Television's impact on Hollywood

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 notable filmmaking innovations, including widescreen and stereo sound, did not have enough to counter 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.

During the pivotal period when television won over film, graphics designers and filmmakers, like Saul Bass, Maurice Binder and Pablo Ferro, reimagined motion graphics.

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

Prior to the era marked by Saul Bass, Maurice Binder and Pablo Ferro, Hollywood film studios usually have film posters, film trailers and film title sequences being 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, solidifying 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.

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