC began using a newsroom-as-set trend.

However, the newsroom-as-set trend was not new for the BBC's news operation, since it was already utilized from the late-1980's until 1993 physically for the Nine O'Clock News.

Some of the complaints for the BBC's late-1980s attempt to do the newsroom-as-set trend for the Nine O'Clock News include flashing computer screens, walking news staff and ringing telephones.

Virtually, the newsroom backdrop was used for the domestic BBC News programs for four years since 1972, and again from the late-1990's to 2013.

During its initial years, ITN was based at Television House at Kingsway in London, which also housed Associated-Rediffusion's administrative headquarters and transmission facilities.

In 1969, ITN relocated to its new headquarters at 48 Wells Street in London's West End.

As for Associated-Rediffusion's successor Thames, it moved to its purpose-built studios and offices at Euston Road.

Upon its move to its new hub at 200 Grays Inn Road designed by Norman Foster, ITN used a working newsroom for its newscasts on ITV until the mid-1990's.

Whereas some news programs from ITN emanated from 200 Grays Inn Road, others like News at Ten (ITV) still emanated from ITN House, based at 48 Wells Street, for a period after its move.

Sky News had used the newsroom-as-set trend from its February 1989 debut to the late-2010's.

John O'Loan masterminded this newsroom-as-set trend for Sky News upon its 1989 launch.

In contrast to the complaints that the BBC had in using the newsroom-as-set trend for the Nine O'Clock News, John O'Loan's Sky News set was slicker, more professional and more polished.

Plus, Sky News used the American-style happy talk format.

October 24, 2005 was when the Sky News Centre, a newsroom-as-set trend that was designed by Jack Morton Worldwide and built by the Janson Design Group and PDG, was introduced.

The newsroom-as-trend for Sky News upon its 1989 launch was influenced by global broadcasters like CNN.

For Australia's three commercial television services, their news operations have enclosed and isolated studio sets comprising of a world map backdrop with a blue hue until the late-1990's.

In late-1985, National Nine News in Melbourne/Victoria broke from tradition with the newsroom-as-set trend, the first of its kind in Australia.

Similar to the newsroom-as-set trend that ABC World News Tonight used during its initial years in New York as its main hub, this trend for National Nine News in Melbourne/Victoria lasted until 1993.

National Nine News in Brisbane also began using the newsroom-as-set trend in the late-1980's.

In 1996, a revamped newsroom-as-set trend for National Nine News in Brisbane/Queensland was first utilized in celebration of its fortieth anniversary of the Nine Network.

The revamped 1996-era newsroom-as-set trend for National Nine News in Brisbane was based on the newsroom-as-set trend for the CBS Evening News that BDI designed, also since 1996.

With its move to Pyrmont, Ten News in Sydney began to use the CNN-style newsroom-as-set trend.

However, the newsroom-as-set trend was not new for Ten News in Sydney/New South Wales, as it was already being used in the late-1980's as the last one from North Ryde.

During Brisbane's World Expo, TVO/Brisbane Ten Eyewitness News used the newsroom-as-set trend, similar to the BCTV pavilion at Expo 86.

From the mid-noughties to the mid-2020's, Seven News in Sydney/New South Wales used a street-side studio at Martin Place, based on Studio 1A in Rockefeller Plaza used by Today (NBC).

Televisa began using the newsroom-as-set trend designed by BDI in the mid-noughties.

Based on CNN (and in turn, BCTV), Televisa's own newsroom-as-set trend was part of the newly-built expansion of its Chapultepec headquarters.

However, this newsroom-as-set trend was not new for Televisa, as it was already used, shortly after the April 1997 death of Emilio Azcarraga Milmo until 1998, for 24 Horas with Jacobo Zabludovsky.

Plus, Televisa's local stations, like XEWT and XHBC, use the newsroom-as-set trend.

Rival TV Azteca used the newsroom-as-set trend for some Hechos editions from the late-1990's to the noughties.

ECO, which is television's first all-news service in both Latin America and the Hispanic world, used a multi-monitor control room set similar to CNN Headline News.

Canal De Noticias NBC used a newsroom-as-set trend.

The WCNC-TV studios, which also housed the NBC News Channel, was a testing ground for Canal De Noticias NBC.

During the Carlos Menem presidency, newsroom-as-set trends were introduced to Argentina in a more modern and professional manner.

For example, Telenoche (Artear) used a studio set, which featured a multi-monitor control room as its primary backdrop, designed to have a working newsroom feel.

In Chile, from 1990 to 2002, 24 Horas (TVN) utilized a small-sized newsroom-as-set trend.

Also in Chile, Teletrece (UCTV) used the newsroom-as-set trend from the 1990's to the noughties.

However, the newsroom-as-set trend was not new for Teletrece (UCTV), as it was already used for its secondary editions (afternoons/late-nights) during the 1980's.

QAP broke from tradition by using a newsroom-as-set trend, the first of its kind in Colombia.

Based on one for CNN (and in turn, BCTV), the newsroom-as-set trend for QAP conveyed urgency and transparency that other newscasts in Colombia have not.

Since QAP, this newsroom-as-set trend has been used by Colombia's private television services, such as RCN, Caracol and CityTV, the latter being based on the original Toronto version.

Meanwhile, in Peru, Red Global used the Canal De Noticias NBC set, but through chroma key, and in 1997, a physical newsroom-as-set trend was used.

From the early-1990's to 2017, Uruguay's Canal 4 used the newsroom-as-set trend known as the Centro Monte Carlo de Noticias, translated into English as the Monte Carlo News Centre.

The Centro Monte Carlo De Noticias was based on one for CNN, and in turn, BCTV.

Also in Uruguay, Teledoce utilized newsroom-as-set trends, including the one being based upon CNN International from the late-1990's to the mid-2010's.

Meanwhile, the Portuguese-language answer to Mexico's Televisa, run by Silvio Santos, pioneered the working newsroom-as-set trend in the late-1980's.

For the newsroom studio set used by the Portuguese-language answer to Televisa, which Silvio Santos owned, it was based on ABC News' Washington hub, with the Walter Cronkite-era news desk.

Boris Casoy, who used to work at a newspaper in Latin America's largest nation, established the news concept that was inspired by the North American television news model.

As the main news anchor on Silvio Santos' network, Boris Casoy not only did the news, but also used commentary in a direct and often sharp manner.

Earlier on, a national television channel, owned by Jewish businessman Adolpho Bloch, pioneered the physical news studio set featuring a multi-monitor control room as its main backdrop.

The multi-monitor control room set used for Adolpho Bloch's television network was the first in Latin America's largest nation to have a working newsroom feel, made à la CNN.

Oscar Niemayer's modern structure served as the testing ground for this working newsroom feel, which Adolpho Bloch's own television network had pioneered.

Vila Guilherme was the testing ground for the newsroom-as-set trend that Silvio Santos' own television network had pioneered.

Incidentally, the two national television networks arose from the first television network in both South America and the Potuguese-speaking world.

Silvio Santos' other former television channel, which is known as Record, utilized the newsroom-as-set trend from the mid-noughties to the late-2010's.

The Record Theatre served as the testing ground for Record's own newsroom-as-set trend, which began under Boris Casoy (who also used this trend based on ABC), but was also based on CNN.

However, this newsroom-as-set trend was not new for Record (which Silvio Santos once ran), as it was already used in its first years as a national service during the first half of the 1990's.

Band also used this newsroom-as-set trend at the turn of the 21st century until 2005, and again from the late-noughties to the mid-2020's.

Roberto Marinho's television service also used the newsroom-as-set trend, initially for its afternoon and late-night newscasts since the late-1990's, and then its flagshup one at the turn of the 21st century.

TROS Aktua (formerly Aktua-TV) used a newsroom-as-set trend, which was one of the first to do so in Europe, upon its debut in 1974 until 1985.

VTM used newsroom-as-set trends, including one designed by BDI from 1996 to the mid-noughties. 

Until 1984, both Tagesschau (ARD) and Heute (ZDF) held a national duopoly on the German television news landscape.

Sat.1 and RTL, both being the first national private television channels in Germany, countered this news formula of both ARD and ZDF with their dynamic, American-style news aesthetics.

For Sat.1, its own launch on January 1, 1984 (New Year's Day 1984) resulted in the introeduction of the newsroom-as-set trend to the DACH region.

ORF and SF DRS followed in the Sat.1 footsteps by adopting this trend, first in 1984 and then in 1985.

ProSieben used the physical newsroom-as-set trend, which was based on WSVN (and in turn, CNN and BCTV), for three years since 1996.

N24 (now Welt) has used the physical newsroom-as-set trend since the mid-noughties

In August 1986, Aktuellt (SVT) began to use the newsroom as a backdrop, but on a temporary basis.

The newsroom-as-set trend for Aktuellt (SVT) became a permanent one with the launch of ABC, which served as a regional newscast covering Stockholm and Uppsala.

For Aktuellt (SVT), the permanent newsroom-as-set trend setup lasted until September 2001.

Nyhetshuset was a testing ground for the newsroom-as-set trend for Aktuellt (SVT).

During its first 17 years, TV4 (Sweden) had used the CNN-style newsroom-as-set trend.

Storangsbotten, located in Stockholm, housed a television studio, which doubled as a testing ground for the CNN-style newsroom-as-set trend for TV4 from September 1990 to May 1996.

On the other hand, MTV3 (Finland) used the physical CNN-style newsroom-as-set trend, which lasted from 1990 to the late-2010's.

The use of this newsroom-as-set trend for MTV3 (which was similar to one for CNN) started with the imminent launch of its 7 p.m. newscast in 1990.

Pollolaakso, located in Ilmala in Helsinki, near its railway station, served as the testing ground for the CNN-style newsroom-as-set trend for MTV3.

MTV3's newsroom-as-set trend was modernized in 2001 for its 20th year since its 1981 launch.

Rediffusion (Hong Kong) was a pioneering broadcaster, and used a newsroom-as-set trend, styled after American networks (specifically ABC), the first in East Asia.

In the mid-1980's era, NHK General TV began using the newsroom-as-set trend for News Centre 9, the first of its kind in Japan, which lasted until its demise in the late-1980's.

This newsroom-as-set trend for NHK's NC9 program was styled after American networks.

During this period, Taro Kimura, born in the United States, and Midori Miyazaki, who formerly did the weather forecasts for this program, anchored NC9 from the newsroom.

Meanwhile, in 1985, All-Nippon News Network (ANN) began using the newsroom-as-set trend, which was based on one for CNN (and in turn, BCTV).

The Ark Broadcasting Centre, to which ANN moved in 1985, was the testing ground for this innovative newsroom-as-set trend within Japan's commercial television sector.

Even with its move to Roppongi Hills, ANN still used the CNN-style newsroom-as-set trend.

Whereas NHK was a pioneer in using the newsroom-as-set trend for News Centre 9, TV Asahi's News Station did the same, but within the commercial television sector.

News Station's launch stemmed from Japan Cable Television, which TV Asahi partly owned, striking a deal with CNN, back in the early-1980's.

JCTV's deal with CNN led to the latter's official introduction to Japan in 1984.

In 1998, a year after its relocation to Odaiba in March 1997, Fuji News Network (FNN) started to use a CNN-style newsroom-as-set trend, lasting until 2013.

Kenzo Tange's ultra-modern building was the testing ground for the FNN newsroom-as-set trend.

Meanwhile, Nippon News Network (NNN) used the CNN-style newsroom-as-set trend, not simply for Plus 1 in its last years, but also for its Real Time program in its first years.

NHK Japan-World opened its headquarters in New York in spring 2021, utilizing the newsroom-as-set trend that Provost Design had created.

December 1, 1980 was when colour television was introduced to South Korea, with full-time national colour services launching on January 1, 1981.

Using NTSC colour, South Korea's television industry had made many improvements.

In the early-to-mid-1980's era, KBS' television services pioneered Western-like aesthetics, including the newsroom-as-set trend and the working newsroom feel, the first of any kind in South Korea.

July 1984 was when KBS adopted its CNN-style newsroom-as-set trend for its flagship 9 p.m. newscast that lasted until the turn of the 21st century.

The brief interruption of the KBS newsroom-as-set trend was from January 1997 to May 1998.

Meanwhile, MBC adopted the newsroom-as-set rend, based on one for the CBS Evening News, which BDI designed in 1996; it lasted during the first half of the noughties.

SBS also used the CNN-style newsroom-as-set trend (with a rotating news desk) for its main newscast from the mid-noughties to the early-2010's.

However, this newsroom-as-set trend was not new for SBS, as it was already used for its main 8 p.m. newscast upon its debut in the early-1990's, like KBS.

With Taiwan's martial law being lifted, TTV began using the newsroom-as-set trend in 1989.

Just as Rediffusion (Hong Kong) was the first television channel in East Asia and the Chinese world to utilize the newsroom-as-set trend, TTV was the first in Taiwan to do so.

Li Ka-shing and his company Hutchison Whampoa, in partnership with his son Richard Li, co-founded Star TV in the early-1990's era.

While Li Ka-shing backed Star TV, Richard Li was the driving force behind this venture

Using AsiaSat 1, partly-owned by Hutchison Whampoa, Star TV provided programming in the English language to Asia.

Hong Kong, a former British territory, served as a testing ground for Star TV.

Rupert Murdoch acquired Star TV from Li Ka-shing, Hutchison Whampoa and Richard Li, in 1993.

Star TV used Western-made broadcast technology, infrastructure and expertise not previously used in a media landscape in some Asian regions dominated by state-run media.

Before Star TV, television assets in some Asian regions used isolated and enclosed news sets.

Spurred by Star TV, television assets in some Asian regions have started to use newsroom-as-set trends based upon CNN.

Phoenix, in which Star TV (under Rupert Murdoch's News Corporation empire) owned a stake from its 1996 inception to 2013, introduced the CNN-style newsroom-as-set trend to mainland China.

iTV, which was the first television service to be operated independently on the UHF band in Thailand, broke from tradition by adopting the CNN-style newsroom-as-set trend upon its 1996 launch.

Led by former US ambassadors Ronald Lauder and Mark Palmer, CME has been a pioneer in bringing Western-influenced (Western European and American) media principles to the Eastern Bloc.

For CME, it facilitates the Eastern Bloc's television modernization by mixing Western-style television presentation (specifically American and Hollywood) with local Eastern content.

Plus, CME exports Western management and marketing strategies to the Eastern Bloc.

Since 2020, CME has been run by the PFF Group, a multinational investment group founded by Czech businessman Petr Kellner, breaking from its American ties.

Initially based in London, MBC has been a pioneer in bringing Western-style (Western European and American) media principles to the Arab world.

MBC facilitates the modernization of television in the Arab world by mixing Western-style television presentation (specifically American and Hollywood) with local Arab content, similar to CME.

Plus, like CME, MBC exports Western management and marketing strategies to the Arab world.

Waleed bin Ibrahim Al Ibrahim, an American-educated Saudi businessman, ran MBC as the television service of his ARAvision group.

London, known for its liberal and independent media environment, was MBC's first base.

Both CME and MBC are pioneers in bringing Western media principles to the two emerging markets in Eurasia, turning them into pluralistic, commercially-driven media economies.

Sam Barnett, who worked at MBC Group from 2002 to 2025 (14 as its CEO), also works at CME.

For Sam Barnett, he bridges both the CME and MBC companies, which, from their early period in the 1990's, facilitated television's modernization in both the Eastern Bloc and the Arab world.

During the Cold War, television in Eastern Europe was staid.

With the television channels held by CME, television in Eastern Europe was modernized by adopting newsroom-as-set trends based on CNN.

Just before CNN's innovative coverage of the first Gulf War, television channels across the Arab world have used isolated and enclosed news studio sets.

Spurred by CNN's Gulf War coverage, private Arabic TV channels use CNN-like newsroom studios.

London, which served as the primary base for MBC until 2002, was a testing ground for Western-made broadcast technology, infrastructure and expertise previously unused in the Arab world.

Dubai Media City was MBC's second base from 2002 to 2022, with Saudi Arabia as its third base.

For most of its run at Dubai Media City, MBC used the CNN-style newsroom-as-set trend.

Al-Arabiya, which is MBC's sister channel, also used the similar CNN-style newsroom-as-set trend as MBC from its launch around the Iraqi War until 2020.

Clickspring Design renovated MBC's CNN-style newsroom-as-set trend at Dubai Media City in 2017, which blended Islamic-inspired design elements with modern technology.

Meanwhile, Clickspring Design made Al-Arabiya's studio in 2020.

This newsroom-as-set trend was not new for MBC, however, as it was already being used, while at its London studios, starting in the mid-1990's.

Besides, Al-Jazeera, in its original Arabic iteration, used newsroom-as-set trends for news updates; its main studio was isolated.

During the mid-2010's, Al-Jazeera's original version began using the newsroom as its main backdrop at Studio 5; Veech x Veech designed this one for Al-Jazeera's original version.

For its 25th anniversary, in 2021, Al-Jazeera's Studio 5 was renovated by Clickspring Design.

In its English-language version, Al-Jazeera has consistently used the newsroom-as-set trend from its primary Doha headquarters since its launch.

BBC Arabic Television used the newsroom-as-set trend physically from 2008 to 2013.

Sky News Arabia, like its original British version, has used the newsroom-as-set trend for most of the 2010's decade, which BDA designed.

The Abu Dhabi Media Centre, based at twofour54, was a testing ground for Sky News Arabia.

Dubai Media Inc. had its own Dubai News Centre at Dubai Media City, which BDI designed.

For the Dubai News Centre at Dubai Media City, it is one of the most sophisticated newsrooms in the Middle East, based on one for CNN.

Abu Dhabi TV used a newsroom-as-set trend being designed by British-based Shaun Moore Design during the mid-noughties.

Meanwhile, in Lebanon, Future News and Murr Television (MTV) used CNN-style newsroom-as-set trends, both starting in the late-noughties.

During its initial years, Vesti on RTR/Russia-1 came from the Ostankino Technical Centre, featuring an enclosed and isolated studio set with a world map backdrop.

However, Ostankino suffered damage, which meant that Vesti (Russia-1) came from a makeshift studio with a plain backdrop, during the 1993 events.

Even after the 1993 events, and even with a new look, featuring its high-end opening sequence and its different backdrop, Vesti on RTR/Russia-1 still came from Ostankino.

Some months after the 1993 events, Vesti (Russia-1) moved from Ostankino to a different location.

At Yamskoye Pole, Vesti (Russia-1) had a newsroom-as-set trend, the first of its kind in Russia.

In joint cooperation with the Dutch, this newsroom-as-set trend for Vesti (Russia-1) demonstrated a worldwide influence on its design.

Based on one for CNN, and in turn, BCTV, this newsroom-as-set trend for Vesti (Russia-1) conveyed urgency and transparency that other newscasts in post-Soviet Russia have not.

Tele-Scena remodeled the Vesti newsroom-as-set trend a year after its 2002 rebrand.

Khreshchatyk Street, based in central Kyiv, once housed a radio and television studio during the Soviet period from the early-1950's to the early-1990's, when public television moved to the Pencil.

During its post-Soviet era, the Pencil housed public television in the Ukraine (with Khreshchatyk as its secondary hub).

March 9, 1996, which was the birthday of Taras Shevenchenko and the day after International Women's Day, was when a fire broke out at a radio and television studio at Khreshchatyk.

In late-2021, even before the break-out of the Russo-Ukrainian war in February 2022, Suspilne revived and modernized Khreshchatyk by introducing a modern newsroom-as-set trend.

This newsroom-as-set trend being developed for Suspilne at Khreshchatyk Street (influenced by global broadcasters like CNN) is called NewsHouse 2.0.

Housing the main television studio for NewsHouse 2.0 for Suspilne at Khreshchatyk is a glass cube.

Designing NewsHouse 2.0 for Suspilne at Khreshchatyk was a design team led by Slava Balbek.

With NewsHouse 2.0, Suspilne became the Ukraine's main source for accurate and unbiased news and information during the Russo-Ukrainian war.

NewsHouse 2.0, developed for Suspilne, serves as a collaboration between partners, like BBC Media Action and DW Akademie with funding from the European Union.

Having started at the dawn of the nation's post-communist and democratic era, Panorama (TVP2) had utilized the newsroom-as-set trend, the first of its kind in Poland, but via chroma key.

Not long after, Wiadomosci (TVP1) used the newsroom-as-set trend on a physical level.

Earlier on, Teleexpress used a multi-monitor control room set, emphasizing its fast-paced approach.

Fakty (TVN) has used a newsroom-as-set trend from its 1997 inception to the early-2010's.

RCTI, as Indonesia's first private television channel, countered TVRI's state-run news formula with its dynamic, American-style news aesthetic.

Some elements shaping RCTI's American-influenced news style included a news set, which featured a multi-monitor control room backdrop, plus live reports, dynamic graphics and modern music.

Having lasted from late-August 1993 to around 2005, the RCTI news set, with a multi-monitor control room backdrop, was the first in Indonesia to have a working newsroom feel, made à la CNN.

Kebon Jeruk was a testing ground for this working newsroom feel, which RCTI had pioneered.

Initially, Seputar Indonesia used a studio set with a blue backdrop and the name, whilst Buletin Malam used a skyline backdrop via chroma key.

The late-August 1993 revamp led to the launch of the multi-monitor control room news set for RCTI.

What shaped RCTI's American-influenced approach as a counterweight to TVRI was the strategy being honed by Pete Langlois, who, for 11 years, was the news director at KCRA-TV.

SCTV, with its 2008 move to the SCTV Tower, located in the Senayan City complex, started using the newsroom-as-set trend on a larger physical level.

For NET. (Indonesia), its newsroom-as-set trend was consistent during the mid-to-late-2010's.

This CNN-style newsroom-as-set trend for NET. (Indonesia) was designed by BDI.

Before RCTI and other private channels, TVRI had used enclosed and isolated news studio sets, with a world map backdrop as a authoritative symbol, either via chroma key or physically.

Not until the post-1998 reform period did Indonesian television, including TVRI, undertake significant restructuring towards true editorial independence.

On December 14, 2017, VTC broke from tradition by introducing a real and physical newsroom-as-set trend, which was the first of its kind in Vietnam.

Many Vietnamese television services, like VTV, have utilized traditional and enclosed news sets, either physical or virtual, for years.

This physical VTC newsroom set, inspired by global news broadcasters, like CNN and the BBC, lasted from December 2017 until the January 2025 shutdown of its digital television services.

Whether on ABC Sports, ABC News, CNN, ESPN or many other TV channels all over the world, the innovations by Roone Arledge take news and sports to a cinematic level.

News music features the rhythm of a teletype machine or Morse code, together with two of the loudest instrumental groups in the Western orchestra: brass and percussion.

During the 20th century, teletypes and Morse code are major methods being used to transmit news and information, especially in newsrooms before computers and telephones become widespread.

The Tar Sequence, an orchestral cue from the movie Cool Hand Luke by Lalo Schifrin, is one of them having a second life as a news theme completely eclipsing its original purpose.

For Cool Hand Luke: The Tar Sequence, what makes it a fitting music cue for newscasts, in particular television news, is a staccato rhythm resembling the teletype.

During the era prior to Cool Hand Luke: The Tar Sequence, television news music frequently sounded ceremonial, specifically fanfares and marches.

Plus, the teletype and Morse code were simple news sounders with no music to play in.

Cool Hand Luke: The Tar Sequence combines cinematic orchestral elements, notably Aaron Copland's influence, with the teletype sound and the modern jazz/pop influences by Lalo Schifrin.

In order to make its sound fitting for newscasts, Al Primo selected and edited Cool Hand Luke: The Tar Sequence as the theme tune for Eyewitness News, removing its non-news elements.

The Cool Hand Luke: The Tar Sequence elements are adopted/adapted in modern news themes.

Many television stations in the United States and the world have either used Cool Hand Luke: The Tar Sequence or made their own news music packages mirroring its modern cinematic sound.

Plus, Cool Hand Luke: The Tar Sequence is more famous as a news theme than the film.

With apologies to one of Aesop's Fables, just prior to the edited Cool Hand Luke: The Tar Sequence cue composed by Lalo Schifrin, television news music was a slow-paced tortoise.

Likewise, just before Cool Hand Luke: The Tar Sequence, with apologies to Cinderella, television news music was a banished and isolated servant.

However, with apologies to Cinderella, Cool Hand Luke: The Tar Sequence is a Fairy Godmother that turned television news music into a high-energy cinematic princess.

In addition, with apologies to Cinderella, Cool Hand Luke: The Tar Sequence is a glass slipper by this television news music princess wearing a ball gown to marry the charming pop and jazz princes.

Besides, with apologies to one of Aesop's Fables, Cool Hand Luke: The Tar Sequence made the news music tortoise catch up to (and win over) the fast-paced modern orchestral hare.

Frank Gari updated Cool Hand Luke: The Tar Sequence into News Series 2000.

Whereas previous news music packages created by Frank Gari featured vocal-driven campaigns, News Series 2000 broke from tradition with its continuously instrumental style.

News Series 2000 updated this CHL motif made by Lalo Schifrin with contemporary orchestration and solidified Lalo Schifrin's CHL motif as a news music package.

The 1990's version of the NS2000 package by Frank Gari was News Series 2000 Plus.

Eyewitness News, which Frank Gari made after Lalo Schifrin raised the royalties, is also iconic.

For the WABC-TV version of Eyewitness News Series 1, Frank Gari created a news package without a teletype sound.

KABC-TV's Eyewitness News Series 1 version by Frank Gari featured a teletype sound based on CHL.

De Wolfe Music (or Music De Wolfe) has been a stock music pioneer since its 1909 inception.

In the late-1920's, with talkies being born, De Wolfe Music started to use recorded music cues, giving birth to modern stock music.

For the rest of the 1950's, the weekday London ITV franchise Associated-Rediffusion purchased Keith Prowse Music Publishing and Peter Maurice Music, forming Keith-Prowse-Maurice (KPM).

With commercial television having arrived through both ITV and Associated-Rediffusion, stock music became an integral and a crucial component of television music.

In 1966, KPM pioneered a modern, often instrumental, stock music sound with its 1000 Series.

The KPM 1000 Series is a juxtaposition of the traditional genres, such as orchestral and jazz, with more modern ones, like pop, rhythm & blues, soul, rock and electronica.

KPM also shifted from 10-inch 78 rpm shellac discs into 12-inch 33 rpm LPs with its 1000 Series.

78 rpm shellac discs use faster playback speed, whereas 33 rpm LPs have slower speed and finer, more densely packed microgrooves, giving music a more storage space.

Robin Phillips is the mastermind of the KPM 1000 Series.

Adrian Kerridge, a veteran engineer in the pop and rock music scenes, is also an engineer of the KPM 1000 Series, under whom it has a crisp sound.

For the KPM 1000 Series, both Robin Phillips and Adrian Kerridge enlisted individual musicians and composets from pop, jazz and rock to create a fresh, dynamic sound for film and television.

Green is the main colour of the album covers of the KPM 1000 Series, which both Robin Phillips and Adrian Kerridge have envisioned.

Nicknamed Greensleeves, the KPM 1000 Series forever changed stock music (and music overall).

Since the 1960's, stock music labels have used a modern and contemporary sound, pioneered by both Robin Phillips and Adrian Kerridge.

KPM/EMI and De Wolfe are noted labels with the modern Robin Phillips/Adrian Kerridge sound.

With apologies to Cinderella, just before the KPM 1000 Series, which both Robin Phillips and Adrian Kerridge have envisioned, the stock music scene was a banished and isolated servant.

However, the KPM 1000 Series, which both Robin Phillips and Adrian Kerridge have made, is a Fairy Godmother that turned stock music into a princess in a hi-fi and crisp modern pop sound.

Besides, with apologies to Cinderella, the KPM 1000 Series is a glass slipper being fitted by this stock music princess wearing a ball gown to marry the charming pop/rock/jazz music princes. 

Plus, with apologies to the Cinderella fairy tale, the KPM 1000 Series transformed stock music from a vintage pumpkin into a modern-sounding carriage.

Likewise, with apologies to Cinderella, the stroke of midnight marked the magical demise of this staid stock music sound, with new ones coming in.

Wardour Street had been De Wolfe's longtime headquarters until its relocation to Shropshire House on Capper Street in the late-1990's.

Denmark Street, located near Wardour Street where De Wolfe was located, had also been the longtime headquarters for KPM/EMI until its move to Charing Cross the late-1980's.

Soho bridges both Wardour Street and Denmark Street, where De Wolfe and KPM/EMI were based.

Until its relocation to Queens House at Tottenham Court Road in the late-2010's, De Wolfe's primary location was Shropshire House on Capper Street.

Sonoton is a company that brings stock music to Germany and endures innovations in this field.

Gerhard Narholz, an Austrian film and television composer and a pop songwriter, is the driving force behind Sonoton and its innovations.

In 1969, Sonoton struck a deal with Berry Music, exposing its catalogue to a global audience.

With Berry Music being purchased in 1973 by KPM/EMI, which was led by Robin Phillips, Sonoton underwent its further worldwide expansion, also marking the birth of its own record label.

The underscore is one of the stock music trends created by Sonoton.

Network Music, FirstCom and Killer Tracks are stock music labels from radio jingle makers.

The Network Music/FirstCom/Killer Tracks trio revolutionized the stock music scene by adapting the dynamic and high-energy sensibilities being created by radio jingles.

KPM/EMI (and the Robin Phillips/Adrian Kerridge duo) pioneered a modern sound, but the Network Music/FirstCom/Killer Tracks trio (rooted in radio jingles) changed stock music.

For this Network Music/FirstCom/Killer Tracks trio, their innovations in the stock music business are being rooted in business models, technology and production standards.

Craig Palmer is the principal composer of the Network Music Ensemble, indeed its catalogue.

For Network Music, it pioneered the buyout music format, but also elements, like alt-mixes, stings and 30/60-second cutdowns.

Meanwhile, FirstCom is one of the first stock music labels to release albums on CDs.

Likewise, Killer Tracks pushed stock music into the digital CD era.

All in all, the commercial model by the Network Music/FirstCom/Killer Tracks trio was such a success that it laid the groundwork for massive consolidation by major record labels.

Stock music largely used traditional music, notably orchestral and jazz, before the KPM 1000 Series.

From the mid-1960's to the early-1980's, some of the typical styles being used in the stock music scene included top forty fare à la funk, laid-back fare à la Henry Mancini and electronica.

In addition to specially-composed tunes, stock music composers also made soundalikes of the top forty songs à la funk and Hollywood-like film scores used in low-budget films and television.

The Awakening, composed for the KPM label by Johnny Pearson, is a stock music cue notably used for News at Ten (ITV) and, since the mid-1990's, other ITN newscasts.

By employing a brass and string section, snare drums and orchestral percussion, Johnny Pearson's The Awakening piece, made for KPM, creates a powerful and serious mood for newscasts.

Famously, the Big Ben chimes is heard to punctuate the headlines for News at Ten (ITV) and others.

Non-Stop, composed by John Malcolm, is a stock music cue used for news.

Initially made as a piano piece as a teenager, John Malcolm's Non-Stop composition was accepted by Francis, Day and Hunter and made in an orchestral arrangement by Ivor Slaney.

With Ivor Slaney's orchestral arrangement being conducted by Georges Devereaux, and performed by L'Orchestre Devereaux, John Malcolm's Non-Stop was by ITN from the 1950's to the 1980's.

Belgium and Switzerland are nations where John Malcolm's Non-Stop cue was reportedly recorded.

John Malcolm's Non-Stop piece, notably used by ITN, has its fast-paced, cheery and upbeat sound that provides a stylistic contrast to the somber, formal tone of the BBC's news music sound.

From its 1950's debut to the 1960's, Non-Stop was the standard theme for all ITN newscasts.

In the late-1960's, Johnny Pearson's more dramatic The Awakening cue meant that Non-Stop by John Malcolm was limited to shorter and weekend newscasts for ITN.

However, the Falklands War led to John Malcolm's Non-Stop being unused as a main ITN theme.

Removing Non-Stop, in the wake of the Falklands War, meant that all ITN news themes have a more serious tone.

Fast Action, composed for De Wolfe, is a stock music cue being used for news.

What makes Fast Action, composed for De Wolfe, a fitting cue for newscasts is its dynamic and urgent sound being punctuated by brass and strings, plus rock-style drums.

Barry Stoller (Hugh Cortley) and Harold Geller (Muso Silvio) wrote Fast Action for De Wolfe.

Prestige Theme 1, written for KPM by Keith Mansfield, is a stock music cue being used for news.

What makes Keith Mansfield's Prestige Theme 1 piece, made for KPM, a fitting one for news is that it features a teletype melody.

Score Productions, based in New York and founded by Bob Israel, has been responsible for the music packages being made for both ABC News and ABC Sports under Roone Arledge.

Edd Kalehoff, who is a freelancer at Score Productions, is the go-to man for ABC music.

VideoHelper, a music company co-led by former ABC News promo producer Stewart Winter, likewise creates music for ABC News.

Joseph Saba, who was a major label artist, usually works with Stewart Winter at VideoHelper.

DreamArtists Studios, founded by Matthew Kajcienski, is also responsible for the ABC News music.

From its July 10, 1978 debut to March 1980, World News Tonight had a teletype theme tune, made for ABC News by Score Productions, innovative for Moog synthesizers on network television.

Later, an orchestral incarnation of the Moog-based teletype theme tune, made for ABC News by Score Productions, was used for World News Tonight until 1990.

A remixed incarnation of the orchestral version of the Moog-based teletype theme tune, made for ABC News by Score Productions, was used from 1990 to 1996.

Edd Kalehoff created his own World News Tonight theme tune in 1996, and revived the 1978 theme in January 1998, at the turn of the 21st century until the early-2010's and in 2020 in three remixes.

The 4-note fanfare, created for World News Tonight by Score Productions, has been rearranged and reintroduced, becoming a sonic signature for ABC News.

VideoHelper and DreamArtists Music also created other themes for ABC News.

Score Productions also did music for the Satellite News Channel, which ABC co-owned.

The Mission is a music package for NBC News.

John Williams, an iconic and world-famous film score composer, is the composer for The Mission (for NBC News).

Hollywood-like orchestral music is the basis for John Williams' The Mission (for NBC News).

Recorded with an 80-piece orchestra, The Mission (for NBC News) changed the news music sound by moving towards fully-orchestral cinematic Hollywood film music.

CBS News, in response to the popularity of The Mission (used for NBC News), commissioned a more modern and orchestral theme by John Trivers, Elizabeth Meyers and Alan Pasqua.

Recorded with a full orchestra at a 20th Century-Fox soundstage, the modern-sounding theme by John Trivers, Elizabeth Meyers and Alan Pasqua has put music on the map of the CBS Evening News.

During the periods in which Douglas Edwards, Walter Cronkite and Dan Rather were the anchors of the CBS Evening News, no music was heard in its opening and ending sequences.

In fact, the sound heard on the CBS Evening News in its opening and ending sequences, during the eras when Douglas Edwards and Walter Cronkite ruled the airwaves, was the teletype.

Walter Levinsky (Score Productions) created a teletype-like cue being used for the bumpers of the CBS Evening News (and its long ending credit sequences) during the 1980's.

The theme that John Trivers, Elizabeth Meyers and Alan Pasqua composed for the CBS Evening News featured an Americana sound à la Aaron Copland's Fanfare for the Common Man.

Rick Patterson, Ron Walz and Neal Fox created the second actual orchestral theme of the CBS Evening News, incorporating the signature melody by John Trivers, Elizabeth Meyers and Alan Pasqua.

Plus, this CBS Evening News music package by Patterson, Walz and Fox Music Productions featured a section featuring a teletype melody, which is used for the opening headlines.

From 1989 to 1997, Edd Kalehoff's CBS News Special Report theme, which incorporated the signature CBS Evening News theme by John Trivers, Elizabeth Meyers and Alan Pasqua, was used.

James Horner, who, like John Williams, was a famous film composer, did the music for Katie Couric's debut on the CBS Evening News, in collaboration with Joel Beckerman.

Like The Mission (by John Williams for NBC), James Horner's music for the CBS Evening News was orchestral.

Industrial Power, written for Bruton by Johnny Pearson, is a stock music cue being used for news.

Similar to Keith Mansfield's Prestige Theme 1 piece for KPM, what makes Johnny Pearson's Industrial Power piece, made for Bruton, a fitting one for news is that it uses a teletype melody.

Talking Heads and Time Factor, both of which were composed for the De Wolfe label in 1989 by John Mealing, are some stock music cues notably used for news.

Fool's Overture by Supertramp is one of the pop music tunes also being used through current affairs programs.

CTV's W5 notably used a synth-heavy instrumental portion of Fool's Overture by Supertramp.

Dancing in the Stars by Mannheim Steamroller is likewise a pop music piece also being used through newscasts.

What makes Mannheim Steamroller's Dancing in the Stars a fitting music cue for television news is a combination of pop and orchestral elements.

The Fuzz, a music cue from the 1960's film The Happening by Frank De Vol, is a cue used specifically through newscasts.

Known for its surf-rock sound, The Happening: The Fuzz is notably a news theme in Latin America.

Xcept One by Michael Hoenig was used by RCTI for its newscasts from 1990 to 2005.

For RCTI, the Xcept One piece by Michael Hoenig uses a modern cinematic sound, which provides a stylistic contrast to the more somber, formal tone of the news music sound that TVRI used.

In 1993, as RCTI began official national broadcasts, Michael Hoenig's Xcept One was rearranged.

RCTI's morning news used its version of the Michael Hoenig cue Xcept One, with a similar style to its original; its afternoon,flagship and late-night news has a faster pace.

The title track from The Electric Horseman, an orchestral music cue by Dave Grusin, is used through newscasts and current affairs programs worldwide.

Mixing orchestral elements with disco, the title track from The Electric Horseman has a dramatic and sweeping sound.

The trend of having music being sourced from films as news themes was Al Primo's innovation, which effectively took news music to a cinematic level.

Many modern news music packages incorporate music techniques frequently utilized in film scores to enhance the emotional impact and storytelling of the news.

Gari Communications, as well as a Nashville jingle company (with its area code) and Stephen Arnold Music, famously used a synth timpani sound in the 1990's.

Plus, Gari (along with a Nashville jingle company with its area code and Stephen Arnold Music) used samplers/synths, like those from E-mu, Roland and Kurzweil, to make orchestral news themes.

Samplers/synths give composers like Frank Gari, Randy Wachtler and Stephen Arnold a chance to mix traditional orchestral elements with modern electronic precision to create sonic news brands.

Frank Gari mixes live orchestral recordings with synthetic layers as a news music pioneer.

Randy Wachtler revolutionized news music by combining traditional brass and strings with rhythmic electronic pulsing and percussion 

Stock music, also known as production music or library music, is recorded music licensed for use in various media forms, including (but not limited to) film, television and radio.

The main engines of the global stock music market are the United Kingdom and the United States.

Britain has endured significant influence for stock music, with the US as a dominant force.

Ever since the late-1920's advent of talkies, many stock music labels have used recorded music from different eras and genres.

For the corporate/industrial genre, especially in news and current affairs, stock music incorporates the sounds of technology like the teletype or Morse code.

Plus, the corporate/industrial genre in stock music uses a modern and cinematic orchestral feel, which combines grand orchestral arrangements with industrial and corporate settings in a modern age.

In compact discs, stock music albums provide many advantages, including improved audio quality and durability, compared to previous formats, like vinyl, LPs and magnetic tapes.

Plus, stock music pieces are edited to fit broadcast needs.

Labels in the stock music scene provide various versions of tracks (e.g. 60-second, 30-second, stingers, instrumentals) to help editors integrate the music into their projects efficiently.

Common edits in stock music include trimming, looping, reorchestration and fade-ins/fade-outs.

NFL Films is the film and television production company of the National Football League.

Initially known as Blair Motion Pictures, NFL Films has revolutionized the sports filming world.

Ed Sabol and his son Steve Sabol are the NFL Films figureheads, both of whom make this company a success story.

John Facenda is the first narrator for NFL Films until his 1984 death.

Sam Spence is the primary music composer for NFL Films from 1966 to 1990, having crafted his epic Hollywood-like music scores.

Together, Ed Sabol, Steve Sabol, John Facenda and Sam Spence create the NFL Films hallmarks.

Munich, Germany is the adopted base for Sam Spence and his music work with NFL Films.

During the era prior to NFL Films, sports television music frequently sounded ceremonial, specifically fanfares and marches.

Under Sam Spence's influence, NFL Films used cinematic Hollywood-like orchestral music.

In his NFL Films music work, Sam Spence's influence derives from many world-famous Hollywood music composers, like Miklos Rozsa and Dimitri Tiomkin.

Having been the music director for NFL Films from the late-1960's to 1984, Phillip Spieller selected music for (and mixed) many sports films during his career.

Phillip Spieller made up a process in which he blended music cues composed by NFL Films' in-house composers, like Sam Spence, with prerecorded tracks from stock music labels.

Due to Phillip Spieller's process, NFL Films uses its cinematic Hollywood-like orchestral sound.

Noted NFL Films innovations include slow-motion shots, edited montages, close-ups and game sound synchronization, plus many others, all set to dramatic orchestral music.

Ferdinand J. Smith is the composer of the music cue being made for the HBO in Space sequence.

Cinematic Hollywood orchestral music is the basis for Ferdinand J. Smith's HBO in Space cue.

Recorded with a 65-piece orchestra, this HBO in Space cue, which Ferdinand J. Smith composed, was being done by Score Productions, led by Robert A. Israel.

The iconic and famous HBO in Space piece, composed by Ferdinand J. Smith (and produced by Score Productions), features a 12-note motif.

Most TV themes were played by small ensembles or using synths, but the HBO in Space piece (which Ferdinand J. Smith created and Score Productions produced) was a complete opposite.

This iconic HBO in Space piece, written by Ferdinand J. Smith, has a cinematic Hollywood orchestral sound recalling the blockbuster sound of such composers as John Williams and Jerry Goldsmith.

Several variants of the HBO in Space piece were made, but the main theme is the most famous of all.

Royalty-free music is done using workflows, like those based on computers, MIDI or a real orchestra.