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.

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

ABC World News Tonight, the CBS Evening News and NBC Nightly News are the flagship television news programs in the United States.

60 Minutes, 20/20 and Dateline NBC are the main weekly newsmagazines on American television.

Meet The Press, Face The Nation and This Week are the flagship weekly news/discussion programs on American television.

Today and Good Morning America are some of the main American morning news programs.

Nightline is a late-night news program for ABC News.

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 the local television news industry in North America, On Your Side, The News Leader, The News Station are news slogans.

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

For years until the 1990's, ITN was jointly owned by all ITV franchises.

Associated-Rediffusion and ATV are some of the Big Four ITV contractors forging a consortium that founded ITN in the mid-1950's.

Joining Associated-Rediffusion and ATV in a consortium that founded ITN are Granada and ABC.

Panorama (BBC) is television's longest-running current affairs program.

Home Box Office (HBO) is the first television broadcaster in the United States to be designed from the outset for cable systems and its oldest and longest-running pay television service.

Launched on November 8, 1972, HBO has been a trailblazer in pay TV, but also cable TV overall.

Noted HBO innovations include the first national satellite delivery for a cable TV service, sparking the cable revolution.

For HBO, its success and popularity are built on its strategy: airing films, original series and sports.

SuperStation WTBS is the national version of the local WTBS signal, but also a trailblazer in the cable television industry, like its future sister service HBO.

One of the notable innovations for SuperStation WTBS is the first national satellite delivery for a local independent television station, sparking the basic cable revolution, like HBO as a whole.

MTV: Music Television is the first television channel in the world to present music videos around the clock.

The MTV style is a visual form that emerged during the music video boom.

A cinematic style which features fast-paced, non-linear editing, dynamic camera angles and a visually slick, flashy and glossy look, the MTV style is also used in films, television and commercials.

Having started its operations in 1981, MTV has had a significant impact in popular culture around the world, influencing music, fashion and youth trends.

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.

NHK, the Korean Broadcasting System (KBS) and Munhwa Broadcasting Corporation (MBC) are the public broadcasters in Japan and South Korea.

Rediffusion Television (RTV) is the first television service located in any British colony and also in a majority-Chinese city.

The Middle East Broadcasting Centre (MBC) is the first and leading private television channel in the Arabic-speaking world.

Initially based in London, MBC has been a pioneer in bringing Western-style (Western European and American) principles to the Arab world.

Some other catchy newscast names include Nightcast, Nightbeat, Nightwatch, Eleven at Eleven (also known as 11 at 11), Live at Five, First at Four and Daybreak.

Usual backdrops in news studios include world maps, skylines, newsrooms and multi-monitor control rooms.

World maps are used in news sets to provide global context and emphasize international coverage.

Plus, skylines in news studio sets can establish a sense of place and make newscasts feel grounded in a major hub of activity.

Newsrooms, as regular studio backdrops, convey urgency, immediacy, authenticity and transparency.

Plus, regularly-used newsroom studio set backdrops could provide a busy and fast-paced working news environment, where news is breaking and being processed, with off-camera staff seen inside.

Multi-monitor control rooms, which are regularly used as news studio backdrops, convey technological sophistication and a sense of constant monitoring and control over information flow.

Besides the common graphic box, being overlaid over the shoulder of an anchor onto a physical set for television news, a chroma key backdrop is usually used for the weather.

Lower-thirds are usual graphic overlays in television newscasts, usually text overlaying the video.

For years, many television stations have used traditional, enclosed and isolated news studio sets with backdrops that typically include world maps, skylines or news/station logos.

These traditional news sets create a sense of formality and authority.

Switching to both the newsroom and multi-monitor backdrops from isolated news studio sets provide urgency, immediacy transparency and technological sophistication.

Blending the newsroom and multi-monitor backdrops is something to do in an equally-dynamic way.

Virtual news sets are made using computer graphics and rendering engines.

The Chicago School of Television has innovative, low-budget network programs in Chicago.

For the Chicago School of Television, its primary belief is the fact that television serves as a new and distinct medium, not just theatre plays or cheap films.

Usual elements of the Chicago School of Television are improvisation, an unscripted approach and an intimate and relaxed feel, directed at individuals at home other than a studio audience.

Innovations of the Chicago School of Television live on all over the world, whether on broadcast or on cable.

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, Bill Downs and Richard C. Hottelet are some other Murrow Boys.

Daniel Schorr, Alexander Kendrick, George Polk and Marvin Kalb are some members of the second generation Murrow Boys.

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.

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.

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.

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.

Besides, Person to Person, which Edward R. Murrow 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.

60 Minutes blends the elements made by the two television projects in which Edward R. Murrow was involved: See It Now and Person to Person.

Walter Winchell, besides Edward R. Murrow, is also a pioneer in broadcast journalism.

The iconic catchphrase during Walter Winchell's work as a radio newscaster is "Good Evening Mr. and Mrs. America, and all the ships at sea." 

The Huntley-Brinkley Report was America's top-rated television newscast for most of the 1960's.

Using the two-city news format that WSAZ pioneered when its Charleston branch opened its doors, the Huntley-Brinkley Report had become a cultural landmark.

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

For the Huntley-Brinkley Report, Chet Huntley delivered national and world news reports from NBC News headquarters in New York, and David Brinkley delivered news from Washington.

Plus, Chet Huntley used a straightforward, authoritative style, while David Brinkley had a lighter and more whimsical approach, both for the Huntley-Brinkley Report.

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 two-city concept on a national network basis, its contributions by Reuven Frank and its high viewership.

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

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.

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 ultramodern 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."

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.

In the mid-1990's or after 1993, Today moved to a street-level location at Rockefeller Plaza, which is known as the Window on the World or Studio 1A, recalling the program's early-1950's origins.

Garroway at Large, which Dave Garroway hosted, was one of the notable programs hailing from the innovative Chicago School of Television.

Ernie Kovacs presented a program on WPTZ called Three to Get Ready, which began in 1950.

Three to Get Ready, which aired in the early mornings with a format mixing news, weather, music and humour, was Ernie Kovacs' innovative television project.

In addition, Ernie Kovacs' Three to Get Ready program, produced specifically for WPTZ, was the first television program to be aired in the early mornings in a major US market.

Some notable innovations for Ernie Kovacs' Three to Get Ready program on WPTZ included his zany manner with comedy sketches, impromptu gags and audience participation.

Fran Allison and Studs Terkel are some namesakes of the other innovative programs coming from the Chicago School of Television: Kukla, Fran and Ollie and Studs' Place.

During its first 48 years, Today (NBC) lasted two hours from 7 a.m. to 9 a.m. Eastern Time.

After 48 years, Today (NBC) began having an additional hour, ending at 10 a.m. Eastern Time.

Seven years after its extension to an additional hour, Today (NBC) also extended to another additional hour, ending at 11 a.m. Eastern Time.

J. Fred Muggs, a chimpanzee, is a mascot for Today (NBC) from 1953 to 1957.

Although his tenure as a mascot of NBC's Today program was short-lived, J. Fred Muggs was deemed popular amongst its viewers, especially children.

Having revived the initially struggling ratings (and poor viewership) of NBC's Today program, J. Fred Muggs was often paired with Lee Meriwether.

In spite of his on-air success on Today (NBC), J. Fred Muggs also endured his difficult and sometimes aggressive approach.

Sylvester "Pat" Weaver, whose daughter is iconic and world-famous actress Sigourney Weaver, created Today (NBC), which Dave Garroway hosted in its first 9 years.

Wide Wide World, which Dave Garroway hosted and Pat Weaver conceived, took events from various locations to the homes of viewers, pioneering live television outside studios and network specials.

For Wide Wide World (NBC), it served as the inspiration for ABC's Wide World of Sports.

Prior to ABC's Wide World of Sports, ABC had already aired sports, including college football, which Roone Arledge co-produced, plus the NFL, the AFL and Major League Baseball.

Ideas for ABC's sports programs besides autumn sports were conceptualized by Roone Arledge.

ABC developed its own response to Wide Wide World (NBC), which Dave Garroway hosted, but this time, focusing on sports, which Roone Arledge was tapped to produce.

Jim McKay, who came from CBS, was tapped to become the iconic and famous host for ABC's Wide World of Sports, lasting from 1961 to 1997.

Many currently-standard techniques for which ABC's Wide World of Sports served as a testing ground include camera techniques, instant replay, slow-motion, aerial footage, etc.

These techniques for ABC's Wide World of Sports elevated sports television to a cinematic level.

For ABC's Wide World of Sports, it is well-known for its iconic mantra: "The thrill of victory, and the agony of defeat; the human drama of athletic competition."

NFL Monday Night Football used the same techniques popularized by ABC's Wide World of Sports.

Both ABC's Wide World of Sports and Monday Night Football were the catalysts for other networks to adapt.

Frank Gifford, Howard Cosell and Don Meredith formed the iconic and famous three-person Monday Night Football announcing team, elevating this live sports program into a cultural phenomenon.

With Frank Gifford being Monday Night Football's steady play-by-play man, Howard Cosell used his theatrical and verbose style and Don Meredith was the laid-back, humorous country boy.

Keith Jackson was the play-by-play man in Monday Night Football's first season.

During Don Meredith's interval break from the Monday Night Football announcing team, Alex Karras replaced him.

Al Michaels joined the Monday Night Football broadcast team as play-by-play announcer in 1986, with Frank Gifford doing colour commentary, joined by Dan Dierdorf a year later.

The team of Al Michaels, Frank Gifford and Dan Dierdorf formed the longest-running team on Monday Night Football on a continuing basis.

Some of the noted personnel working with Roone Arledge include Don Ohlmeyer, Dick Ebersol, Chet Forte, Dennis Lewin, Chuck Howard, Edgar Scherick, Chet Simmons and Bob Goodrich.

Roone Arledge, who led ABC Sports from the late-1960's to 1986, also became the president of ABC News in 1977, surprising many as he had no formal journalistic experience.

Before Roone Arledge, ABC News was not competitive and suffered an failing situation.

Under Roone Arledge, who built on his success in sports, including ABC's Wide World of Sports and Monday Night Football, ABC News made both its turnaround and its facelift.

Due to Roone Arledge's sports-rooted influence that turned its failing fortunes around, ABC News took network television news (look/feel) to a modern, cinematic and visually-engaging level.

Plus, under Roone Arledge, ABC News focused on journalists being known as star celebrities, but also bridged the gap between news and entertainment.

During its first 5 years, Frank Reynolds, Max Robinson and Peter Jennings were the main anchors for ABC World News Tonight.

Frank Reynolds did news from Washington, Max Robinson did national news from Chicago, and Peter Jennings did world news from London.

Barbara Walters, Ted Koppel and Sam Donaldson are some of the other personnel of ABC News under Roone Arledge.

Charles Gibson, Barry Serafin, Bernard Shaw, Don Farmer and Charles Bierbauer are also ABC News personnel under Roone Arledge.

The Morning Exchange is a former locally-produced morning program for WEWS.

Created in 1972 by Donald L. Perris and William F. Baker for WEWS, The Morning Exchange is a pioneer in the early-morning television landscape.

Some noted innovations for WEWS' The Morning Exchange include a studio set made in the form of a living room and news and weather updates at the top and bottom of the hour.

During its first 26 years, The Morning Exchange on WEWS lasted two hours from 7 a.m. to 9 a.m.

Upon its launch in January 1972, WEWS' The Morning Exchange used a news desk set, but in August 1972, it was replaced by a set resembling a living room.

Alan Douglas is the first ever host of The Morning Exchange, which, under him, was called The Alan Douglas Morning Exchange, on WEWS.

Joel Rose was also on The Morning Exchange on WEWS from 1972 to 1984, and again from 1986 to 1990; in his first stint, he served as the news anchor.

Liz Richards replaced Don Webster as co-host of The Morning Exchange on WEWS in March 1972.

July 1972 was when Alan Douglas left WEWS' The Morning Exchange, and Fred Griffith assumed his place.

WCVB-TV, meanwhile, is a pioneer in early-morning television as well through its locally-produced morning program called Good Day!

Having begun its run on September 24, 1973 as Good Morning!, and utilizing a similar format to The Morning Exchange on WEWS, WCVB's Good Day! used a living room with a kitchen.

For WCVB's Good Day!, it focused more on arts and entertainment than news and weather.

Good Day! on WCVB also broke ground by taking its production on the road and broadcasting from different places outside Boston and around the world.

In addition, WBRC-TV is likewise a pioneer in early-morning television through its locally-produced morning program called The Morning Show.

From its 1957 inception to its 1989 end, Tom York hosted The Morning Show on WBRC-TV.

The Morning Show on WBRC-TV is Birmingham's former answer to Today (NBC).

AM Los Angeles is KABC-TV's former locally-produced morning program.

Ralph Story and Stephanie Edwards hosted AM Los Angeles on KABC-TV, which was the basis for its national version called AM America.

Having been ABC's first ever early-morning program on a national level, AM America failed to find an audience against Today (NBC) and the combo of the CBS Morning News and Captain Kangaroo.

Plus, AM America on ABC earned harsh reviews from critics who saw it as a news-heavy program.

Some ABC stations opted not to carry AM America, including WEWS (The Morning Exchange) and WBRC-TV (The Morning Show).

The Morning Exchange on WEWS, Good Day! on WCVB and The Morning Show on WBRC serve as models for Good Morning America on ABC.

In fact, when GMA began in 1975, WCVB station manager Bob Bennett accused ABC entertainment president Fred Silverman of stealing the Good Morning! title being used by WCVB-TV.

With GMA's 1975 debut, WCVB's morning program became Good Day! to avoid confusion.

Having blended the concepts of both WEWS' The Morning Exchange and WCVB's Good Day!, Good Morning America successfully broke the long-standing dominance held by Today (NBC).

The AM format is still utilized by ABC, most notably in Chicago, where Oprah Winfrey took her own program on a national level as the Oprah Winfrey Show.

From 1986 to the early-2010's, the Oprah Winfrey Show has influenced many future young stars, and many of its themes are pivotal in American pop culture.

WNEW-TV launched the first regular primetime newscast in New York City called The Ten O'Clock News in the late-1960's.

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

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

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.

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 for your time this time, until next time."

Earlier on, in 1966, WNEW-TV's sister WTTG launched the first primetime newscast in the nation.

Before The Ten O'Clock News on WNEW-TV, non-Big Three television stations all around the United States focused on general entertainment, like network reruns, films, sports, cartoons, etc.

The success of The Ten O'Clock News on WNEW-TV proved that America's non-Big Three television stations could produce/sustain newscasts.

Whilst WTTG had the first primetime newscast in the United States in 1966, WNEW-TV successfully adopted and refined its formula due to Ted Kavanau's work.

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

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.

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 director since 1989, and later, news VP.

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.

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.

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.

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

The anchor who was mostly associated with this half-hour News at Ten (ITV) also served as the main political anchorman for ITV.

Many of the other ITN personalities, besides the anchor who was mostly associated with News at Ten (ITV), became well-known.

Initially, Panorama (BBC) used a magazine format.

But with Richard Dimbleby being installed as its primary anchor, Panorama (BBC) changed its format from a magazine to a harder-hitting investigative documentary.

Tonight (BBC), which began in February 1957 to fill in the Toddlers' Truce between 6 p.m. and 7 p.m., pioneered an informal presentation style, which was at odds with the BBC's reputation.

Cliff Michelmore presented Tonight (BBC) from its 1957 inception to its mid-1960's end.

For Tonight (BBC), it blended serious items with light-hearted ones; its format influenced many other early-evening programs, like Nationwide.

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 newscaster on Australian television and 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 three network newscasters in New Zealand television in November 1969.

In 1986, the traditional single-anchor format 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.

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.

One of the innovations for 7 Vor 7 (RTL Plus) was an American-influenced news format.

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 became RTL Aktuell.

Hans Meiser was the first main anchor for 7 Vor 7/RTL Aktuell for 8 years since its 1984 launch.

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 the1990's until the 2020's.

With the strategy made by Peter Kloeppel and Urlike von der Groben, RTL Aktuell earned ratings and audience success.

Sat.1, meanwhile, upon its 1984 launch, had short newscasts until the 1990's when it expanded.

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 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.

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.

Pennsylvania is the birthplace of the cable television business, active in both the United States and the world.

John Walson, Milton J. Shapp, Bill Daniels, Robert Rosencrans and Hubert Schlafly are notable cable television pioneers.

Charles Dolan, Ted Turner, Kay Koplovitz and Joseph M. Cohen are likewise notable cable television pioneers.

Bob Tarlton, Bob Magness, John C. Malone and Ken Gunter are also noted cable television pioneers.

For years until the 1980's, cable television had relied on microwave relays, local antennas and coaxial cables to improve reception in remote areas.

In fact, until the 1980's, cable TV was on a regional and rural basis.

Plus, until the 1980's, video tapes were used at the headend for programs specially-produced for a local cable company, commercial insertion and playing back content sent down the cable network.

Satellite technology in the 1980's nationalized cable TV, becoming a diverse, multi-channel platform.

What satellite technology means is that cable TV captures high-quality feeds with dish-shaped antennas and offers them to subscribers in any local geography.

The Anik A satellites, in particular Anik A1, are the world's first domestic communications satellites in geostationary orbit to receive television transmissions.

Meanwhile, Westar 1 and Satcom 1 are innovative American-made domestic satellites.

Westar 1 is the first domestic geostationary communications satellite in America, while Satcom 1 is the primary vehicle for the cable television expansion.

Service Electric was the first company for community antenna television (CATV).

Innovations from Service Electric include community antenna television systems, cable lines on utility poles, a five-channel system, distant signal importation, local programming and others.

When John Walson's own Service Electric company was founded, television reception was poor due to mountain ranges blocking the signals.

To solve this problem, in June 1948, John Walson erected a big antenna on top of a nearby mountain.

In spring 1949, John Walson also added amplifiers to the cable system and started offering household connections for a fee.

Having moved to Philadelphia after WWII, Milton Shapp, in 1948, founded Jerrold Electronics, whose name was taken from his middle name.

Kenneth Alden Simons was the chief engineer at Milton Shapp's own Jerrold Electronics company.

Jerrold Electronics had innovations, like the first equipment designed for CATV systems.

For Bob Tarlton, in 1950, he made up the first cable television system to achieve not just publicity, but commercial success, using equipment from Jerrold Electronics.

Bill Daniels, not long after WWII, happened upon a Denver bar, where he saw a television set, which offered a boxing match from out-of-state.

This encounter made Bill Daniels interested in technologies bringing television over long distances.

Having gained experience from a boxing match in a Denver bar, Bill Daniels set up a microwave feed sending programs from Denver, Colorado to Casper, Wyoming in the early-1950's.

For Bill Daniels, his Casper system was the first to send broadcast signals to a microwave system.

Having been a pioneer in cable television system financing, Bill Daniels had been a key figure in the business side of this industry, facilitating crucial deals and investments.

American Cable Systems is a former corporate spin-off of Jerrold Electronics, sold in the mid-1960's period to businessman Ralph J. Roberts and his partners Daniel Aron and Julian A. Brodsky.

Incorporated in 1969, Comcast is, like Service Electric and Jerrold Electronics, a pioneer in the cable television scene.

Hubert Schlafly invented the teleprompter device in 1950, and alongside Broadway theatre actor Fred Barton Jr. and media proprietor Irv B. Kahn, co-founded TelePrompTer Corporation, also in 1950.

TelePrompTer Corporation also expanded to cable in the late-1950's.

Box Office Television (BOT) was a former American subscription television service, launched in July 1953 and sold not long after to TelePrompTer.

Early television star Sid Caesar backed (and invested in) Box Office Television (BOT).

With Box Office Television (BOT), closed-circuit programs, including movies and special events, were delivered via microwave or telephone lines to movie theatres across the United States.

Plus, Box Office Television (BOT) produced programming for hotels.

Some other pay television systems used broadcast signals and required a descrambler, but Box Office Television (BOT) used direct line transmission, ensuring high quality.

Bob Rosencrans entered cable television in 1953 with Box Office Television/TelePrompTer.

Having entered the cable television scene in 1953, Bob Rosencrans founded his own company named Columbia Cable Systems, based in Washington (and in the Pacific Northwest), in 1961.

For Columbia Cable Systems, its name came from its base along the Columbia River near the Oregon border, plus Bob Rosencrans' alma mater Columbia College, run by Columbia University.

In 1972, United Artists Cablevision, which was United Artists Theatres' cable subsidiary, merged with Columbia Cable Systems, led by Bob Rosencrans, to form UA-Columbia Cablevision.

Rogers Cablesystems, a Canadian-based cable company, acquired UA-Columbia Cablevision in 1981.

Bob Rosencrans left Rogers UA Cable Systems in 1984 to found Columbia International.

Ken Gunter founded San Angelo's first cable TV system in 1961 called International Cablevision.

Having been the first cable television company in the United States to go public and be traded on Wall Street, Ken Gunter's own International Cablevision had prospered.

Jack Cole was Ken Gunter's Washington attorney, who put with him Bob Rosencrans, whose Columbia Cable Systems had 4 West Coast services.

International Cablevision merged with Columbia Cable Systems in 1969 (with United Artists acquiring this company in 1972).

During the early-1950's, Charles Dolan worked on short sports films for television syndication.

Charles Dolan's sports newsreel business was financially unsuccessful, but its potential was successful enough to be sold to to a larger rival company.

Telenews Productions, a New York-based company held by the Hearst Corporation, purchased Charles Dolan's financially unsuccesful but potential sports newsreel business.

With Telenews purchasing his initial business, Charles Dolan moved to New York at age 26.

Not long after, in 1954, Charles Dolan joined a Telenews customer to found Sterling Movies USA.

Sterling Movies USA's initial purpose was to distribute industrial movies to targeted audiences, such as conventions and hotel guests.

For Sterling Movies USA, it was the launchpad for Charles Dolan's later ventures.

Teleguide, founded in 1962, provided tourist information, news, interviews and feature interstitials to hotels, and later, apartment and office buildings in the New York area via closed-circuit TV.

Plus, Sterling Information Services was Charles Dolan's other company.

Having gained experience with Teleguide, Charles Dolan realized that, since tall buildings prevented television broadcast signals in the air, Manhattan needed cable.

Manhattan Cable, run by Sterling, was the first cable television system in America to earn cable lines located underground in urban areas, rather than via microwave antennas or on telephone poles. 

With the financial backing made by Time-Life Inc., which serves as Time's book publishing division, Sterling Manhattan Cable was one of the company's first cable outlets.

Despite investments, Manhattan Cable suffered a loss of money.

In 1969, Sterling Communications took a 49% stake in Sterling Manhattan held by Time-Life, which, concurrently, increased its share in Sterling Communications.

Also in 1969, Sterling Manhattan Cable launched its own television service dedicated to sports events from Madison Square Garden.

Later, Charles Dolan began proposing a cable television service that would provide unedited theatrical movies from major Hollywood studios and sports events without commercial breaks.

HBO started its operations on November 8, 1972 under Charles Dolan's own Sterling Communications empire as a regional service via its microwave network across the Eastern United States.

Not long after its debut on November 8, 1972, HBO and its associated outlets were spun off into a new subsidiary called Home Box Office Inc. by Sterling Communications in February 1973.

Warner Communications acquired Time's stake in Sterling in May 1973, but failed in June 1973.

July 1973 was when Time agreed to acquire Sterling Communications (and also to assume its financial liabilities), completed on September 18, 1973.

By completing the 1973 transaction, HBO and Sterling Manhattan were transferred into Time-Life.

In exchange, Charles Dolan purchased a small cable system in Nassau Country on Long Island, which served as the foundation for his Cablevision Systems Corporation in 1973.

Wilkes-Barre, Pennsylvania was the first place in the world to have HBO upon its 1972 launch.

Upon its 1972 launch, HBO had 375 subscribers via Service Electric Cablevision in Wilkes-Barre.

Gerald Levin was HBO's programming Vice President upon its November 8, 1972 launch; on its first broadcast, he appeared to welcome 375 subscribers via Service Electric in Wilkes-Barre.

After Time Inc. purchased HBO in 1973, Gerald Levin became its President and CEO.

Nicholas J. Nicholas Jr., who was Gerald Levin's rival, became Time's President and CEO in 1986.

Developing microwave and telephone towers all across the US was cost-prohibitive for Time/HBO; its microwave network was also expansive and difficult to maintain, especially in winter.

Geographical limits also caused difficulties for HBO's microwave network.

In the fall of 1974, executives from both Time Inc. and HBO made plans to nationalize HBO.

The use of a communications satellite to directly carry HBO to cable systems all across America, both within and outside its microwave relay system, was chosen by Time Inc.

On September 30, 1975, HBO began to carry its feed via satellite across the nation.

Westar 1 was the satellite being used by HBO for its national debut using satellite distribution to cable systems on September 30, 1975.

Satcom 1 replaced the competing Westar 1 as the satellite being used to carry HBO, coming just a few months after its national debut on September 30, 1975.

Before HBO's uplink, since its 1948 inception, cable television had been limited and regional.

HBO's satellite uplink via Westar 1, and later, Satcom 1, made it the first cable television service in the world to deliver its signal via satellite on a national basis.

Upon its launch in 1972, HBO covered northeastern Pennsylvania, before expanding to other states in America's Mid-Atlantic and New England regions, all by microwave relays.

With its satellite uplink, HBO served the Eastern, Midwest and Southern regions of the United States.

TelePrompTer extended HBO's reach to the West Coast in December 1975 through its Seattle-Tacoma cable operations, achieving coast-to-coast distribution.

By December 1978, HBO covered all 50 US states.

Delivered via satellite, HBO uses separate Eastern and Pacific feeds, ensuring that programs could be presented at consistent local times across the US.

Scientific Atlanta, led by Sid Topol, and RCA Americom, run by RCA, which also owned NBC, played roles in providing equipment for HBO's satellite plan, unveiled by Gerald Levin in 1975.

UA-Columbia, held by Bob Rosencrans, had installed the first commercial satellite earth station in Fort Pierce and Vero Beach, both based in Florida's Treasure Coast, to nationalize HBO.

Assisting Bob Rosencrans in HBO's national debut was Ken Gunter.

Kay Koplovitz was the promoter for HBO's national debut; both Hubert Schlafly and Joseph M. Cohen were likewise involved in this event.

From its 1972 inception until 1977, HBO aired games emanating from MSG, including the New York Rangers (NHL) and the New York Knicks (NBA).

Incidentally, games from MSG were also on Sterling Manhattan Cable, also run by Charles Dolan.

The first program on HBO when launched on November 8, 1972 was an NHL match between the New York Rangers and the Vancouver Canucks.

Sometimes a Great Notion was the first film aired on HBO after the Rangers-Canucks match.

HBO World Championship Boxing is HBO's former offering of live boxing matches since 1973.

The first ever boxing match being televised on HBO was between George Foreman and Joe Frazier in January 1973, seen on a tape-delayed basis via its regional microwave network.

ABC's Wide World of Sports later had a rebroadcast of the January 1973 George Foreman-Joe Frazier boxing bout, for which Howard Cosell provided commentary.

Howard Cosell famously yelled "Down goes Frazier!" three times after the first knockout of this 1973 George Foreman-Joe Frazier bout on ABC's Wide World of Sports.

Plus, this 1973 George Foreman-Joe Frazier bout was seen live via closed-circuit television in venues around the world, mainly movie theatres.

One of the most famous matches on HBO World Championship Boxing is the Thrilla in Manila, which emanated from the Araneta Coliseum, based in Quezon City in the Philippines.

Muhammad Ali and Joe Frazier competed against each other for the heavyweight championship in the Thrilla in Manilla, which the earlier won in the 14th round.

For its coverage of the Thrilla in Manila, HBO used the Westar 1 satellite to deliver its signal to cable systems across the country.

Inside the NFL, which HBO originated in 1977, had been cable television's longest-running program until 2021.

Gulf and Western Industries, which had owned Paramount Pictures Corporation since 1966, assumed a stake in Madison Square Garden in 1969, taking complete control in 1977.

Jack M. Rice Jr., who owned locally-based pay television companies in Atlanta, launched a television station with the call letters named in his honour.

Operating on UHF channel 17, WJRJ-TV ran on a shoestring budget and suffered technical issues.

Initially, WJRJ-TV aired a few off-network reruns, vintage films, cartoons and a local newscast.

As Atlanta's first new commercial television station in 13 years and its second indie overall, WJRJ-TV emanated from its West Peachtree Street Northwest studios, once held by WAGA-TV.

WQXI-TV launched its operations on December 18, 1954 as the first independent television station in Atlanta, having operated on UHF channel 36, but a few months later, was shut down.

Relaunched in 1969 after 14 dark years on channel 36, WATL-TV originated The Now Explosion.

Created by Bob Whitney, The Now Explosion was a concept that mixed top forty hit music tunes with video and film techniques, an early experiment in music videos before MTV.

As for the WQXI-TV call letters, they were previously used since the late-1960's era by a former ABC station (now WXIA-TV) under the Pacific & Southern Broadcasting empire.

Pacific & Southern Broadcasting had its origins in Hawaii, where KHON-TV was its flagship.

In 1973, Pacific & Southern merged with Combined Communications Corporation (CCC).

Formed in the late-1960's era, Combined Communications Corporation was based in Phoenix, Arizona, where the KTAR stations served as its flagship outlets.

John J. Louis Jr., whose father was one of the founders of the Needham, Louis and Brorby advertising agency, ran the KTAR stations that his father had purchased years ago.

Karl Eller., meanwhile, already had experience in the outdoor advertising scene in Arizona, notably as Needham, Louis and Brorby's account supervisor.

Altogether, John J. Louis Jr. and Karl Eller, both experienced at Needham, Louis and Brorby, were key figures at Combined Communications Corporation.

Gannett merged with Combined Communications Corporation.

Turner Communications Corporation, a media empire run by the eponymous Ted Turner, who was an Atlanta entrepreneur, announced an agreement to merge with Rice Broadcasting in July 1969.

Upon the FCC's approval in December 1969, the calls WTCG were chosen to replace WJRJ-TV.

When his media empire agreed to merge with Rice Broadcasting in July 1969, Ted Turner had run the billboard advertising business founded by his deceased father, plus a few radio stations.

However, for Ted Turner himself, WTCG was the first television property.

The WTCG call letters reportedly stood for "Watch This Channel Grow," although the TCG in its calls officially stood for Turner Communications Group.

During its first years under Ted Turner, WTCG retained its low-budget programming format, which its precursor WJRJ-TV used.

However, one of the main changes for WTCG under Ted Turner's ownership was its focus on financial stability and technical upgrades, like colour, which WJRJ-TV lacked.

WTCG assumed the rights to air The Now Explosion from its recently-closed originator WATL-TV.

In July 1972, WTCG obtained the broadcast rights to air Major League Baseball games involving the Atlanta Braves, effective in the 1973 season.

Plus, in 1972, WTCG obtained the broadcast rights to air NBA games involving the Atlanta Hawks.

Both the Atlanta Braves and the Atlanta Hawks were later sold to Ted Turner to air match-ups for his station and keep his sports franchises in Atlanta.

Furthermore, Ted Turner purchased WCTU-TV, which began earlier in the late-1960's period as North Carolina's first independent television station, around the same time he bought WTCG.

Under Ted Turner, WCTU-TV became WRET-TV, using the initials of his full real name.

When Ted Turner began to own WTCG, most American cities below the top 20 media markets lacked independent television stations with a general entertainment format.

For this reason, most American cities below the top 20 television markets largely have access to three stations affiliated with the Big Three networks and a non-commercial educational station.

In addition, cable systems in most US cities below the top 20 media markets also carried three stations affiliated with the Big Three networks and three PBS stations.

One PBS member station was available over local cable systems from within the home market in most American cities below the top 20 media markets, two from neighbouring markets.

Under Ted Turner, WTCG started delivering its signal to cable systems using microwave antennas in middle and southern Georgia and surrounding areas in the Southeastern United States.

17 Update Early in the Morning is a former newscast on WTCG with a humorous tone.

Short news updates on WTCG, under the name WTCG Update, have a more serious tone than the 17 Update program.

Following HBO's example, Turner planned to do the same for one of its television stations in December 1975, since it lacked coverage outside the Southeastern United States.

Although WTCG was the preferred choice for distribution to cable providers, WRET was a backup.

Like its future sister network HBO, Scientific Atlanta provided equipment for the satellite transmission proposal for WTCG.

Just before 1977 arrived nearly a month later, WTCG, having been selected over WRET-TV, started to distribute its signal via satellite to cable systems across the United States.

Satcom 1, used by its future sister network HBO to replace Westar 1, was being used by WTCG for its national debut using satellite distribution to cable systems.

Before its satellite uplink, WTCG used microwave relays to carry its signal on a regional basis.

However, WTCG's national satellite uplink via Satcom 1 made it the first local independent station to deliver its signal via satellite on a national level.

For WTCG, its national satellite uplink was the launchpad for basic cable, like HBO's national satellite uplink was for the satellite-delivered cable business as a whole.

With its national satellite uplink, WTCG became a superstation.

In North American broadcasting, superstation is a term used to describe independent television stations based in their originating media market being delivered via satellite on a national level.

Plus, WTCG's superstation status transformed the small-town Atlanta Braves baseball club, run by Ted Turner, into a team with a national presence, nicknamed America's Team, starting in 1977.

Meanwhile, the nickname America's Team is most famously associated with the Dallas Cowboys. 

Southern Satellite Systems (SSS) was a independent company founded by Ted Turner to distribute his Atlanta television station WTCG on a national level.

FCC regulations forbade Ted Turner from running both a television station and a satellite carrier.

Ed Taylor, hailing from Western Union, which launched the Westar 1 satellite that distributed the HBO signal nationally when uplinked in 1975, took SSS from Ted Turner for a dollar.

The SSS purchase by Ed Taylor from Ted Turner was done to comply with FCC regulations.

Not long after its national satellite uplink, WTCG changed its call letters to WTBS.

Since 1961, the WTBS calls have been used by a college radio station in Massachusetts.

According to the changes of its call letters, the TBS in the WTBS calls stood for Turner Broadcasting System, the name its parent company adopted.

For this purpose, the station began branding itself as SuperStation WTBS.

However, until October 1980, the national WTBS signal continued to sporadically use the same on-air branding as the Atlanta signal (which was referred to as WTBS Channel 17).

The short news updates on WTBS were renamed TBS NewsWatch.

In 1981, Turner decided to have all programs carried by WTBS continue on locally and nationally, but separated the feeds.

By spliting the feeds, local commercials being seen on WTBS in Atlanta were substitued with separate national commercials, direct response ads and public service announcements.

For the local Atlanta feed, by 1981, WTBS became SuperStation 17.

Meanwhile, on the national signal available outside Atlanta, by 1981, references to WTBS' over-the-air channel number were removed.

On June 29, 1981, SuperStation WTBS began using a specialized program scheduling format allowing programs to begin 5 minutes later, both past the hour and the half-hour.

This format, informally called Turner Time, was reduced in 1997 and completely ended years later.

While other broadcast and cable networks generally have programs begin at the top and bottom of each hour, SuperStation WTBS decided to have programs begin 5 minutes later.

The W being used in the SuperStation WTBS name was dropped, and SuperStation TBS was utilized to emphasize its national reach, both in the late-1980's or after 1986.

In September 1989, this SuperStation TBS on-air brand was swapped for TBS SuperStation (in order to further emphasize the strong national standing of this channel).

Just one year later, in September 1990, after the swap of its on-air branding, TBS SuperStation became simply known as TBS.

For TBS, its 3-letter branding being utilized for the national feed lasted until December 1996, when, in celebration of its 20th year on a national basis, the Superstation name, lost in 1990, was reinstated.

Super-branded blocks were also aired on TBS Superstation since December 1996.

For instance, Super TV offered weekday daytime films and series, Super Prime for primetime films and Super Weekend for films on Saturdays and Sundays, all on TBS Superstation.

Plus, WTBS was carried north of the border in Canada from 1985 to before 2008.

Both HBO and TBS began on a regional basis, but became nationalized through satellite delivery.

Conversely, 1977 was when both the CBN Satellite Service and an unrelated Madison Square Garden Network began on a national satellite-delivered basic cable basis.

Initially, upon its April 29, 1977 launch, the CBN Satellite Service was commercial-free.

However, upon its September 1, 1981 relaunch, the CBN Cable Network began accepting advertising revenue.

MSG, which Gulf+Western had run since 1969 (totally since 1977), joined forces with UA-Columbia Cablevision, led by Bob Rosencrans, to start the unrelated MSG Network in September 1977.

On April 9, 1980, the national feed of the unrelated MSG Network, launched in 1977, became the USA Network, in order to expand beyond sports into a generalist service.

Besides Bob Rosencrans, Kay Koplovitz masterminded the USA Network from 1977 to 1998.

As for its local feed, a cable TV network that Madison Square Garden and UA-Columbia Cablevision have launched in 1977 remained.

Upon its April 29, 1977 launch, the CBN Satellite Service was a dedicated religious service.

On September 1, 1981, the CBN Satellite Service became the CBN Cable Network and began to offer secular programs, aside from religious ones.

This secular-religious programming mix being used by the CBN Cable Network mirrored the concept being used by CBN-owned independent stations.

Meanwhile, upon its September 1977 debut, the USA Network aired mostly sports events.

Just one year after its 1977 debut, in 1978, the USA Network broadened its scope to include children's programming, and with its April 1980 relaunch, general entertainment.

C-SPAN, of which Bob Rosencrans was an early financial backer, was seen during the daytime on the USA Network until the early-1980's.

With C-SPAN no longer being carried, the USA Network began to offer a full 24-hour service.

Between 1984 and 1986, the USA Network phased out sports in favour of general entertainment.

However, the USA Network still aired athletics, specifically pro wrestling (WWF/WWE), which was a major portion of its programming line-up.

In 1981, Rogers took UA-Columbia, which, in 1977, along with MSG, began the USA Network.

MCA/Universal and Paramount Pictures Corporation, two of the Hollywood film studios, acquired the USA Network in 1981, as well as Time Inc., which held HBO.

Gulf+Western transferred its stake in the USA Network from MSG to Paramount in 1981.

Six years after its 1981 entry, in the late-1980's, Time Inc. exited the USA Network ownership, leaving MCA/Universal and Paramount as its equal partners.

ABC had become the top-rated television network in the United States by 1978, and wanted a stronger Charlotte station.

On July 1, 1978, WSOC-TV broke with the stodgy NBC and instead joined the higher-rated ABC.

WSOC-TV is one of the two television stations held by Cox Enterprises in the Southern United States making the switch from NBC to ABC, along with its flagship station in Atlanta.

Still in Charlotte, NBC went to former indie WRET-TV, which Ted Turner ran.

For WRET-TV, it was the sole television station owned by Ted Turner to be affiliated with a Big Three network.

Having gained the NBC affiliation, WRET-TV launched its news operation called Action News, which WPVI-TV pioneered.

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 endured many innovations and procedures 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 was a member of the UPITN personnel.

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

ITNA successfully executed the satellite plan that TVN had pursued but failed to materialize.

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

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.

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.

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.

Bernard Shaw came from ABC News, where he worked under Roone Arledge, to CNN as its first main news anchor upon its launch.

Don Farmer and Charles Bierbauer also came to CNN from ABC News, the latter in 1981.

The husband-and-wife anchor team, coming from an ABC station in Sacramento called KOVR: Dave Walker and Lois Hart, delivered the first actual 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 CNN 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.

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.

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.

Sam Zelman, who revolutionized local news in both North America and the world with a newscast that would last 60 minutes/one hour through KNXT, was also involved with CNN's launch.

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 his team 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, even after Bernard Shaw and John Holliman left.

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 production standards previously not available in the Arab world.

The Space Shuttle tragedy and the Jessica McClure rescue also made contributions to CNN shifting its initially-derided perception, besides the first Gulf War.

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.

Back to WPIX, it was the base for Independent Network News

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 turnaround this then-ailing channel.

During Roger Ailes' short reign as its president, CNBC made its turnaround; its spin-off channel named 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, Roger Ailes was involved in MSNBC's precursor America's Talking, as well as Fox News Channel.

Since 2002, Fox News has been the top-rated news channel in the United States with a few exceptions.

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

Charles Dolan did to cable infrastructure in urban areas and non-commercial premium television what Ted Turner did 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.

For Dave Garroway, his television programs, including Garroway at Large and Today, have developed many innovations that reshaped television.

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

Plus, the first studio ever built for Today (NBC) from the RCA Exhibition Hall had influenced modern broadcast design, like the newsroom and the windowed concept in downtown cores.

WBBM-TV pioneered the concept of delivering the newscasts from the newsroom on a regular basis in early-1973.

KCBS-TV followed WBBM-TV's example in 1973.

Starting in 1973, both WBBM-TV and KCBS-TV used the newsroom-as-set trends, the earlier lasting longer than KCBS-TV.

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.

Columbia Square, a radio studio, also housed the KCBS-TV newsroom studio based on WBBM-TV.

Just before its half-hour expansion, Walter Cronkite and the News used an isolated soundstage.

During the Walter Cronkite era, the CBS Evening News used the studio with a fishbowl-like desk, the newsroom and a world map.

In the mid-1960's, a chroma key backdrop was added, replaced by a box over the shoulder in 1977.

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.

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.

NBC innovated a futuristic, space-age, multi-monitor control room-like studio set for NewsCentre.

Ever since its inception in 1974, elements of the futuristic, space-age, multi-monitor control room-like studio set for NBC's NewsCentre concept have been used by national and local TV stations.

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 launch in January 1974, Global used a news studio using elements of the Walter Cronkite-era studio set of the CBS Evening News, including a fishbowl-like desk and a world map backdrop.

81 Barber Greene Road, a factory, became a television studio in 1974, but also a testing ground for the newsroom studio combo for Global, which lasted until 1998.

Also in Canada, BCTV (CHAN-TV) used the newsroom-as-set trend being synonymous with the Tony Parsons era, lasting from 1975 until September 20, 2010, nine months after his last News Hour.

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

While some other television stations used converted studios as testing grounds for the newsroom-as-set trends, BCTV used a more innovative and purpose-built one.

For Expo 86, BCTV operated a broadcast pavilion, further emphasizing this newsroom-as-set trend.

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 backdrop being used for its first studio set.

BCTV (CHAN-TV), which used its newsroom-as-set trend at its purpose-built studios during the Tony Parsons era, was the best model for CNN's first set and its newsroom-as-set trend.

Using the Tony Parsons-era BCTV (CHAN-TV) newsroom-as-set trend for CNN, Turner Broadcasting System took over a country club at Techwood Drive in Atlanta called the Progressive Club.

Established in 1913, the Progressive Club is a red brick structure with white columns; its ballroom was renovated to become the first newsroom-as-set trend for CNN.

Carl "Bunky" Helfrich, a friend of Ted Turner, adapted the BCTV newsroom studio elements for CNN.

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 debut, CNN completed its official move to the 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.

Just 11 years after its official move to this former Omni complex, in October 1998, CNN renovated its studio set, but still incorporated its BCTV-inspired newsroom-as-set trend.

Rene Lagler supervised the scenic design for this renovated CNN newsroom studio, which lasted from October 1998 until May 2010, and Robert Dickinson did its lighting construction.

Linden Soles, who worked north of the border at BCTV, also worked at CNN by coincidence.

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.

Studio 7, introduced in May 2010, marked the end of CNN's long-standing signature newsroom-as-set trend, nearly six months after Lou Dobbs left as the last of the original CNN anchors.

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 used virtual backdrops before abandoning the use for daytime programs.

The newsroom-as-set trend was pioneered by Today (NBC) under Dave Garroway (who was a former radio disc jockey in Chicago, where WBBM-TV also pioneered this trend on a regular basis).

Later, the newsroom-as-set trend was popularized, refined and cemented by ABC News (under Roone Arledge) and CNN.

In turn, the newsroom-as-set trend for CNN during its first 30 years was based on BCTV.

Before ABC News (under Roone Arledge) and CNN, network newscasts featured a solo anchor being seated at the news desk; sets were isolated, with a logo or simple backdrop behind the host.

With ABC News (under Roone Arledge) and CNN, the busy newsroom was a solver to this format.

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.

But in the mid-1990's, WSVN began building the Newsplex project, bringing two sets together.

Having taken cues from the newsroom studio used by CNN, based on BCTV, the WSVN Newsplex is characterized by its fast-paced approach, bold graphics, techno music and on-screen visuals.

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.

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

The newsroom studio is not new for BBC News, however, as it was already used from the late-1980's period 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, who arrived from Australia, built 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.

October 24, 2005 was when the Sky News Centre was unveiled, designed by Jack Morton Worldwide.

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/Queensland began using the newsroom set in the late-1980's.

In 1996, a revamped studio set for National Nine News in Brisbane/Queensland was first used, being similar to the Dan Rather-era CBS Evening News studio designed by BDI, also since 1996.

With the relocation to its new headquarters in Pyrmont in 1997, Ten News in Sydney/New South Wales began using the newsroom-as-set trend.

The newsroom studio is not new for Ten News in Sydney/New South Wales, however, as it was already utilized in the late-1980's as the last one from North Ryde.

During Brisbane's World Expo, Ten News in Brisbane/Queensland used the newsroom-as-set trend.

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.

However, the 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 control room set similar to CNN Headline News.

Meanwhile, the Portuguese-language answer to Mexico's Televisa, run by Silvio Santos, pioneered the working newsroom-as-set trend through its newscast by Boris Casoy 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.

Earlier on, the national television service, owned by Jewish businessman Adolpho Bloch, pioneered the futuristic space-age control room-like news set, based on one for NBC's NewsCentre brand.

The national television service from Adolpho Bloch broke from tradition by using the newsroom-as-set aesthetic, the first of its kind in the Portuguese-language world.

Oscar Neimayer's modern structure served as the testing ground for the newsroom-as-set trend, which Adolpho Bloch's own television network used.

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

During its first 12 years, from 1990 to 2002, 24 Horas (TVN) utilized a small newsroom-as-set trend.

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 the newsroom-as-set trend, the first of its kind in Colombia.

Based upon the newsroom-as-set trend for CNN, in turn, inspired by BCTV, the newsroom-as-set trend made for QAP conveyed urgency and transparency that other newscasts in Colombia have not.

Since QAP, the newsroom-as-set trend has usually been used by privately-owned television channels in Colombia, like RCN, Caracol and CityTV, the latter being based on the original Toronto version.

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

The Centro Monte Carlo De Noticias was based on CNN, in turn, inspired by BCTV.

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

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 studios, including one designed by BDI from 1996 to the mid-noughties. 

Zeit Im Bild (ORF) and Tagesschau (SF DRS) have both used studio sets with the open newsroom as a backdrop during the mid-1980's, the earlier starting in 1984, the latter in 1985.

Aktuellt (SVT), meanwhile, began using the newsroom-as-set trend after moving to Nyhetshuset in late summer 1986, the first in the Nordic region to do so, but on a temporary basis.

This newsroom-as-set trend for Aktuellt (SVT) became permanent with the debut of ABC, which was a regional newscast covering Stockholm and Uppsala.

For Aktuellt (SVT), the permanent use of its newsroom-as-set trend lasted until September 7, 2001.

Still in the Nordic region, TV4 (Sweden), TV2 (Denmark) and TV2 (Norway) use the newsroom-as-set trends, all based upon CNN, and in turn, BCTV, upon their launches.

MTV3 (Finland) has used the newsroom-as-set trend, based on one for CNN (and in turn, BCTV) since September 3, 1990, when Seitseman Uutiset began.

24 Ur (Pop TV) used a newsroom-as-set trend upon its debut in the mid-1990's, the first of its kind in a former Yugoslav nation, based on CNN, and in turn, BCTV.

Rediffusion (Hong Kong) was a pioneering broadcaster, and used a newsroom-as-set trend, styled after American networks, 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 studio for NHK's NC9 program had a dynamic and authentic feel.

Also in the 1980's, with colour, KBS' news division began using newsroom-as-set trends.

Still in South Korea, MBC used the newsroom-as-set trend similar to the BDI-designed CBS Evening News studio, which lasted during the first half of the noughties.

ITV, which was the first television service to be operated independently on the UHF band in Thailand, adopted the newsroom-as-set trend, based on CNN, in the mid-1990's.

Prior to CNN's innovative coverage of the first Gulf War, television stations across the Arab world have used isolated and enclosed news studio sets.

Spurred by CNN's coverage of the first Gulf War, private television channels in the Arab world, such as MBC, adopted newsroom-as-set trends based on CNN.

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.

RCTI (Indonesia) used a multi-monitor control room backdrop for many (and later all) of its newscasts from 1993 until 2002.

During its first 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, during the 1993 events, the Ostankino Technical Centre suffered damage, which meant that Vesti on RTR/Russia-1 emanated from a makeshift studio with a plain backdrop.

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 the Ostankino Technical Centre.

Some months after the 1993 events, Vesti (Russia-1) moved from the Ostankino Technical Centre to a different location at Yamskoye Pole.

With its move to Yamskoye Pole, Vesti (Russia-1) broke from tradition by using the newsroom-as-set trend, the first of its kind in post-Soviet Russia.

In joint cooperation with a Dutch-based company, the newsroom-as-set trend for Vesti (Russia-1) had 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.

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 the first years of its post-Soviet era, the Pencil had housed Ukrainian public television, whereas Khreshchatyk remained as its radio hub, doubling as its secondary television hub until 1996.

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 for Suspilne at Khreshchatyk, which is inspired 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.

Still in the Ukraine, ICTV uses a newsroom-as-set trend based on CNN until the Russo-Ukrainian war.

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.

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.

Saul Bass, Maurice Binder and Pablo Ferro revolutionized film branding and design.

Before Saul Bass, Maurice Binder and Pablo Ferro, it was common for a movie studio to have movie posters, trailers and titles designed by different artists.

For film title sequences before television, they were static text cards, separate from the film, and were typically being projected on the closed theatre curtains, opened to reveal the first scene.

Some traditional elements, including cards, satin and books, are often used in titles before television.

Likewise, film advertising (posters and trailers) was handled separately before television; its primary mission was to simply publicize the screening times and stars.

The National Screen Service (NSS) had dominated the film trailer scene until the 1960's with its own approach comprising large text laden with fiim clips.

However, with television's growth and popularity as a threat to the film industry, Saul Bass had defied conventions with his innovative approach: a unified film branding and titles as mini-movies.

Maurice Binder and Pablo Ferro further developed the film branding field, each with their distinct and influential styles, solidfying title designers as an integral part of the filmmaking process.

For Maurice Binder, he made film title sequences something sexy, sultry and sensual by incorporating elegant graphics, creative typography and abstract imagery featuring (or hinting) at women.

Pablo Ferro used multi-screen effects, hand-drawn typography and rapid-fire editing techniques.

Due to Saul Bass, Maurice Binder and Pablo Ferro, title sequences are being utilized after raising the movie theatre curtains and before the beginning of the first scene of the actual film.

Together, those innovative title sequences being made by Saul Bass, Maurice Binder and Pablo Ferro feature bold and dynamic graphics, all of which influence similar trends.

Not confined to titles, Saul Bass also gave movie advertising (specifically posters) some facelifts.

Before Saul Bass, movie posters used illustrative montages and realistic character portraits, often both juxtaposed with each other.

With Saul Bass' movie posters, simplified and symbolic designs visually communicating key essential elements in a movie were developed.

However, the National Screen Service still dominated the movie trailer market until the 1960's, despite animated title sequences and creative posters by Saul Bass, Maurice Binder and Pablo Ferro.

Andrew J. Kuehn, who headed MGM's trailer division (and who trained at NSS since 1961), broke the National Screen Service's dominance through his own company Kaleidoscope Films.

Stephen Frankfurt and Dan Perri are some other trailblazers in using motion graphics as applied to film title sequences.

For Stephen Frankfurt, the innovations in his own title sequences include an intimate focus on precious objects of a child and its usage of a moving camera to establish mood and thematic significance.

With Saul Bass as his mentor, Dan Perri has created famous title sequences for films.

Like Saul Bass, Stephen Frankfurt also dabbled in the movie advertising scene (specifically posters).

With his partner Philip Gips, Stephen Frankfurt created innovative movie posters.

For both Stephen Frankfurt and Philip Gips, their movie posters used minimalist or abstract imagery to capture the movie's essence, something that is innovative and high-concept.

Bob Peak is also a trailblazer in movie posters, like Saul Bass, Stephen Frankfurt and Philip Gips.

The movie posters being created by Bob Peak featured a dynamic and painterly approach, defining the modern blockbuster poster aesthetic.

Dynamation is Ray Harryhausen's noted innovation, allowing animated models to seamlessly integrate with live-action footage and actors.

Built upon his mentor Willis H. O'Brien's techniques, Ray Harryhausen's Dynamation influenced other modern special effects.

John Whitney developed the slit-scan technique, which Douglas Trumbull adapted.

For Douglas Trumbull, his early work was at Graphic Films Corporation, founded in 1941 by former Disney animator Lester Novros.

Con Pederson, like Douglas Trumbull, also worked at Lester Novros' Graphic Films Corporation.

One of the assistants working for Douglas Trumbull is John Dykstra.

Known as the first motion control camera controlled by a digital computer, the Dykstraflex is the most famous innovation for the eponymous John Dykstra.

Before the Dykstraflex, special effects shots were often static with locked-off cameras.

The Dykstraflex means that special effects shots feature dynamic and seamless camera movements, all adding fluidity, realism and excitement to them.

Industrial Light and Magic (ILM) is the iconic world-famous special effects house, founded in 1975 by filmmaker George Lucas.

George Lucas also founded/led the eponymous film and television company Lucasfilm and co-founded American Zoetrope on December 12, 1969 with his friend Francis Ford Coppola.

During its long run, Robert Abel & Associates had created some of the most advanced and impressive computer-animated effects, like full ray-traced renders and fluid animation.

Plus, Robert Abel & Associates had its subsidiary: Abel Image Research (AIR).

Both Douglas Trumbull and Con Pederson, formerly hailing from Graphic Films, headed by former Disney animator Lester Novros, adapted, refined and perfected slit-scan.

Robert Abel & Associates, which Con Pederson co-founded, also used slit-scan.

In 1969, Evans & Sutherland released the Line Drawing System-1 (LDS-1), which is the first graphics device to use a graphical processing unit (GPU).

Four years after this 1969 release of its LDS-1 device, Evans & Sutherland also introduced the Shaded Picture System, the first commercial product producing real-time shaded 3D graphics, in 1973.

LDS-1, from Evans & Sutherland, led to more advanced graphics systems and user interfaces.

The Quantel Paintbox and the Quantel DPE-5000 are technological aspects which solidified Quantel's impact on the transition from analog to digital television production.

For the Quantel DPE 5000, it was the first digital video effects system to earn wide success and use.

Using its tablet and its pressure-sensitive pen, the Quantel Paintbox is the most-widely known Quantel product ever and the industry standard for television graphics.

The Quantel Harry is the first digital non-linear editing system.

For the Quantel Henry, it is the first digital multilayer compositing system, doubling as the worldwide industry standard for television commercials.

Meanwhile, the Quantel HAL is the first video graphics and compositing centre, creating high-quality video graphics and effects.

Plus, the Quantel Mirage is the first real-time 3D video effects processor.

Before Quantel, slides were made, using card, Letraset and spray mount; animated sequences were also created using film-based animation or video-based Scanimate, before Quantel as well.

Some innovative Quantel products, including the DPE-5000, Paintbox, Harry, Henry and HAL systems, have reshaped the visual aesthetic of television, especially since the 1980's and beyond.

In 1981, Ampex developed its digital video effects system similar to the Quantel DPE-5000, called the Ampex Digital Optics (ADO) system, used by television networks and producers.

Quantel's DPE-5000 system had its core capacity limited to X/Y position and size adjustments, simpler complexity pushing TLL limits, and basic effects like freeze, zoom and simple rotation.

Meanwhile, the Ampex ADO system had its core capacity: to position video in full 3D space, including perspective and Z-axis rotation, plus more complexity and complex effects like page turns.

Abekas' A-60 disc recorder was introduced in 1984; its A-62 recorder was innovative in introducing lossless real-time digital layering capibilities.

The NYIT Computer Graphics Lab, founded in 1974, has many innovations in computer graphics.

Ed Catmull, Alvy Ray Smith, Jim Clark and Jim Blinn are some of the notable members of the NYIT Computer Graphics Lab team.

Patrick Hanrahan, Ralph Guggenheim and Lance Williams are also involved with NYIT's CGL team.

DEC's VAX and PDP machines produced animation for the NYIT Computer Graphics Lab, as well as Evans & Sutherland.

George Lucas, riding high on the huge success of the first Star Wars film (1977), became interested in utilizing computer graphics for the sequel.

Triple-I, which George Lucas contacted, made a computer-generated test of 5 X-wing fighters for the second Star Wars film.

However, Triple-I's work on the Star Wars film (1980) was deemed too expensive, and George Lucas returned to hand-made models.

Nevertheless, Triple-I's computer-generated test had proven George Lucas that it was possible, and his efforts led him to launch his own computer graphics department within Lucasfilm instead.

Lucasfilm's computer graphics department hired some individuals involved with the NYIT CGL team, including Ed Catmull and Alvy Ray Smith.

The name for Lucasfilm's computer graphics department was The Graphics Group.

In February 1986, Ed Catmull and Alvy Ray Smith spun Lucasfilm's The Graphics Group off as Pixar, named after its digital compositing computer.

Steve Jobs, who resigned from Apple Computer in 1985 to launch his own company NeXT, purchased Lucasfilm's Pixar spin-off in 1986.

Under Steve Jobs, Pixar earned huge success through the Walt Disney Company.

RenderMan is Pixar's rendering program.

Mathematical Applications Group, Inc. (MAGI) and Digital Images are some early computer graphics companies based in New York.

 

John Oxberry is the namesake of a film-based animation stand.

For years, Oxberry has had innovations, including the first commercial animation stand, the first aerial image optical printer, the first digital-to-film recorder and the first film scanner.

Backlit and slit-scan were elements of the high-end Oxberry stand, especially during the 1980's.

Oxberry's aerial image optical printer (introduced in 1957) combined live-action, animation and special effects in a single and precise camera pass.

Introduced in 1984, the digital-to-film recorder (made by Oxberry) bridged the gap between analog and digital standards, marking a critical step for early CGI.

Scanimate is a computer animation system helping graphics circumvent film-based animation.

One of the major Scanimate advantages over traditional film-based animation methods is the ability to create real-time and quick animations.

Even though it was superseded by digital-based technology, Scanimate's legacy in developing motion graphics and its influence on modern animation techniques has never ended.

The Scanimate principles lay the groundwork for modern and sophisticated digital animation tools.

Lee Harrison III was the creator of the Scanimate system.

Denver was Scanimate's birthplace and housed its developer, which is known as the Computer Image Corporation (CIC).

North of the border, Omnibus was founded in 1972 in London, Ontario.

Clifford J. Brown founded Omnibus, but the real mastermind and guiding spirit was John C. Pennie.

In 1974, the Computer Image Corporation decided to find a larger market by launching its Hollywood facility, borrowed its techniques and founded Image West, Ltd.

However, Image West suffered many problems, including not knowing Hollywood well, and the bank foreclosed it eventually; in 1977, Omnibus (CIC's largest consumer) took over Image West.

CIC's original East Coast counterpart was Dolphin Productions.

Triple-I had early computer graphics work through the Motion Pictures Product Group (MPPG), which made contributions to early CGI.

One of Triple-I's contributions to early CGI was its Digital Film Printer (DFP).

Plus, Triple-I developed (and used) the Foonly F1 to create advanced computer graphics.

John Whitney Jr., who was John Whitney's young son, worked at Triple-I's computer graphics division with his partner Gary Demos.

Digital Productions (DP), which John Whitney Jr. and Gary Demos co-founded in 1981 after departing from Triple-I, was financed by Minneapolis-based Control Data Corporation.

Using the Cray X-MP computer backed by CDC, Digital Productions was more advanced than Triple-I.

Fronted by the DEC PDP-11, the Cray X-MP. produced computer graphics that were advanced.

Briefly in the initial year of its existence, Digital Productions used the Cray-1S supercomputer, before replacing this one with the faster, dual-processor Cray X-MP.

In 1981, under John C. Pennie, Omnibus Video was established using the NYIT Tween software, and a year later, Omnibus Computer Graphics as well.

Omnibus Computer Graphics used the Foonly F1 from Triple-I (for which computer graphics division both John Whitney Jr. and Gary Demos worked, as did their own Digital Productions).

Still in Toronto, Alias Research is a major force in 3D computer graphics, like Omnibus.

Kim Davidson and Greg Hermanovic are individuals having their early work for Omnibus Computer Graphics.

Digital Productions was sold to Omnibus in June 1986; three months later, in September 1986, Robert Abel & Associates and Abel Image Research (AIR) were also acquired by Omnibus.

This transaction was nicknamed D-O-A (Digital, Omnibus and Abel).

After Omnibus merged with DP and Abel, leading to this D-O-A transaction, both Kim Davidson and Greg Hermanovic co-founded their own company called Side Effects (SideFX).

SiideFX was founded to bring 3D computer graphics to a wider audience.

Fot SideFX, it has cultivated a relationship with Alias|Wavefront.

PRISMS was one of the software aspects by SideFX, which Omnibus initialy developed.

Houdini is the standard for SideFX, first released in October 1996.

Wavefront Technologies is one of the projects being made by some of the personnel who hailed from Robert Abel & Associates; its flagship product was the Advanced Visualizer.

Softimage was founded in 1986 by NFB filmmaker Daniel Langlois.

Microsoft purchased Softimage in the mid-1990's.

Thomson-CSF had been involved with the computer graphics field since the 1960's decade; in 1984, it founded Thomson Digital Image (TDI).

Plus, the Institut National de L'Audiovisuel (INA) had its own 3D computer graphics activities.

Just two years after its 1984 launch, TDI merged with INA's 3D computer graphics activities to launch TDI Explore in 1986.

Besides its Explore software, TDI also had its own production division.

Plus, Sogitec is a high-end 3D computer graphics software in France.

The production division of TDI merged with Sogitec to form Ex Machina in 1989, and just four years later, in 1993, Wavefront purchased TDI Explore.

In response to Microsoft purchasing Softimage, SGI joined forces with Wavefront (which used TDI Explore) and Alias to form Alias|Wavefront.

Animal Logic is a world-famous visual effects and animation studio based in Sydney, Australia.

Chris Godfrey and Zareh Nalbandian lead Animal Logic, rooted in the Video Paint Brush Company in Sydney, Australia.

Richard Edlund's Boss Film Studios is one of the first visual effects production companies to embrace a successful transition from traditional practical visual effects to CGI.

Having been a rival to ILM, with whom Richard Edlund worked, Boss Film Studios had cleaner effects than the VistaVision format that ILM used.

Eddie is an visual effects software from Animal Logic.

Before Eddie, film and video animators have used multiple programs and computers to create special effects that were time-consuming and expansive.

With Eddie, features like image dissolves, overlays, resizing and morphing are enabled.

Richard Szalwinski left Softimage in the early-1990's to found his own computer graphics company Discreet Logic and re-distribute Eddie from Animal Logic.

Besides, Showscan is a process developed by Douglas Trumbull, which was successfully used, not by Hollywood film studios, but for short films in theme park attractions and motion simulators.

Magicam and Magi are also Douglas Trumbull's other innovations

Heavily influenced by European design, and in particular the Swiss style, Paul Rand is one of the first commercial artists born in America to embrace/practice Swiss.

In addition to motion graphics, Saul Bass is also a logo designer on par with Paul Rand.

The logos being designed by Saul Bass are characterized by a minimalist, impactful style, frequently employing geometric shapes and negative space to convey a strong brand identity.

Countering film output being installed at some other early CGI studios during the 1980's, Pacific Data Images used video production.

Having outlived all the other computer graphics studios active in the early-1980's, Pacific Data Images became successful, never getting into debt by purchasing expensive hardware.

Whilst other studios have supercomputers, Pacific Data Images used cheaper hardware, which enabled lower operating costs.

Alias|Wavefront, Softimage, TDI Explore and Cubicomp Vertigo are some of the major high-end 3D computer graphics software packages, and SGI supplied them all.

Likewise, during the early-to-mid-1980's, computer animation was produced with minicomputers, but shifted to cheaper desktops with 3D graphics capabilities during the late-1980's.

Until the 1980's, the intro sequences for Eyewitness News had a simple wide shot of the studio as the news team walked onto the studio set.

Ever since its inception, Action News has used its fast-paced cinematic intro montage, which includes quick cuts, bold graphics and driving music.

The fast-paced intro sequence for Action News differs from the static intro for Eyewitness News.

Some stations that use the Eyewitness News format have their intro sequences made in the style of an Action News intro to reflect a more fast-paced and modern presentation.

Between the 1960's and the 1980's, the structure and graphics of television news changed.

For newscasts, a presentation style in which scrolling graphics or video consuming the solo screen has evoled into smaller text-to-picture composite graphics positioned alongside the anchor.

During the 1980's, television news presentation changed again (mainly due to advances in production technology and increased competition).

Many of the news studio sets have incorporated elements resembling a command centre, in particular since the 1980's, including video monitors and displays.

Heavily influenced by European design, and in particular the Swiss style, Paul Rand is one of the first commercial artists born in America to embrace/practice Swiss.

Unconfined to to motion graphics, Saul Bass is also a logo designer on par with Paul Rand.

The logos being designed by Saul Bass are characterized by a minimalist, impactful style, frequently employing geometric shapes and negative space to convey a strong brand identity.

HBO's first logo during its national era was introduced on May 1, 1975, when it was still regional.

Betty Brugger, who was the art director for HBO's owner Time-Life, created the HBO logo using ITC Avant Garde Bold as its font.

Nevertheless, the O in the 1975 HBO logo overlapped the B, leading some viewers to call it HEO.

In April 1980, Gerald Huerta refined Betty Brugger's 1975 HBO logo, with letters trimmed and spaces widened.

For HBO's logo, it consists of a bold and uppercase "HBO" text.

A bullseye mark, which represents the camera lens or the projector reels in both filmmaking and film production, based inside the cylindrical O, is incorporated in the HBO logo.

What the O in HBO's logo means is that it suggests that filmmaking takes place, conveys the idea of a home cinema experience and functions as an icon for high-quality film and television content.

Plus, the 1980 version of the 1975 HBO logo is a long-lasting and iconic one with minimal changes.

Television by Design (TVbD) is a former broadcast graphic design firm from the Turner Broadcasting System graphics deparment.

During most of the 1980's, TVbD used Ampex ADO, the Quantel Paintbox and Abekas A-62 for their early and influential work.

In the 1990's, TVbD shifted to 3D computer graphics, employing SGI and Wavefront technologies.

Many of the works being made by TVbD were characterized by hallmarks, such as multiple layers and heavily-used gradients, which eventually became more sophisticated with CGI.

For TVbD, its designs served a wide variety of clients, including numerous individual TV stations and corporate media companies like Gannett, Scripps and Post-Newsweek.

Prior to TVbD, graphic designers from WTBS (or SuperStation WTBS) also utilized the Quantel DPE 5000, Chyron and Grass Valley systems, all of which TVbD later used.

In the late-1980's, jcbD left TVbD to form his own broadcast design firm; his younger, similarly-named brother, whose given name was James, worked at both TVbD and Turner as a graphic designer.

Novocom/GRFX, which was later rebranded as Via Worldwide, is also a broadcast design firm, notably working with Paramount and various worldwide television services.

Like TVbD, Novocom/GRFX is known for its sleek, modern aesthetic in television graphics.

During most of the 1980's, Novocom/GRFX used the Quantel Paintbox, the Cubicomp Vertigo and the Oxberry film stand.

In the 1990's, Novocom/GRFX used the Quantel Paintbox and Henry, Alias|Wavefront, Discreet Logic Flame, Abekas A-60 and A-66 and Grass Valley Kaleidoscope.

Many works made in the 1990's by Novocom/GRFX have characteristics, like heavily-used gradients, glowing borders, abstract shapes, tech-inspired elements, floating 3D text and so on, like TVbD.

Lambie-Nairn is a former broadcast design firm, having been founded by the eponymous designer who moved from literal graphics towards concepts and witty imagery to define and reinforce brands.

Works created by Lambie-Nairn frequently employed cinematic live-action sequences.

Daniel Barber, who studied graphic design and made a short movie at St. Martin's School of Art, is a former employee at Lambie-Nairn.

Having worked at Lambie-Nairn, Daniel Barber's work advanced this motion graphics scene beyond traditional 3D logos with live-action elements in a filmic quality.

Pittard Sullivan is also a defunct broadcast design firm, recognized for pioneering the network brand methodology and, like Lambie-Nairn, often employing cinematic live-action sequences.

3 Ring Circus was led by John Sideropoulos, who came from Pittard Sullivan.

During the 1990's decade, both Pittard Sullivan and 3 Ring Circus created the designs, with Helium Productions doing the animation.

Television stations in the Western Bloc utilize a modern and contemporary look/feel, with a loose and energetic presentation, modern graphics and modern production techniques.

Furthermore, television stations in some neutral nations use the same values as the Western Bloc.

Incidentally, many of the television properties in the Western Bloc have high production values, as do many others in neutral nations.

Global television stations have been influenced for years by public and private television broadcasters hailing from core Anglosphere nations, Latin America and mainland Europe.

For the three primary commercial metropolitan-based television networks in Australia, especially since colour, they have usually adopted a presentation style from their American counterparts.

Metropolitan markets 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, the ABC and SBS before aggregation.

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

This allowed Australia's regional TV assets to air programs from all networks, plus local content.

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

With aggregation, regional TV in Australia has a national network style.

The solus system means that stations in Australia's regional areas have a basic and archaic look.

Aggregation means adopting the high-gloss and metro-based look for Australia's regional areas.

In 1969, ABC commissioned Harry Marks to design an opening title sequence for its own Movie of the Week series, with Douglas Trumbull doing the animation using the slit-scan process.

The innovation for the ABC Movie of the Week intro sequence is the use of the slit-scan technique.

Edstan Studio did the animation for NBC News and its local NewsCentre brand.

During its first years as a regional service, HBO had a basic, low-budget and archaic on-air look.

When its feed was uplinked nationwide via satellite on September 30, 1975, HBO's on-air look was created by Computer Image Corporation using Scanimate.

Using its slogan The Great Entertainment Alternative, HBO transitioned to film-based animation.

Orest Woronewych was a pioneer in adapting computer technology for on-air looks while at HBO; his innovative work led to much of the bold and distinctive graphics used by HBO and Cinemax.

Having worked at HBO from 1978 to 1996, Orest Woronewych's innovations have since been used by many other television networks in the US and the world.

Edstan Studio did the animation for HBO's station identifications from 1977 to 1981.

Robert Abel & Associates did the animation for HBO's feature presentation intro sequences during the early-1980's.

Liberty Studios created the iconic and famous HBO in Space sequence, which is regarded as one of the most beloved opening bumpers of the 1980's.

For HBO in Space, a model city is built in three sections, filmed with a computer-controlled camera.

Plus, the big and shiny HBO logo used for this HBO in Space sequence is a physical model made from chromed-plated brass, also filmed with a computer-controlled camera.

Visual effects for the HBO in Space sequence include a Stargate effect, star field and swirling colours.

Smoke is used for the HBO in Space sequence to give an atmospheric sense of distance.

James A. Kowalski served as the Director of Special Effects for the iconic and famous HBO in Space sequence, and David Bruce did the Stargate animation.

Blending live-action, backlit cel animation, fiber optics, motors, gears and pulleys, this HBO in Space sequence was impressive.

Incidentally, this HBO in Space sequence made its first usage at a transitional period between practical optical effects and computer-generated animation.

Until November 1, 1986, the HBO in Space sequence was used before most programs.

On November 1, 1986, the HBO in Space sequence was reduced to be aired before big-ticket primetime movies and special events to prevent it from the process of getting outdated.

Also on November 1, 1986, the HBO Movie sequence was introduced, used before most general movie presentations, with Pacific Data Images doing the animation.

This HBO Movie sequence lasted until October 31, 1997.

For this HBO Movie sequence, it begins with a heliotrope HBO logo positioned across a filmstrip, with light rays shooting through it, then zooms out from CGI squares glowing in neon colours.

Lights shoot out from the final square, illuminating a group of small, rainbow-coloured dots; they zoom out to form a purple HBO logo with the Movie word was made in a script font on a black backdrop.

November 1, 1997 was when HBO embarked on a new era called It's On Now, with its own on-air look being made by Telezign, tied to its own famous slogan: "It's Not TV. It's HBO."

For Telezign's 1997 work, HBO went through phases of trying to figure out their identity.

During its initial years as a regional cable TV service, HBO's on-air look recalls regional television in Australia in the pre-aggregation era.

Since its national era, HBO's on-air look recalls regional television in Australia after aggregation.

During its first 12 years, 9 under Ted Turner, even after its national superstation status started, WTCG utilized a low-budget and archaic on-air look.

However, with the change of its calls, some years after starting its national superstation status, WTBS made its facelift in both graphics and production values through its graphics department.

For the first on-air look being created after the change of its calls, WTBS started using the SuperStation symbol that resembled the Star Wars logo, giving it a futuristic and cinematic feel.

In turn, this first on-air look for WTBS after its call change was based upon the equally-futuristic visual effects in the first Star Wars film (1977).

All in all, the first on-air look being made for WTBS after the change of its calls from WTCG gave the station a facelift in quality in both graphics and production values.

Until 1981, SuperStation WTBS used a futuristic Star Wars-like font.

From July 1980 to April 1981, the colourful polyhedron-like icon was used for SuperStation WTBS in both its local and national feeds during the era informally known as Rising Star.

The graphics package being created in 1981 for the WTBS national feed had an exclusive focus on the SuperStation WTBS identity, further professionalizing its national presentation.

Using state-of-the-art Quantel Paintbox technology, the 1981 graphics package for the WTBS national signal featured slick animated graphics, emphasizing its national reach and identity.

Helvetica Black Oblique and Helvetica Medium Oblique were notable fonts being utilized in the 1981 SuperStation WTBS logo.

Plus, the image of the CNN satellites was used for the 1981 SuperStation WTBS graphics package.

Informally known as the Satellite Dishes era, this on-air look for SuperStation WTBS lasted from May 1981 to July 1984, mainly associated with the start of its unique Turner Time format.

Not long after, the 1984 graphics package for this WTBS national signal used a sophisticated 3D logo design using cutting-edge CGI technology, with Digital Productions doing the animation.

The Marble era for SuperStation WTBS began in July 1984.

Studio Productions (Flip Your Lid Animation) designed an on-air look for both SuperStation TBS and TBS SuperStation until the early-1990's, further enhancing CGI techniques.

A graphics design company by jcbD's brother designed the on-air look for TBS in the early-1990's.

Garmond Bold Italic is a font used in some SuperStation WTBS logos from 1984 to the mid-1990's.

In the mid-1990's or after 1993, PMcD Design modified the TBS logo with the letters being recoloured yellow and italics removed.

Plus, in December 1996, TBS reincorporated the Superstation moniker into its name (this time with the second "s" rendered in lowercase) with a spiral/swirl shape.

AFCG did the animation for PMcD Design's 1996 TBS Superstation graphics package.

Bodoni Condensed is a font used in some TBS logos made by PMcD Design from the mid-1990's until New Year's Eve 2002.

The Superstation font in the 1996 TBS Superstation logo is Zurich Light Extra Condensed, with Super coloured in yellow on-air.

Jim Parkins designed the TBS Superstation logo after 2002.

Emphasizing its new focus on comedy, TBS introduced its new symbol before 2005, with a half-circle resembling a smiling mouth and the slogan Very Funny.

Sean Heisler designed the TBS logo in the mid-2010's or after 2014; Trollback & Company refined this one in 2020.

The iconic and world-famous CNN logo is inspired by a Yagi Double font.

From 1980 to 1984, CNN used a station ID consisting of an ivory logo sliding into a red-outlined black rectangle, then displaying the text "The News Channel" in a serif font over a live video feed.

Eventually, CNN began using individual logos for its programs.

Besides the Marble look for SuperStation WTBS, Digital Productions also did the animation for Night Tracks and the Cable Music Channel.

For its movie intros starting in late-September 1989, the renamed TBS SuperStation commissioned the newly-opened Disney-MGM Studios at Walt Disney World to be used as a shooting location.

The New York Street backlot at Disney-MGM was specifically used for the 1989 TBS movie intros.

What fitted the 1989 TBS movie intros is the fact that it was filmed on the New York Street backlot at Disney-MGM and shot on thirty-five mm film, giving them a cinematic quality.

During its first 12 years, 9 under Ted Turner, even after achieving its national superstation status, the WTCG on-air look recalled regional television in Australia in the pre-aggregation era.

Upon its call change and using the Star Wars-inspired SuperStation logo, the TBS on-air look recalls regional television in Australia after aggregation.

Balls and Walls is a generic news graphics package made by Television by Design (TVbD).

For the Balls and Walls news graphics package, the city and county name circling in orbit around the geosphere depends on a local area.

For News at Ten (ITV), the face of the Big Ben clock tower is its most famous symbol in the opening sequence.

A quick zoom into the Big Ben clock face is followed by the News at Ten name appearing on screen

During the Cold War, television stations in the Eastern Bloc have a basic and archaic feel.

With Mikhail Gorbachev's policies (glasnost/perestroika), television stations in this Eastern Bloc began having a more contemporary feel by being exposed to global media and Western technologies.

Plus, the formula for using high-end 3D computer graphics for television assets in the Eastern Bloc was after the 1989 revolutions caused by Mikhail Gorbachev's glasnost and perestroika reforms.

With the 1989 revolutions caused by Mikhail Gorbachev's reformist policies, television stations in the Eastern Bloc spiffed up their presentation to be on par with their Western counterparts.

A modern feel all over the Eastern Bloc sparked by the reformist policies made by Mikhail Gorbachev recalls regional television in Australia in the post-aggregation era.

Meanwhile, before the 1990's, television assets in Yugoslavia used a basic and archaic feel.

After the Yugoslav Wars, television stations in Yugoslavia began having a more contemporary feel by being exposed to global media and Western technologies.

Yugoslav television has younger and sexier personalities who use modern and casual clothes, more modern graphics and a looser, more energetic presentation in an era after the Yugoslav Wars.

Some other elements for Yugoslav television in this period after the Yugoslav Wars include modern production techniques eventually used and more field reports with visible anchors/staff.

Plus, the influx of the high-end 3D computer graphics formula for Yugoslav television was after the Yugoslav Wars period.

Many of the Yugoslav television broadcasters in the period after the Yugoslav Wars spiffed up their presentation to be on par with their Western counterparts.

A modern feel in the former Yugoslavia countries after the Yugoslav Wars would recall the regional television scene in Australia in the post-aggregation era.

Huge changes/improvements for Yugoslav television after the Yugoslav Wars made production values become more in line with Western broadcasters and more appealing to younger viewers.

Prior to the 1990's, Argentina's television stations have a basic and archaic on-air look.

In the 1990's, television stations across Argentina began having a more contemporary feel by being exposed to global media and Western technologies.

A modern feel in Argentina since the 1990's recalls regional television in Australia after aggregation.

Whereas Ireland, South Africa, Taiwan and Singapore have later starts for television than some other countries, their programming and presentation are on par with others in the First World.

Filipino television broadcasters in the post-EDSA era use younger and sexier personalities donning modern and casual clothes, more modern graphics and a looser, more energetic presentation.

Some of the other elements for many Filipino television broadcasters in the post-EDSA era include modern production techniques and more field reports with visible anchors/staff.

In the Arab world, just before CNN's coverage of the first Gulf War, television assets have a basic and archaic on-air look.

However, partly due to CNN's Gulf War coverage, television assets in Arab countries started having a modern feel by being exposed to global media and Western technologies.

A modern and contemporary feel for television in the Arab world, partly due to CNN's first Gulf War coverage, recalls regional television in Australia in the post-aggregation era.

CNN's coverage of the first Gulf War has led to broader changes in the content and style of television programming in media across the Arab world, but also spurred cosmetic modern graphics.

In mainland China, under Mao Zedong, television stations have a basic and archaic on-air look.

But under Deng Xiaoping as its paramount leader, television outlets in mainland China began having a modern feel by being exposed to global media and Western technologies.

Since Deng Xiaoping, using modern graphics has been a cosmetic task, but it has also brought broader changes in the content and style of television programming in mainland China.

A modern feel in mainland China since the 1990's decade recalls regional televisionin Australia in the post-aggregation era.

On the other hand, in Vietnam, during the first years after the 1975 reunification as a fully-communist country, many television stations have a basic and archaic on-air look.

However, with Doi Moi, television assets in Vietnam began having a modern feel by being exposed to global media and Western technologies.

Like other nations formerly having an archaic on-air look, a modern look in Vietnam recalls regional television in Australia after aggregation.

For Singaporean television, ever since colour made its arrival, television graphics have improved and evolved.

During the Cold War, India's television presentation was staid, since Doordarshan held a monopoly.

Upon the economic reforms made by P.V. Narasimha Rao and Manmohan Singh, the Indian television landscape began shaking up.

Like other nations formerly having an archaic on-air look, a modern look in India can recall regional television in Australia after aggregation.

Since TRT had held a monopoly before 1990, Turkey's television presentation was staid.

Ever since Star TV began in 1990, television stations in Turkey have begun utilizing modern high-end graphics.

A modern feel in Turkey since Star TV recalls regional television in Australia in the post-aggregation period.

BS Graphics is a pioneering motion graphics studio during Russia's early post-Soviet era.

Having used high production values at a time when other motion graphic studios in post-Soviet Russia used none, BS Graphics used the Quantel HAL system, plus SGI and Softimage technologies.

Sergey Bazhenov founded BS Graphics in 1993.

Founded in the 1990's era, BS Graphics modernized Russia's motion graphics and broadcast design by bringing Western production standards to post-Soviet Russia.

An exception to the other nations in the Eastern Bloc during the Cold War is Hungary.

During the Cold War, MTV, while operating under a communist regime, used a more innovative and progressive presentation than the other Eastern Bloc broadcasters.

The BBC won the Queen's Award on numerous occasions for its worldwide achievements.

Large foreign sales by ITC during the 1960's and beyond led to ACC winning the Queen's Award for Export on numerous occasions.

Quantel won the Queen's Award on numerous occasions for its innovative software being utilized on motion pictures and television.

EMI won the Queen's Award on numerous occasions for its work in the music industry.

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 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.

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.

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, lopping, re-orchestration and fade-ins/fade-outs.

The Tar Sequence, an orchestral music cue from the late-1960's prison drama film Cool Hand Luke by Lalo Schifrin, is one of the cues specifically used through newscasts.

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.

WABC-TV is the first television station in the world to use Cool Hand Luke: The Tar Sequence as the Eyewitness News theme when Al Primo arrived in the late-1960's or before 1969.

Just before Cool Hand Luke: The Tar Sequence was adopted for the WABC-TV version of Eyewitness News, television news music typically comprised traditional orchestral mus.

Plus, the teletype and Morse code were simple news sounders with no music to play in.

Incidentally, before Cool Hand Luke: The Tar Sequence, neutral orchestral music, plus the teletype and Morse code, lacked the dynamic music energy and emotional resonance of a full orchestral theme.

With Cool Hand Luke: The Tar Sequence, it blends the teletype-like melody with traditional cinematic orchestral music, pop and jazz to pioneer the modern news music sound.

Many television assets have either used Cool Hand Luke: The Tar Sequence or created their own news packages mirroring its modern cinematic sound.

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 elements in Cool Hand Luke: The Tar Sequence is adopted and adapted in modern news themes.

Lalo Schifrin, who has roots in Western classical music, jazz and pop, made Cool Hand Luke: The Tar Sequence the quintessential news theme.

With his father (a violinist) as the concertmaster of the Philharmonic Orchestra of Buenos Aires, Lalo Schifrin began classical traning with his piano studies at age 6.

As a teenager, Lalo Schifrin discovered jazz through smuggled records, and in the mid-1950's, he met bebop legend Dizzy Gillespie.

In 1960, Lalo Schifrin moved to New York to serve as Dizzy Gillespie's music director and pianist.

Plus, Lalo Schifrin studied at the Paris Conservatorie under masters like Olivier Messiaen.

During his stay in Paris, Lalo Schifrin also developed an interest in African drumming and modern pop music.

Having performed with the late Astor Piazzolla in the 1950's, Lalo Schifrin even incorporated pop and Latin American elements, specifically tango.

The score for Cool Hand Luke by Lalo Schifrin blends Southern Americana with minimalist themes.

Cool Hand Luke: The Tar Sequence, which Lalo Schifrin created, has become more famous as a news theme than for its original cinematic context.

From the late-1960's to the early-1990's, Cool Hand Luke: The Tar Sequence had been the Eyewitness News theme tune, mainly used in its edited form by ABC stations.

In the 1980's, Frank Gari updated Cool Hand Luke: The Tar Sequence into News Series 2000.

Whereas previous news themes that were created by Frank Gari featured accompanying vocal-driven promotional campaigns, News Series 2000 (CHL's updated version) broke from tradition.

Beyond the US, Cool Hand Luke: The Tar Sequence is also used in both Canada and Australia.

From 1969 to 1986, CFCF used Cool Hand Luke: The Tar Sequence as the theme tune for Pulse.

In Australia, since 1977, Cool Hand Luke: The Tar Sequence has been known as the iconic and famous news theme for National Nine News.

Aujourd'hui C'est Toi from A Man and a Woman by Francis Lai (in its instrumental iteration) is also utilized through newscasts and current affairs.

In the UK, the BBC's Panorama, which is the longest-running television current affairs program in the world, uses an adaptation of Francis Lai's Aujourd'hui C'est Toi as its theme tune.

For Francis Lai's Aujourd'hui C'est Toi piece, what makes it a fitting one for both television news and current affairs is its timpani drums, its strings and its French flavour.

The use of timpani drums in Francis Lai's Aujourd'hui C'est Toi piece can convey drama, urgency and importance, all being suited qualities for a news and current affairs program.

Strings in Francis Lai's Aujourd'hui C'est Toi piece convey gravity and significance.

Move Closer to Your World is an iconic and famous television news music package that is based on a jingle and still used by WPVI-TV and WNEP-TV.

Before MCTYW, The Action News Theme was the first theme used for the Action News format.

Tom Sellers, who was a student of Temple University, which likewise has his fellow classmates and students Daryl Hall and John Oates (Hall and Oates), wrote The Action News Theme.

Al Ham, who was a session musician in pop music, wrote Move Closer to Your World.

Similarly, both Tom Sellers' The Action News Theme and Al Ham's Move Closer to Your World are centered around a trumpet lead and a timpani-driven finish; they also play in the same key.

Plus, both The Action News Theme and Move Closer to Your World have a soul-pop sound.

The first station to use Move Closer to Your World is WNAC-TV, which is one of the first television stations in the United States to use a jingle-based news music package as well.

For years, WPVI-TV and WNEP-TV, both of which are ABC stations in Pennsylvania, have used Move Closer to Your World, doubling as the only US stations to use this music package.

WPXI, though not an ABC station, is another Pennsylvania station using Move Closer to Your World.

Outside Pennsylvania, WKBW-TV, a former sister station of WPVI-TV, notably used Move Closer to Your World, as did other Capital Cities/ABC stations like WTVD, WTNH, KTRK and KFSN.

Fast Action, composed for the De Wolfe label and performed by the Laurence Stephen Orchestra, is a stock music cue notably being used for television news.

What makes Fast Action, composed for De Wolfe Music, a fitting music cue for television news is its dynamic and urgent sound, punctuated by brass and strings.

Good Evening Mr. & Mrs. America & All the Ships, performed by Tom Scott & the L.A. Express, is a music cue fittingly being used for television news, which pays tribute to Walter Winchell.

What makes the music tribute to Walter Winchell called Good Evening Mr. & Mrs. America & All the Ships by Tom Scott and the L.A. Express a fitting news cue is that it has a teletype melody.

The Awakening, written for the KPM label in the late-1960's 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 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, a music composition by Malcolm Batt (John Malcolm), is the first news theme for ITN.

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.

For ITN, the Non-Stop music piece by John Malcolm uses a cheery and upbeat sound, which offers a stylistic contrast to the more serious tone of the BBC's news music sound.

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 many ITN news themes use a more serious sound, though Non-Stop was used occassionally.

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-founded by former ABC News promo producer Stewart Winter, also creates music for ABC News.

Joseph Saba, who was a major label music artist, is VideoHelper's co-founder.

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 piece (G-C-G-D), created for ABC World News Tonight by Score Productions in 1978, has since 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 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.

Dave Grusin, who, like Lalo Schifrin, worked with Quincy Jones, also composed Montage.

What makes Dave Grusin's Montage cue a fitting newscast theme is a staccato melody resembling the teletype.

Classical Gas by Mason Williams is one of the pop music tunes also being used through newscasts.

For Classical Gas, what makes it a fitting music piece for newscasts, in particular television news, is a distinctive and unique classical and pop combination, its driving rhythm and its upbeat feel.

Like Move Closer to Your World, Classical Gas is being used for Action 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 Mission is an orchestral suite, composed by world-famous Hollywood film music composer John Williams as a television news music package for NBC News.

Having consisted of four movements, The Mission altered this news music sound by moving from the conventional fanfare-based themes towards a symphonic and nuanced approach.

Bill "Troll" Tullis served as the music director for Turner Broadcasting System, doubling as one of the voices for SuperStation WTBS, CNN and CNN Headline News.

During the 1980's, CNN used stock music cues from many labels, including De Wolfe, KPM, Bruton, Sonoton, Killer Tracks, FirstCom, Atmosphere, Match, Parry, Omni, JW, etc.

Plus, in the 1980's, CNN commissioned custom music by Score Productions for its station IDs.

In 1990, its tenth anniversary, CNN again contracted Score Productions to create music.

Score Productions also did music for CNN's sister network CNN Headline News, particularly after its merger with SNC, partly-run by ABC News, both of whom it did music as well.

The 4-note cue (C-D-A-G), composed for CNN in 1990 by Gary Anderson and Chuck Loeb of Score Productions and produced by Bill "Troll" Tullis, has since been rearranged and updated.

In addition, the music cues being created for CNN by Score Productions are also stored in the Turner Broadcast Music Library by Sound Ideas.

Besides Turner, Sound Ideas formerly distributed De Wolfe Music and Beatbox Music in Canada.

Iconic and famous actor James Earl Jones delivers the iconic and world-famous quotation for the CNN station ID: "This...is CNN," accompanied by its four-note cue by Score Productions.

Since the early-1990's, some CNN cues written by Score Productions were similar to ABC News.

1978 and 1990 were years of the Chinese zodiac Horse, in which Score Productions made 4-note cues surrounding both ABC News and CNN.

During the Cold War, television news music themes in the Eastern Bloc sounded neutral.

With Mikhail Gorbachev's reforms (glasnost/perestroika), television news music themes in the Eastern Bloc began adopting a more modern uniform Western-influenced sound.

Meanwhile, in both mainland China and Vietnam, many news music themes utilize a modern Western sound, whereas some others sound traditional.

Some Chinese composers also do television news music in a modern Western sound.

Andy Mark had been a co-founder of the PMA since its inception in 1997; his legacy has persisted and grown through the eponymous awards: the Mark Awards.

Some other PMA founders, besides Andy Mark, include Michael Dowdle, Dain Blair, Randy Wachtler, Ron Mendelsohn, Norman Chesky, Joseph Saba and Ivy Tombak.