Aspects in motion graphics, visual effects and broadcast design

United States v. Paramount Pictures, Inc. is a 1948 decree that changed Hollywood.

With this decree, film studios started divesting themselves of their theatre chains, indie producers and directors won freedom and films in the indie, foreign and alternative genres sprang up.

Also contributing to major changes in Hollywood in the post-WWII era was television.

Television's popularity led to a decline in movie theatre attendance, but also led Hollywood to develop larger-than-life, innovative and creative experiences that television could not replicate.

Some of the noted film innovations, including widescreen and stereophonic sound, were not enough to prevent television's popularity, but did successfully change the Hollywood film industry.

With innovations, such as widescreen and stereo sound, Hollywood successfully made a pivot towards blockbusters and high-end visual experiences, but also made a surge in colour production.

Hollywood also started to target a younger demographic wanting to leave the house (pivoting from the older demographic who stayed home with television).

CinemaScope has anamorphic lenses to squeeze a wide picture onto standard film, making widescreen affordable for film theatres around the world.

VistaVision is a widescreen film format for higher resolution and clarity.

Panavision is a company that develops superior lenses to counter visual distortions in close-ups.

Technicolour is a process to counter early television's monochrome.

Eastmancolour is a cheaper alternative to the expensive three-strip Technicolour process, which allows more films to be shot in colour than monochrome.

Some of the other contributors to Hollywood's major changes included the blacklist that came from the HUAC trials and the striking down of the Hays Code.

During the post-decree and television era, individuals like Saul Bass, Maurice Binder, Pablo Ferro and Andrew J. Kuehn reimagined motion graphics.

Kinetic typography and panning shots define the works by Saul Bass, Maurice Binder Pablo Ferro and Andrew J. Kuehn.

Before the Saul Bass, Maurice Binder Pablo Ferro and Andrew J. Kuehn era, film studios endured film posters, film trailers and film title sequences being designed by different artists.

For film title sequences before Saul Bass, 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 Saul Bass.

Incidentally, film titles before Saul Bass used fixed slates or flipped pages that listed names without a narrative connection; popcorn time described dull titles often ignored by audiences.

Likewise, movie advertising (posters and trailers) was handled separately before the 1948 Paramount decree and television; its 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 film clips.

However, with both the Paramount decree and the early popularity of television, Saul Bass created his innovative approach: a unified film branding and titles as mini-movies.

Saul Bass had Eastern European roots; he was taught by Hungarian-born American individual Gyorgy Kepes.

In movie posters, newspaper ads, theatre trailers and on-screen title sequences, Saul Bass was the first filmmaker to mandate that a film's marketing must not be separated from the film itself.

Unified film branding is Saul Bass' usual belief; visual motifs, typography and colour pallettes dictate consumer touchpoints.

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 pioneered fast-paced editing and multi-screen techniques in film title sequences.

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.

Hailing from Madison Avenue, Stephen Frankfurt revolutionized television advertising by focusing on emotional appeal, visual storytelling and a "show-don't tell" approach.

Prior to Stephen Frankfurt, television advertising heavily focused on talking heads.

Stephen Frankfurt brought his innovative techniques from television advertising to motion graphics.

Andrew J. Kuehn's trailers featured innovative techniques from television advertising, which Stephen Frankfurt had pioneered, breaking the dominance/influence of the NSS.

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

With his partner Philip Gips, Stephen Frankfurt had 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.

Aubrey Balkind, who was born in South Africa and has made his first overseas trip in the 1960's, was a member of the company under the Stephen Frankfurt and Philip Gips legacy.

Peter Bemis (who owned Frankfurt Balkind's Los Angeles office) joined forces with Aubrey Balkind to launch Bemis Balkind.

John Whitney Sr. pioneered motion control photography, utilizing decommissioned WWII anti-aircraft computers to create precise geometric patterns.

In 1960, John Whitney Sr. founded his own company called Motion Graphics, Inc.

Six years later, in 1966, John Whitney Sr. was named IBM's first artist-in-residence.

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

Con Pederson also worked at Graphic Films, which Lester Novros led, like Douglas Trumbull.

While working as an intern for Saul Bass, in the 1950's period, Robert Abel entered computer graphics under John Whitney Sr.

Just decades after entering computer graphics, Robert Abel joined forces with Con Pederson, who, like Douglas Trumbull, worked at Graphic Films, to form thier own computer graphics company.

Having been around for sixteen years, Robert Abel & Associates refined the slit-scan, backlit and streak techniques, but also pioneered CGI ones, like full ray-traced renders and fluid animation.

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

In the 1950's, the rise of the teenage demographic changed Hollywood, forcing filmmakers to create a entirely new category for youths in the post-Paramount decree and television era.

Just before the 1950's, films were made for general audiences.

In addition, the main exhibition venue for general films in the pre-1950's era was a downtown-based movie theatre chain owned by film studios, featuring a lavish look.

Plus, the core themes for general films in the pre-1950's era were escapism, romance, patriotism and traditional values.

Besides, general films in the pre-1950's era used orchestral scores and homogenized pop music.

The post-Paramount decree/television era, particularly the 1950's, meant that films were being created exclusively for teens and young adults.

Furthermore, the main exhibition venue for youth-targeted cinema in this post-1950's era was an indie theatre chain based in neighbourhoods and drive-in theatres based in outskirts.

In addition, the core themes for youth-targeted cinema in the post-1950's era were rebellion, romantic angst, alienation and anti-authority sentiment.

Youth-targeted cinema in the post-1950's period also used modern rhythm & blues and rock music.

Both the 1948 Paramount decree and television's early popularity are signs signalling the end of a rigid period for Hollywood, and a fresh and new generation of stars arrived.

Furthermore, both the Paramount decree and television's early popularity also led Hollywood to end its philosophy, which was "something for everyone."

With both the Paramount decree and the early popularity of television, American cinema underwent its transformation from a general entertainment habit into a targeted, youth-driven subculture.

The blacklist from the HUAC trials and the striking down of the Hays Code also contribute to changes affecting Hollywood.

Marilyn Monroe serves as the defining cinematic icon of the post-decree, post-HUAC, post-Code and television era.

Even though they never meet each other in person, both Marilyn Monroe and James Dean are still pop culture/sex icons.

Carmen Jones (1954) is the first film to use an animated title sequence by Saul Bass, who also made its poster, marking the start of his long professional relationship with its director Otto Preminger.

For Carmen Jones (1954), its title sequence features a hand-drawn red rose being engulfed in flames.

Otto Preminger directed his other 1954 film River of No Return, starring iconic and world-famous sex symbol Marilyn Monroe.

In contrast to the static title sequence for Marilyn Monroe's River of No Return movie (1954), the title sequence for Carmen Jones (1954) by Saul Bass is more dynamic.

Earlier, Saul Bass did the marketing materials and poster for The Moon is Blue (1953), impressing Otto Preminger so much that he hired him for Carmen Jones (1954).

Saul Bass also created the animated title sequence for The Seven Year Itch, starring Marilyn Monroe as The Girl.

Whereas Carmen Jones (1954) is graphic in nature, The Seven Year Itch uses stop-frame techniques to reveal the script title cards hidden underneath an animated earth-toned square panel.

Incidentally, The Seven Year Itch is the first film to use an all-graphic title sequence by Saul Bass.

For Saul Bass, his abstract title sequence for The Seven Year Itch, in which Marilyn Monroe plays The Girl, earns positive reviews, a feat previously unheard of.

The Seven Year Itch is most notable for Marilyn Monroe's sexy flying white skirt dress scene.

Contrasting to the static titles for the films that are typical of the Golden Age of Hollywood, including Marilyn Monroe's early films, Saul Bass' ones, like The Seven Year Itch, are more dynamic.

Aside from his 1954 movies River of No Return and Carmen Jones, Otto Preminger directed The Man with the Golden Arm, for which animated title sequence Saul Bass also created.

Kim Novak, who is Marilyn Monroe's Columbia lookalike, is in The Man with the Golden Arm.

Marilyn Monroe's male co-star, who is in the planned (but cancelled) film version of The Girl in Pink Tights, also stars in The Man with the Golden Arm.

Saul Bass created the crooked arm logo for Otto Preminger's The Man with the Golden Arm, which is being used in its opening title sequence as well.

Vertigo is Saul Bass' first collaboration with Alfred Hitchcock, featuring spiral motifs in both the title sequence and the film poster, inspired by Jules-Antonie Lissajous.

John Whitney Sr. collaborated with Saul Bass on Vertigo's title sequence.

The technique that John Whitney Sr. used to create spirals for Vertigo with Saul Bass was a mechanical computing system, making it one of the first major films to use computer-assisted imagery 

Maurice Binder had made 14 of the first sixteen film title sequences for the Eon-produced James Bond franchise from 1962 to 1989, with a few exceptions.

Pablo Ferro pioneered fast-paced editing and multi-screen techniques in film title sequences.

Hailing from Madison Avenue, Stephen Frankfurt revolutionized television advertising by focusing on emotional appeal, visual storytelling and a "show-don't tell" approach.

Stephen Frankfurt brought his innovative techniques from television advertising to motion graphics.

Just prior to Stephen Frankfurt, television advertising heavily focused on talking heads.

The 1950 television commercial for Royal Triton Oil, which features a young and unknown Marilyn Monroe, is one of the first major instances of a Hollywood star in this field.

Cynthia is the name of Marilyn Monroe's car in the 1950 TV commercial for Royal Triton Oil.

Marilyn Monroe's 1950 television commercial for Royal Triton Oil is one of them in advertising's early talking head era.

Using her sexy and sultry voice/persona, Marilyn Monroe's 1950 Royal Triton Oil TV commercial is an innovation.

Before Marilyn Monroe's 1950 Royal Triton Oil TV commercial, early ones relied on rigid pitches.

Royal Triton Oil is produced by the Union Oil Company of California (or Unocal).

For Marilyn Monroe, her 1950 commercial for Royal Triton Oil is her television debut.

1950 is when Marilyn Monroe successfully completed two 12-year zodiac cycles since her 1926 birth, with one more that was successfully completed before her 1962 death.

The trailer for The Night of the Iguana was made by Andrew J. Kuehn, which featured techniques that came from the television advertising field, which Stephen Frankfurt pioneered.

Electra Films, a small editing house in New York, did the work for The Night of the Iguana trailer

For The Night of the Iguana, its trailer (co-done by Andrew J. Kuehn and Electra) forever changed the movie trailer business.

In 1960, John Whitney Sr. refined his techniques from Vertigo by founding his company called Motion Graphics, Inc.

Six years later, in 1966, John Whitney Sr. was named IBM's first artist-in-residence.

Douglas Trumbull and Con Pederson, both from Graphic Films, which former Disney animator Lester Novros led, were some of the VFX supervisors for 2001: A Space Odyssey.

The climactic Stargate sequence in 2001: A Space Odyssey, made by both Douglas Trumbull and Con Pederson, uses slit-scan and streak photography.

In the mid-1960's period, both Douglas Trumbull and Con Pederson also worked on To the Moon and Beyond with John Whitney Sr. at the second New York World's Fair.

Suzy Rice designed the iconic and world-famous Star Wars logo, which ILM's Joe Johnston refined to make it more cinematic.

Dan Perri, with Saul Bass serving as his mentor, created the equally-iconic and world-famous opening crawl for Star Wars, with the Suzy Rice/Joe Johnston logo aesthetic at the start of each film.

The inspiration for this Star Wars opening crawl comes from the film serials that George Lucas loved.

For Star Wars, it features the Dykstraflex, the first motion control camera being controlled by a digital computer.

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.

William Golden and Lou Dorfsman are pioneers who shaped American television's visual identity.

For William Golden, his works, notably the CBS eye logo, have elevated corporate design from simple advertising to a sophisticated and unified aesthetic.

Frequently paired with a Didot/Bodoni typeface, the iconic and world-famous CBS eye, which William Golden created, has since been a part of its corporate identity.

Hex signs on Shaker barns in Pennsylvania Dutch farms inspired William Golden's CBS eye.

Lou Dorfsman took over as CBS' creative director upon William Golden's death, making architecture, interiors and cafeteria menus, but also implementing the custom Didot/Bodoni typeface.

Frank Stanton is a supporter of the iconic CBS eye logo that William Golden designed.

Even with changes in television graphics, William Golden's CBS eye logo has been a consistent one in television.

The CBS visual identity by the William Golden and Lou Dorfsman duo is done using print.

Unconfined to film titles, posters and logos, Saul Bass also dabbled in television.

For instance, the Playhouse 90 intro sequence that Saul Bass created was cutting-edge, but unused.

Besides the unused title sequence for Playhouse 90, Saul Bass did successfully design other television visuals during this period, like NBC's Profiles in Courage and an IBM promo campaign.

Like Saul Bass, Pablo Ferro, unconfined to film titles, also dabbled in television.

For example, through his Elektra Studios, Pablo Ferro created the animation for the first fully-animated NBC peacock logo in colour in 1957.

Saul Bass is a pioneer in film branding (titles/posters) with Bauhaus as his primary inspiration, but also Hungarian design as his other influence.

Harry Marks designed the innovative intro sequence for ABC's own Movie of the Week series that first began in 1969, with Douglas Trumbull (from 2001: A Space Odyssey) doing the animation.

Slit-scan and streak, borrowed from 2001: A Space Odyssey, are techniques being utilized for the ABC Movie of the Week intro sequence.

What influenced the innovative intro sequence for the ABC Movie of the Week is the climactic Stargate sequence in 2001: A Space Odyssey, in which Douglas Trumbull is involved.

In addition to its Movie of the Week series, Harry Marks and Douglas Trumbull did ABC's innovative motion graphics package for a few years since the late-1960's.

From roughly 1969 to 1975, the intro sequence for the ABC Sunday Night Movie, which was made by Harry Marks and Douglas Trumbull, featured slit-scan and streak.

Nikki, named after and written for its composer's daughter born in 1966, is the theme tune for the ABC Movie of the Week, first aired in 1969.

Harry Betts arranged Nikki into a more cinematic and orchestral feel for the ABC Movie of the Week.

When Douglas Trumbull became too busy doing Hollywood special effects and directing films, Robert Abel & Associates took his place as the main network graphics provider for ABC in 1973.

Robert Abel & Associates carried on the slit-scan and streak traditions in the motion graphics scene for television, which both Douglas Trumbull and Harry Marks have pioneered for ABC.

Incidentally, Con Pederson, who co-founded Robert Abel & Associates with its namesake, had worked with Douglas Trumbull on the Stargate sequence for 2001: A Space Odyssey, using slit-scan.

Besides the innovative intro sequence for the ABC Movie of the Week, Harry Marks also pioneered 3D motion graphics, backlit cel and CGI for television.

The ABC Sunday Night Movie intro, depicting a cinema marquee, was co-created by Harry Marks and Robert Abel; it lasted from 1975 to 1981.

Perry Botkin Jr., who is the co-creator of Nadia's Theme with Barry DeVorzon, did the Bacharach-like theme tune for the ABC Sunday Night Movie from 1975 to 1981.

In fall 1981, the intro for the ABC Sunday Night Movie named the Star Tunnel was introduced, which featured advanced slit-scan and backlit cel techniques.

Composing the cinematic and orchestral piece for the ABC Sunday Night Movie's Star Tunnel opening sequence starting in 1981 were Ferdinand J. Smith and Jeff Tyzik.

Using his good relationship with Hollywood's VFX trailblazers Douglas Trumbull, Con Pederson and Robert Abel, Harry Marks changed television graphics with his cinematic approach.

For Harry Marks, he juxtaposed Saul Bass and Douglas Trumbull (in high-end cinematic visuals) with William Golden and Lou Dorfsman (in print-based broadcast design).

In fact, Harry Marks bridged the gap between high-end Hollywood visuals and TV production.

Hawaii Five-O has a fast-paced and quick-cut intro sequence made by Reza Badiyi, set to rock-infused orchestral music by Morton Stevens.

The iconic CBS Special Presentation sequence, beginning in 1973, begins with the Special word (in an Avant Garde font) spinning toward the camera with a trailing effect.

Set to an edited version of the orchestral piece Call to Danger, likewise written by Morton Stevens and included in Hawaii Five-O, the CBS Special Presentation sequence influenced others.

Plus, the iconic intro sequence for the CBS Late Movie, used from 1972 to 1984, was designed by Lou Dorfsman, with Edstan doing the animation.

Morton Stevens also composed So Old, So Young for the CBS Late Movie.

   

From the 1960's to the 1980's, both NBC and CBS have their flagship television newscasts make their transition to commercial breaks by displaying their logos without music.

Countering both NBC and CBS, ABC had its main evening newscast do something different: bumpers being used to tease upcoming news stories to prevent viewers from changing channels.

Since ABC's flagship evening news expansion to a half-hour in the late-1960's era, this trend was used without music.

Roone Arledge came to ABC News in 1977 from ABC Sports to modernize the bumpers and others.

The rotating striped globe, which was made by Cranston/Csuri for ABC News (US), was an iconic and famous television news graphic, lasting from the 1980's to the 1990'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, all made à la Hawaii Five-O.

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.

Meanwhile, for TV stations using the Classical Gas theme, they utilize the similar cinematic opening sequence to Action News in both the Tom Sellers and Move Closer To Your World eras.

For Telesound (based in San Francisco), its own motion graphics sector had a cinematic look and feel through Classical Gas and others.

Bernard Lodge made the innovative opening sequences for the BBC's iconic and world-famous sci-fi franchise Doctor Who.

The first ever intro sequence for Doctor Who was being made using howlround (camera feedback) for William Hartnell; the howlround effect was discovered by Norman Taylor.

For the second Doctor Who intro sequence, it created a more active (and refined) howlround effect for Patrick Troughton, integrating an actor's face for the first time in this series.

Colour television was introduced to Doctor Who in its third title sequence for Jon Pertwee, which was being made using a thirty-five millimetre camera loaed with 2 film rolls.

Pete Govey added colour to the third Doctor Who intro sequence using the process called Bi-Pack.

Bernard Lodge also created the first stylized logo for Doctor Who under Jon Pertwee.

Doctor Who's fourth and fifth title sequences were being inspired by the Stargate sequence in 2001: A Space Odyssey, the earlier starting in December 1973, the latter for Tom Baker.

The 1973 diamond logo for Doctor Who, designed by Bernard Lodge, is an iconic and famous one.

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

But with its imminent national satellite distribution in 1975, HBO's on-air look was given a facelift.

The Computer Image Corporation had created the first graphics package to use the HBO logo that Betty Brugger had designed in May 1975, while on a regional basis.

HBO's first graphics package with its Betty Brugger-designed logo was made using Scanimate.

Due to the Thrilla in Manila via Westar 1, HBO's first graphics package being created by CIC, with its Scanimate use and its logo by Betty Brugger, marked its first national on-air presence.

Not long after the Thrilla in Manila and its satellite change to Satcom 1, HBO shifted its graphics from video-based to film-based.

Edstan Studio did the animation for HBO's station IDs, like Earth and Colour Trails, from May 1978 to June 1981, using cel animation.

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Robert Abel & Associates did the animation for the HBO Feature Presentation sequences, the first such occasions, using slit-scan and backlit animation.

Prior to these HBO Feature Presentation sequences animated by Robert Abel & Associates, HBO began Hollywood films with a station ID and then ratings bumper.

Kabel is a font being used by HBO in its on-air text, menus and bumpers starting in 1977.

ITC Avant Garde Gothic Bold replaced Kabel as a font being used by HBO in its on-air text, menus and bumpers, which remained from its 10th year since 1972 until 1985.

Tim Landry did secondary branding for both HBO and Cinemax during the early-to-mid-1980's: on-air station IDs, bumpers and promotional graphics, all using high-end film-based-animation.

Celebrating its first decade on-air since its debut on November 4, 1972, HBO commissioned its Feature Presentation sequence, created/produced by Liberty Studios (based in New York).

Anthony Lover, who held Liberty Studios, directed this HBO Feature Presentation sequence, one of the most famous and ambitious opening sequences in television history.

For the iconic and famous HBO Feature Presentation sequence by Liberty Studios, it features the HBO symbol flying in space, made in the form of a futuristic spacecraft.

The usual name for Liberty's iconic and famous HBO Feature Presentation sequence is HBO in Space.

Liberty's HBO in Space sequence was shot on thirty-five mm film, giving it a cinematic quality.

For the iconic HBO in Space sequence, it uses a model city being divided into 3 sections: the city, the outskirts and the countryside, 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.

Computer-controlled motion control cameras, popularized by the Star Wars franchise, are being used to film Liberty's HBO in Space sequence.

The miniature movie theatre features a marquee reading HBO Theatre in the city section of this HBO in Space sequence, making this network a cinematic experience within the viewer's home.

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.

The Stargate effect, inspired by 2001: A Space Odyssey, is in Liberty's HBO in Space sequence.

Mixing live-action with backlit cel animation and others, this HBO in Space sequence is known as an impressive piece of the motion graphics scene.

Ferdinand J. Smith is the composer of the music cue being made for the HBO in Space sequence.

Cinematic Hollywood orchestral music is the basis for Ferdinand J. Smith's HBO in Space cue.

Recorded with a 65-piece orchestra, this HBO in Space cue, which Ferdinand J. Smith composed, was being done by Score Productions, led by Robert A. Israel.

The iconic and famous HBO in Space piece, composed by Ferdinand J. Smith (and produced by Score Productions), features a 12-note motif.

Most TV themes were played by small ensembles or using synths, but the HBO in Space piece (which Ferdinand J. Smith created and Score Productions produced) was a complete opposite.

This iconic HBO in Space piece, written by Ferdinand J. Smith, has a cinematic Hollywood orchestral sound recalling the blockbuster sound of such composers as John Williams and Jerry Goldsmith.

Several variants of the HBO in Space piece were made, but the main theme is the most famous of all.

All in all, the HBO in Space sequence is designed to symbolize HBO's national reach across the United States, but also bridges the gap between high-end Hollywood standards and low-budget cable TV.

Plus, the HBO in Space music cue, recorded with a 65-piece orchestra typically reserved for major film soundtracks, bridges the gap between high-end cinematic orchestral music and low-budget cable.

With Liberty's HBO in Space sequence moving from a local place to outer space, HBO was not a local service, but a national film theatre on television delivered from the stars (Satcom).

Likewise, to celebrate its 10th anniversary since its debut on November 4, 1972, HBO changed the font used in bumpers and text from Kabel to ITC Avant Garde Gothic Bold.

ITC Avant Garde Gothic Bold is an on-air font for HBO, used until 1985.

The first rating bumpers for HBO are made using slides, which consisted of segmented lines forming a diagonal corner at the centre of the screen, starting in 1975, its first national year, until 1978.

Resting by the corner in HBO's first rating bumpers until 1978 is a 3D rating with text under it.

Starting in April 1978, HBO's second rating bumpers consist of a blue MPAA rating logo being located near the top-left corner of the screen on a black background.

Below the blue MPAA rating symbol, white text to describe the rating in HBO's second rating bumpers scrolls up from the bottom of the screen and disappears into below the MPAA rating symbol.

The white text to describe the MPAA rating in HBO's second rating bumpers was made using Chyron.

HBO's third rating bumpers, which began in its 10th year since its 1972 debut, consist of a red-orange MPAA rating logo on the top-left corner of the screen on a black-blue gradient background.

Usually paired with the iconic and famous HBO in Space sequence, HBO's third rating bumpers were created on film rather than video.

In 1985, HBO's rating bumpers expanded to include the new PG-13 rating being introduced in 1984; a gradient was updated to include diagonal rows of embossed HBO logos across it.

The gradient in HBO's fourth rating bumpers was made using the Quantel Paintbox system.

Meanwhile, the bumpers being used to tease upcoming programs (specifically films) were made using primitive video-based Chyron text in HBO's first national years until May 1, 1980.

For HBO's teases of upcoming programs (especially films), lasting until May 1, 1980, the Coming Up Next text scrolls up on a black background.

Underneath this Coming Up Next text being used in HBO's teases of upcoming programs until May 1, 1980 is a line, a film title and a brief description of the film; the airing time then cuts in.

On May 2, 1980, after Gerald Huerta's refinement of the HBO symbol created by Betty Brugger (and in preparation for Cinemax's debut), HBO's teases and bumeprs underwent a facelift.

The HBO teases starting on May 2, 1980 features a neon-esque sign, with Next On written against three gray lines, positioning to the top as it shines.

Below, the title of the film and some of its actors fade in for HBO's teases starting on May 2, 1980, with the text in a light blue-ish colour.

A few seconds later, the title of the film and some of its actors in HBO's teases starting on May 2, 1980 disappear, and a similar sign, this time with HBO on it, positions right below Next On.

For the HBO teases starting on May 2, 1980, the elements are made on a black background.

HBO's teases starting on May 2, 1980 were being created using film-based motion graphics rather than simple video-based Chyron text, a watershed that elevated HBO into a polished identity.

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.

In celebration of its silver anniversary since its 1972 launch, HBO introduced a new era called It's On Now, with its own on-air look being made by Telezign, 

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

Clyde Beamer and Mike Cushny of Telezign made the HBO package during the It's On Now era, which was criticized for its B-star branding and antics (compared to Cinemax).

The 12-note motif for the HBO in Space cue by Ferdinand J. Smith was also used in its station IDs and bumpers with its 1997 rebrand.

Pittard Sullivan designed the 1990's iteration of this HBO in Space sequence, with Mark Johnston as its director and Cafe FX doing the animation.

The late-1990's version of the HBO Feature Presentation sequence made its debut prior to the exclusive HBO premiere of the Steven Spielberg film Saving Private Ryan, aired in the late-1990's.

Used to rectify the problems caused by the It's On Now era, the Pittard Sullivan-designed HBO Feature Presentation sequence lasted nearly 12 years until the early-2010's.

The first HBO Special Presentation sequence was made by the Computer Image Corporation using the Scanimate system, ending with the Betty Brugger-designed logo.

In the 1980's, the more cinematic HBO in Space sequence for specials replaced the Scanimate one.

Also on November 1, 1986, the HBO Movie sequence was introduced, used before most general movie presentations, created by California Film, 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.

Plus, from 1986 to 1998, the HBO Special Presentation sequence featured the hot pink HBO logo and ended on a slight angle (à la 20th Century-Fox).

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.

Cranston/Csuri created the intro sequences for HBO Sports programs, including World Championship Boxing, Inside the NFL and Wimbledon, from 1986 to 1990.

Rhythm & Hues did the similar pattern to Cranston/Csuri for HBO Sports from 1990 to 1993.

Hammerhead Graphics designed the graphics for HBO Sports since 1997.

Novocom/GRFX and HBO Studio Productions did the animation for the intro sequence and graphics package for HBO's Inside the NFL during the 1997 season.

On March 4, 2017, HBO commissioned its US-exclusive Feature Presentation sequence by Imaginary Forces, featuring Liberty's HBO in Space sequence.

Plus, in mid-April 1996, HBO introduced its production logo idealized by Bruce Richmond, informally known as the Static Angel.

During its initial years as a regional cable TV service, HBO's on-air look recalled regional television in Australia under the solus system.

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

Incidentally, HBO's first years as a regional channel featured flat, 2D and static graphics, which, in its national era, became 3D, chrome and motion.

Plus, during the solus era, HBO used generic stock music or local jingles, but in its national era, it has featured cinematic Hollywood-like orchestral music.

For its first 11 years, 8 under Ted Turner, even after its national superstation status started, WTCG had a low-budget and archaic on-air look.

With the use of the symbol inspired by the Suzy Rice/Joe Johnston Star Wars aesthetic, WTCG was not simply a local station, but a SuperStation delivered from the stars (Satcom 1).

Even after its call change, just a year after this August 1978 introduction of the Suzy Rice/Joe Johnston Star Wars-like logo, SuperStation WTBS still had a similar Star Wars-like on-air look to WTCG.

jcbD led the highly-influential Turner Broadcasting System graphics department.

For jcbD, his in-house work at Turner Broadcasting System began a year after the Star Wars-inspired aesthetic also began in August 1978, lasting until the mid-1980's or before 1984.

Plus, SuperStation WTBS maintained this Star Wars-like typeface, first used by its precursor WTCG in August 1978, but in a modified ITC Bolt version and with a star icon, lasting until May 1981.

During his 4 years at Turner Broadcasting System, jcbD utilized the Quantel DPE-5000, Chyron, Grass Valley, Ampex ADO and Quantel Paintbox systems.

Notably, the Suzy Rice/Joe Johnston Star Wars-style aesthetic for SuperStation WTBS, which began in August 1978 under WTCG, happened right as Turner launched CNN.

In 1981, as cable television became a household staple other than a high-tech novelty, WTBS began to phase out its futuristic Star Wars-like feel in favour of a more polished and corporate one.

This 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.

Besides, the image of the CNN satellite collection was used for the 1981 SuperStation WTBS graphics package to emphasize its national reach and identity.

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

In July 1984, the WTBS national feed started  using a sophisticated 3D logo design using cutting-edge computer graphics, with Digital Productions doing the animation.

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.

DesignEFX and a firm by jcbD's brother did the on-air look for TBS in the early-1990's.

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

From 1986 to 1989, the NYIT Computer Graphics Lab did the 3D animations for both CNN and CNN Headline News, the first instance to use 3D CGI for both of them.

Studio Productions (Flip Your Lid) did the 3D animation for CNN's station ID during the late-1980's.

3 Ring Circus also designed CNN's station ID, with Helium Productions doing the 3D animation.

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

When MTV began on August 1, 1981, it used footage of the landing of the first humans on the moon in Apollo 11 (plus its liftoff), held in July 1969, swapping the American flag for the MTV logo.

MTV's usage of the Apollo 11 moon landing reinforced this "satellite/space" theme (present in the logo inspired by Star Wars for TBS in 1978, plus the HBO in Space sequence until 1997).

The countdown sequence before MTV's August 1, 1981 launch came from the Space Shuttle Columbia launch countdown, held on April 12, 1981.

For MTV, with apologies to humans landing on the moon, like Neil Armstrong, it made viewers realize that the music video industry is one small step for music, one giant leap for television.

Plus, MTV's usage of this 1969 Apollo 11 moon landing for its station IDs cemented the idea that cable television had become a high-tech, futuristic alternative to the Big Three networks.

In addition, MTV reframed music videos from being mere promotional clips into a real medium that dominates the 1980's and beyond.

MTV's Fred Seibert and Alan Goodman planned to use Neil Armstrong's One Small Step quotation, but because he ran his name and likeness, it replaced his quote with a beeping sound.

Using the footage from the countdown to the Space Shuttle Columbia launch in 1981 and the Apollo 11 liftoff in 1969, MTV launched itself into space (and into homes across America).

NASA's public domain footage from two historic missions, held in both 1969 and 1981, were known as being symbolic of MTV's own liftoff.

Coincidentally, both the year when humans land on the moon (1969) and the year of the launch of the Space Shuttle Columbia/MTV (1981) fall under the Rooster year.

Wednesday, which is the day that has the highest letter count (9), is when 1969 began on January 1 and ended on December 31 as a Gregorian year.

In addition, 1969 is with the Earth Rooster (12), the Chinese zodiac with the most letters in English.

Thursday, which the day that is tied with Saturday for the second-highest letter count (8), is when 1981 started on January 1 and ended on December 31 as a Gregorian year.

Besides, 1981 is also with the Metal Rooster (12), the Chinese zodiac with the most letters in English.

Scott Miller & Associates made the graphics for TNT, its theme being the cosmos, upon its debut in the late-1980's, with Pacific Data Images doing the high-end animation.

The first TNT graphics package, with its theme being cosmic, proved that it was a TV station delivered from the stars, similar to HBO, SuperStation WTBS and MTV.

Plus, Shelton Leigh Palmer (Shelly Palmer) created TNT's first ever music package.

The first music package for TNT, created by Shelly Palmer and produced by Bill "Troll" Tullis, has a cinematic orchestral sound, laden with rock drums and synths.

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.

All the 1989 TBS movie intros were being filmed on the New York Street backlot at Disney-MGM and likewise being shot on thirty-five mm film, giving them a cinematic quality.

In addition, Disney-MGM is the location for WCW in 1993, but also WCW Monday Nitro.

During its first 11 years (9 of them that Ted Turner ran, even after its status as a national superstation started), the WTCG on-air look recalled Australia's regional TV under the solus system.

By using its SuperStation logo à la Star Wars and changing its calls from WTCG, as well as CGI, the SuperStation WTBS on-air look recalled Australia's post-aggregation regional TV era.

With apologies to the Cinderella fairy tale, the on-air looks of the early cable television services were locally banished and isolated servants.

Plus, with apologies to one of Aesop's Fables, cable television had been a slow-paced local tortoise in contrast to the nationally fast-paced Big Three hares.

The national satellite delivery of the early cable TV services, with apologies to Cinderella, was a Fairy Godmother that elevated them from servants into princesses in cinematic graphics/visuals.

By the same token, with apologies to Cinderella, early cable television's national satellite uplinks were glass slippers for princesses in ball gowns to marry the charming Big Three princes.

Plus, with apologies to Cinderella, the stroke of midnight marked the magical demise of the staid local cable television presentation with a national satellite-fed one in in cinematic graphics/visuals.

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Using the national satellite delivery process, with apologies to this Cinderella fairy tale, the early cable television services turned themselves from a regional pumpkin into a national carriage.

Likewise, with apologies to Cinderella, the stroke of midnight meant that the absolute monopoly being controlled by the Big Three networks was magically threatened by national satellite-fed cable TV.

In addition, with apologies to one of Aesop's Fables, the national satellite uplinks of the early cable TV services made the tortoises run at the same speed as the Big Three hares.

HBO's iconic logo features the O that represents filmmaking, home cinema and high-quality films; the bullseye within the O represents the camera lens or the projector reels.

As for WTCG/WTBS, its SuperStation logo, introduced in 1978, has a cinematic feel à la Star Wars.

Not confined to doing the animations for network television, film studio logos and commercials, Edstan Studio did the same for cable TV, which was once low-resolution and localized.

Edstan, for example, did the animations for the early HBO station identifications, like Earth and Colour Trails, from May 1978 to June 1981, using cel animation.

Robert Abel & Associates did the animation for the HBO Feature Presentation sequences, which lasted until its 10th year since 1972, when it was replaced by Liberty's famous HBO in Space sequence.

Liberty's HBO in Space sequence has a cinematic look, feel and sound.

Incidentally, Robert Abel & Associates carried on the traditions in motion graphics for TV, which both Douglas Trumbull and Harry Marks have pioneered at ABC, like slit-scan and backlit.

The WTCG/WTBS national feed started using the cinematic Star Wars-style logo in August 1978, just nearly 2 years after its uplink via Satcom 1.

Not long after, jcbD joined the in-house TBS graphics department.

jcbD made animations (using the Quantel DPE-5000, Chyron, Grass Valley, Ampex ADO and Quantel Paintbox systems) while at the SuperStation WTBS graphics department for 4 years.

Besides making film title sequences, R/GA did the animations for television, as well as cable.

For example, R/GA did the animation for QUBE, an early cable television system being run by Warner Communications, using slit-scan and cel animation.

Edstan, Robert Abel, R/GA and jcbD were figures in introducing high-end, high-quality and cinematic motion graphics seen on network television to low-resolution and low-quality cable television.

What makes cable television graphics on par with cinematic network-quality television graphics made through Edstan, Robert Abel, R/GA and jcbD is national satellite-delivered transmission.

Harry Marks did to network television what Edstan, Robert Abel, R/GA and jcbD did to cable.

For years, television stations located in the First World have used high production values.

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

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

In the Australian television scene, public and commercial networks have maintained their on-air looks similar to their First World counterparts, ever since it arrived in the mid-1950's era.

For the three main metro-based television networks in Australia, they have often borrowed their on-air looks from the US-based Big Three networks since their debuts, even in colour and digital.

The Nine Network (or Channel Nine), for example, uses the Still the One slogan, which hails from the campaign being used by ABC (US) for 2 non-straight seasons, starting in the 1977-1978 season.

Besides, Channel Nine's news division also utilizes the rotating striped globe, made by Cranston/Csuri Productions for ABC News (US), since 1984.

Plus, Nine maintains long-term programming and stylistic similarities to CBS (US).

From 1989 to the turn of the 21st century, the Seven Network used its iteration of the Circle 7, closely based on one used by WJLA-TV from 1975 to 2001.

Seven also has a close relationship with NBC (US), often sharing news resources and promo styles.

On the other hand, Network Ten is owned by Paramount Global, which also owns CBS; this corporate alignment means on-air styles and content being more closely integrated.

The national television service of the unrelated ABC (which is the BBC's Australian answer) has used a distinctive, high-end, sophisticated and professional on-air look since its mid-1950's debut.

Whilst Australia's three metropolitan-based television networks have borrowed many elements from the US-based Big Three networks since their debuts, the unrelated ABC has had its own, like the BBC.

In the 1950's decade, newspaper groups that have controlled commercial television in Australia used an advertising model based on America's Big Three networks, in contrast to the BBC model.

Making the switch to PAL colour allowed commercial television outlets in Australia to better align with worldwide visuals.

For PAL, this means the adoption of glossy American graphics and promos in Australia was smooth.

Australia's metro places have three commercial television channels, plus the ABC and SBS.

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

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

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

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

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

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

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

Conversely, aggregation in Australia's regional television scene leads to a decline in localism.

Southern New South Wales is the first region in Australia to have this television industry be affected by aggregation, which came in late-March 1989.

Queensland is the second Australian region to have television be affected by aggregation on New Year's Eve 1990.

Northern New South Wales, Victoria and Tasmania come around in the early-to-mid-1990's.

Western Australia, South Australia and the Northern Territory are some Australian regions not to have television initially be affected by aggregation.

Both in metro and rural/regional markets, the television service of the unrelated ABC (Australia) has a unified Lissajous logo since the mid-1960's, unaffected by colour and aggregation.

Stations of the unrelated ABC (Australia) have bben identified by their unique calls.

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

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

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

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

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

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

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

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

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

Metro television stations in Australia has operated with high production values for years.

Rural/regional television outlets in Australia has operated with fewer resources than metro ones before aggregation.

Since March 1989, aggregation for Australian TV has bridged the gap between metro-based networks (professional, glossy, high-end) and regional stations (under-resourced) in graphics and visuals.

With apologies to one of Aesop's Fables, before the aggregation process, the metro television scene in Australia was the fast-paced hare, whereas regional television was the slow-paced tortoise.

Plus, with apologies to the Cinderella fairy tale, before aggregation, Australia's metro television scene served as a beautiful princess; regional TV served as a banished and isolated servant.

Aggregation, with apologies to the Cinderella fairy tale, was the Fairy Godmother that turned regional television in Australia from a banished servant into a princess in graphics and visuals.

In addition, with apologies to Cinderella, the glass slipper by the rural princess wearing a ball gown to marry the three charming national metro TV princes in Australia was aggregation.

Using the aggregation process that was initiated in March 1989, with apologies to Cinderella, regional television in Australia has been transformed from a pumpkin into a carriage.

Locally-produced programs in Australia's regional television scene, conversely, were cancelled, which meant that, with apologies to Cinderella, the stroke of midnight caused the return to rags.

Furthermore, aggregation, with apologies to one of Aesop's Fables, also forced the regional television tortoise in Australia to run at the same speed as the metro hare in both technology and content.

Southern New South Wales is the first region in Australia to have this television industry be affected by Cinderella-like aggregation.

During the Cold War era, television in many countries of the Eastern Bloc came under strict communist control, with 1 or 2 channels usually carried under a monopoly.

Incidentally, television in the Eastern Bloc recalled regional TV in Australia under the solus system.

Hungary and Yugoslavia are noted exceptions to Eastern Bloc television during the Cold War.

Magyar Televízió (MTV), during the Goulash Comminism era, used more innovative and progressive station idents/break bumpers than the other Eastern Bloc broadcasters during the Cold War.

JRT used a presentation aligned with Western broadcasters during the Cold War.

Some countries in the Eastern Bloc also imported or were exposed to television programming from the Western world during the last decades of the Cold War.

Glasnost and perestroika are policies that allowed television services in the Eastern Bloc to modernize themselves, as well as Lech Walesa's Solidarity movement.

With glasnost, perestroika and Lech Walesa's Solidarity, television channels in the Eastern Bloc started having a modern feel by being exposed to global media and Western technologies.

Private television services broke the state monopoly held by television in the Eastern Bloc.

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.

Even after Hungary's Goulash Communism period (and despite the 1997 debut of its private television sector), Magyar Televízió (MTV) still used its high-end graphics.

During this Cold War, with apologies to one of Aesop's Fables, television in the Western world was the fast-paced hare, while television in the Eastern Bloc was the slow-paced tortoise.

Meanwhile, in some Eastern Bloc countries, during the Cold War era, with apologies to one of Aesop's Fables, the fast-paced Western TV hare was an alternative to the slow-paced Eastern TV tortoise.

Furthermore, during the Cold War era, with apologies to Cinderella, television in the First World was a beautiful princess, whereas television in the Eastern Bloc was a banished and isolated servant.

In some Eastern Bloc countries, during the Cold War era, with apologies to Cinderella, the Western TV princess served as an alternative to the banished and isolated Eastern TV servant.

With apologies to Cinderella, glasnost and perestroika were Fairy Godmothers that elevated the Eastern Bloc's on-air TV looks from banished and isolated servants to princesses in graphics and visuals.

Likewise, with apologies to Cinderella, glasnost and perestroika were glass slippers being used to allow princesses wearing the ball gown in the Eastern Bloc to marry the charming Western princes.

Using glasnost and perestroika, with apologies to Cinderella, television presentation across the Eastern Bloc has been transformed from a pumpkin into a carriage.

Likewise, glasnost and perestroika meant that, with apologies to Cinderella, the stroke of midnight had caused the end of the old guard for television presentation in the Eastern Bloc.

Besides, glasnost and perestroika, with apologies to one of Aesop's Fables, also forced the Eastern Bloc tortoise to catch up with (and win over) the fast-paced Western hare.

With apologies to one of Aesop's Fables, Magyar Televízió (MTV), during the communist era, was the fast-paced Hungarian hare, using a more innovative and progressive presentation.

As for JRT, it was the fast-paced Yugoslavian hare during the Cold War.

In addition, with apologies to Cinderella, Magyar Televízió (MTV), during the communist era, was the beautiful Eastern Bloc princess, with an on-air look using a glass slipper and a ball gown.

Meanwhile, for JRT, it was the beautiful non-aligned princess during the Cold War.

Vzglyad is one of the radical Soviet programs during the era marked by glasnost and perestroika.

Blending news magazines à la 60 Minutes with MTV-like music videos, Vzglyad forever changed the television landscape in the Eastern Bloc.

Labvakar is one of the versions being created in response to Vzglyad's success, popularity and format. 

In the Arabic-speaking countries of the Middle East, just before CNN's coverage of the first Gulf War period, television stations 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.

For years, with apologies to one of Aesop's Fables, before CNN's Gulf War coverage, television in the Arab world was a slow-paced tortoise in graphics and visuals.

With apologies to Cinderella, just prior to CNN's coverage of the first Gulf War, television in the Arab countries of the Middle East was a banished and isolated servant.

CNN's coverage of the first Gulf War, with apologies to Cinderella, served as the Fairy Godmother that transformed television in the Arab world from a servant into a princess in graphics and visuals.

Plus, CNN's Gulf War coverage, with apologies to Cinderella, served as the glass slipper being used by Arab television princesses to marry the charming Western TV princes.

In addition, the live coverage of the first Gulf War on CNN, with apologies to Cinderella, also made the Arab television sector transform from a pumpkin into a modern 24-hour news carriage.

With apologies to Cinderella, CNN's live Gulf War coverage likewise meant that the stroke of midnight caused the end of the old guard for television presentation in the Arab world.

Besides, CNN's coverage of the Gulf War, with apologies to one of Aesop's Fables, also forced the Arab tortoise to catch up with the fast-paced Western hare.

Contrasting to the unusually high Western-style production values of the television scene in communist Hungary, pre-1986 Icelandic television had a basic and archaic feel during its first 20 years.

Limited broadcast hours emphasized pre-1986 Icelandic television: nothing on Thursdays and in July.

Sjónvarpið (RÚV) operated on a shoestring budget during its first 20 years, which recalled Australia's regional television industry under the solus system.

By the 1990's, Icelandic television had similar values to Hungary in graphics and visuals.

Stöð 2/Syn TV is the channel changing Icelandic television presentation.

Ever since the October 9, 1986 debut of Stöð 2/Syn TV, a modern and contemporary feel for Icelandic television has recalled Australia's regional TV scene in the post-aggregation era.

From 1966 to 1986, with apologies to one of Aesop's Fables, Sjónvarpið was an unusually slow-paced television tortoise in graphics and visuals for a capitalist nation.

With apologies to one of Aesop's Fables, during the Cold War period, Magyar Televízió (MTV) was an unusually fast-paced television hare in graphics and visuals for a nation in the Eastern Bloc.

During its first 20 years, with apologies to Cinderella, Sjónvarpið had been a unusually banished and isolated servant in both graphics and visuals for a capitalist nation.

Meanwhile, with apologies to Cinderella, MTV was an unusually beautiful communist princess.

The private television sector, with apologies to Cinderella, served as the Fairy Godmother transforming Icelandic TV into a princess in graphics and visuals.

Likewise, with apologies to Cinderella, this private TV sector was a glass slipper that allowed Icelandic princesses wearing the ball gown to marry the charming Western European/Hungarian TV princes.

With apologies to Cinderella, the October 1986 arrival of the private television sector in Iceland meant that the stroke of midnight caused the end of the old guard for television presentation.

Besides, the 1990's, with apologies to Cinderella, forced television presentation in Iceland to transform itself from a pumpkin into a carriage.

Furthermore, the 1990's, with apologies to one of Aesop's Fables, also forced the slow-paced television tortoise in Iceland to catch up with (and win over) the fast-paced Western TV hare.

Until the 1990's era, television in both Greece and Turkey had a basic and archaic on-air look until the 1990's.

By the 1990's, Greek/Turkish television had similar high production values to Western ones.

Mega Channel (Greece), ANT1 (Antenna), Star Channel and Skai TV/Alpha are some of the private television channels changing television presentation in Greece.

Star TV, Show TV, Kanal D and ATV are some private channels changing Turkish television.

Ever since private television arrived in both 1989 and 1990, a modern feel for Greek/Turkish television presentation has recalled Australia's regional TV scene in the post-aggregation era.

With apologies to one of Aesop's Fables, until the 1990's decade, television in both Greece and Turkey served as a slow-paced television tortoise in graphics and visuals.

Likewise, with apologies to the Cinderella fairy tale, television in both Greece and Turkey had been a banished and isolated servant in both graphics and visuals until the 1990's.

Plus, with apologies to Cinderella, television in Western Europe was a beautiful princess.

By the 1990's decade, with apologies to Cinderella, both Greece and Turkey have become princesses as facilitated by the private television Fairy Godmother in television presentation.

Plus, with apologies to Cinderella, the private television sector was a glass slipper that allowed both the Greek and Turkish princesses wearing the ball gown to marry the charming Western TV princes.

In the 1990's, with apologies to Cinderella, both Greek and Turkish television have transformed from a pumpkin into a carriage.

Furthermore, the 1990's, with apologies to one of Aesop's Fables, also forced the slow-paced television tortoises in both Greece and Turkey to catch up with (and win over) the fast-paced Western hare.

Meanwhile, during its first decade, television in South Africa had a basic and archaic on-air look.

By the 1990's, South African television had similar high production values to Western ones.

Electronic Media Network (M-Net) is one of the private television channels that changed television presentation in South Africa.

For M-Net, magic is the common theme.

Since private television arrived in 1986, a modern feel for South African television presentation has recalled Australia's regional TV scene in the post-aggregation era.

Until 1986, with apologies to one of Aesop's Fables, South African television had been a slow-paced tortoise in graphics and visuals.

With apologies to Cinderella, South African television served as a modest girl in graphics and visuals during its first decade until 1986.

By the 1990's, with apologies to Cinderella, South Africa had been a princess as being facilitated by the Fairy Godmother (M-Net) in television presentation.

With apologies to Cinderella, the private television sector was a glass slipper being used to allow South African princesses wearing the ball gown to marry the charming Western TV princes.

Plus, with apologies to Cinderella, the October 1986 debut of M-Net meant that the stroke of midnight caused the end of the old guard for television presentation.

In addition, with apologies to Cinderella, television presentation in South Africa had been transformed from a pumpkin into a carriage.

Furthermore, the 1990's, with apologies to one of Aesop's Fables, also forced the slow-paced television tortoise in South Africa to catch up to (and win over) the fast-paced Western TV hare.

During its first 30 years, from the mid-1960's era until New Year's Eve 1993, television presentation in Singapore had a basic and archaic look.

However, spurred by Singapore Cable Vision (SCV), television presentation in Singapore made some changes.

For instance, Channel 5 began using an American-influenced presentation by Novocom/GRFX.

Novocom/GRFX gave Singaporean television presentation a high-end and high-gloss look.

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 television in 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.

Many regions of the world, often using a basic and archaic television presentation in the past, endured changes during the 1990's and beyond, recalling regional television in Australia after aggregation.

These include the Eastern Bloc, the Arab world and Asia.

BS Graphics is a former motion graphics studio being founded in 1993 by Sergey Bazhenov; it helped modernize the motion graphics scene in early post-Soviet Russia.

Prior to BS Graphics, Russian television relied on analog transitions or character generators.

However, BS Graphics earned fledging Russian channels a corporate look, but also elevated television commercials from video to cinematic and acted as a school for younger digital artists.

Incidentally, BS Graphics' influence in modernizing the motion graphics and broadcast design field in Russia's post-Soviet era recalls Australia's post-aggregation regional TV in graphics and visuals.

Some things for BS Graphics include the Quantel HAL and SGI and Softimage technologies.

With apologies to one of Aesop's Fables, television in early post-Soviet Russia served as a slow-paced tortoise in graphics and visuals.

Likewise, with apologies to the Cinderella fairy tale, television in early post-Soviet Russia served as a banished and isolated servant in graphics and visuals.

However, with apologies to the Cinderella fairy tale, BS Graphics was a Fairy Godmother that turned television presentation in post-Soviet Russia into a high-end princess in graphics and visuals.

BS Graphics, with apologies to Cinderella, served as a glass slipper being fitted to allow this Russian television princess to marry the charming and high-end Western graphic princes.

Plus, with apologies to Cinderella, the 1993 founding of BS Graphics meant that the stroke of midnight caused the end of the old guard for television presentation in post-Soviet Russia.

In addition, with apologies to Cinderella, television in post-Soviet Russia had been transformed from a pumpkin into a carriage with BS Graphics.

The computer graphics division of the ITC company was one of the first private companies located in post-1989 Poland to produce high-end 3D computer animation in graphics and post-production.

Driving the vision for ITC's computer graphics division was Pawel Dzierwa.

For ITC's computer graphics division, which Pawel Dzierwa had led, it recalls regional television in Australia after aggregation.

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.

Initially, Bob Woodhead worked at HBO in its digital graphics department in New York.

While in Atlanta, Bob Woodhead worked at 11th Street Communications (doing many of the animated sequences for Turner networks).

Having moved to Atlanta in 1998 in the wake of the 1996 TimeWarner-Turner merger, Bob Woodhead bridged the gap between the New York-based TimeWarner and the Atlanta-based Turner entities.

Alex Broadbent is a 3D animator (and graphic designer) for Turner Broadcasting System from 1993 to 1997, using Quantel, Alias|Wavefront, Softimage and SGI technologies.

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 evolved 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.

Fred Harpman's NewsCentre design was the basis for these elements resembling a command centre.

In television's early era, superimposing text over a picture was something that tended to disappear.

The method for television's character generator in the 1980's was to add an edge to the letters: either a shadow or a border, notably used by the Chyron IV.

By adding a background behind the letters, either semi-transparent or opaque, text for television made improvements, using the Quantel Cypher and the Chyron Infinit.

All around the world, many television newscasts utilize the news anchor's name being displayed at the bottom of the screen, while some others do not.

Plus, television newscasts use headlines, either before or after the intros, with or without text.