JohnnyHoang: Motion graphics and visual effects

For years, both the film and television industries have used high production values, often connected to substantial budgets and high-quality visual effects, to give them a polished and professional feel.

Rotating globes and world maps are some of the visual elements being found in many television news intros; these are used to visually represent the global nature of the news.

Many rotating globes in news intros have a counter-clockwise rotation, some others clockwise.

A compass (or a compass rose) is also an element in some television news intros, which symbolizes the news organization's commitment and dedication to unbiased and reliable information.

Blue is used in many television news intros, usually representing trust, reliability and calm, conveying professionalism and credibility and creating stability and authority.

Red is used in many news intros to grab attention and represent urgency or importance.

White usually represents purity, freshness and clarity, contributing to a clean and modern look in many news intros.

The Blue Marble, taken in December 1972, and Earthrise, taken in the late-1960's era, are some iconic images being used in some news intros.

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 introduced the Line Drawing System-1, the first graphics device using a graphical processing unit (GPU), which is shortened to LDS-1.

Just four years after LDS-1 began in 1969, Evans & Sutherland began 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.

In the past, Oxberry has made innovations, including the first commercial animation stand, the first aerial image optical printer, the first digital-to-film recorder and the first film scanner.

Having been pioneers in bridging the gap between digital and analog animation, Oxberry is a name known for high-end animation.

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

Vidifont is a the first electronic graphics generator used for television; in fact, it is the first machine to directly create text for television transmission.

Having been invented by CBS in 1966, Vidifont eliminated the need for traditional methods.

Chyron, co-founded in 1966 by Austrian-born American psychologist Francis Mechner and American engineer Eugene Leonard, also has endured innovations.

One of the innovative Chyron products is the Chyron IV, which revolutionized television production by allowing broadcasters to create high-resolution electronic text and graphics for news and sports.

Released in 1977, the Chyron IV is the standard for character generators during the 1980's.

Also in Chyron's invention list is the iNFiNiT!, which was released in 1989, exactly 12 years after the Chyron IV in 1977; between them is the Scribe, released in 1984.

Lyric/Duet was released in 1998 (years after Chyron IV/1977, Scribe/1984, iNFiNiT!/1989).

In television's early years, text superimposed over a picture tended to disappear; it also endured a blur backdrop.

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.

Countering film output being installed at some other early CGI studios in the 1980's era, 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 high-end 3D computer graphics formula for television stations in the Eastern Bloc came 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 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 feel in the Arab countries of the Middle East, partly due to CNN's Gulf War coverage, recalls regional television in Australia in the post-aggregation era.

CNN's Gulf War coverage led to broader changes in the content and style of television programming in media across the Arab nations of the Middle East, 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, reorchestration 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 music.

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.

Having been rooted in Western classical music, jazz and pop elements, Lalo Schifrin 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 training 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 Conservatoire under masters like Olivier Messiaen.

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

As a film lover from a young age, Lalo Schifrin spent hours in movie theatres in Buenos Aires, but was captivated by film scores more than the stories themselves, which deepened in Paris.

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 has since been more famous as a TV news theme than the film.

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.

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, two of the ABC television stations based in Pennsylvania, have utilized Move Closer to Your World, doubling as the only US stations to use this music package.

Besides, WJET-TV is another ABC station in Pennsylvania using Move Closer to Your World.

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.

Score Productions, based in New York and founded by Bob Israel, has been responsible for the music packages being made for both ABC News and ABC Sports under Roone Arledge.

Edd Kalehoff, who is a freelancer at Score Productions, is the go-to man for ABC music.

VideoHelper, a music company co-led by former ABC News promo producer Stewart Winter, likewise creates music for ABC News.

Joseph Saba, who was a major label artist, usually works with Stewart Winter at VideoHelper.

DreamArtists Studios, founded by Matthew Kajcienski, is also responsible for the ABC News music.

From its July 10, 1978 debut to March 1980, World News Tonight had a teletype theme tune, made for ABC News by Score Productions, innovative for Moog synthesizers on network television.

Later, an orchestral incarnation of the Moog-based teletype theme tune, made for ABC News by Score Productions, was used for World News Tonight until 1990.

A remixed incarnation of the orchestral version of the Moog-based teletype theme tune, made for ABC News by Score Productions, was used from 1990 to 1996.

Edd Kalehoff created his own World News Tonight theme tune in 1996, and revived the 1978 theme in January 1998, at the turn of the 21st century until the early-2010's and in 2020 in three remixes.

The 4-note fanfare, created for World News Tonight by Score Productions, has been rearranged and reintroduced, becoming a sonic signature for ABC News.

VideoHelper and DreamArtists Music also created other themes for ABC News.

Score Productions also did music for the Satellite News Channel, which ABC co-owned.

The Electric Horseman, an orchestral cue by Dave Grusin, is used through newscasts 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.

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 the news music sound by moving from the conventional fanfare-based themes towards a symphonic and nuanced approach.

Ferdinand J. Smith composed the orchestral cue for the HBO in Space sequence, inspired by the film scores from Hollywood's Golden Age.

The HBO in Space cue, written by Ferdinand J. Smith, was recorded with a full orchestra, giving it a powerful and cinematic quality, which was unusual at the time for cable television.

Doing the work for the orchestral HBO in Space cue was Score Productions.

In addition, Ferdinand J. Smith composed the Star Tunnel cue for ABC's movie presentations in 1981.

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.

Celebrate by Three Dog Night was used in the SuperStation TBS rendition as the jingle and the music basis for the promos and interstitial music during informally-known Celebrate era.

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, etc.

Plus, during the 1980's, CNN created custom music for its station identifications.

In 1990, its 10th year, and with the imminent Gulf War, CNN contracted Score Productions to create custom music.

For Score Productions, it had already done music for CNN Headline News, since its merger with the defunct Satellite News Channel, for which Score Productions already did music.

The music cues being created for CNN by Score Productions are also utilized in the Turner Broadcast Music Library by Sound Ideas

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

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.

NFL Films is the film and television production company of the National Football League.

Initially known as Blair Motion Pictures, NFL Films has revolutionized the sports filming world.

Ed Sabol and his son Steve Sabol are the NFL Films figureheads, both of whom make this company a success story.

John Facenda is the first narrator for NFL Films until his 1984 death.

Sam Spence is the primary music composer for NFL Films from 1966 to 1990, having crafted his epic and cinematic Hollywood-like orchestral music scores.

Together, Ed Sabol, Steve Sabol, John Facenda and Sam Spence create the NFL Films hallmarks.

Munich, Germany is the adopted base for Sam Spence and his music work with NFL Films.

Just before NFL Films, marching band music was often featured in many sports films, but under Sam Spence's influence, NFL Films uses cinematic Hollywood-like orchestral music in them.

In his NFL Films music work, Sam Spence's influence derives from many world-famous Hollywood music composers, like Miklos Rozsa and Dimitri Tiomkin.

Having been the music director for NFL Films from the late-1960's to 1984, Phillip Spieller selected music for (and mixed) many sports films during his career.

Phillip Spieller made up a process in which he blended music cues composed by NFL Films' in-house composers, like Sam Spence, with prerecorded tracks from stock music labels.

This process by Phillip Spieller gave NFL Films its cinematic Hollywood-like orchestral sound.

Noted NFL Films innovations include slow-motion shots, edited montages, close-ups and game sound synchronization, plus many others, all set to dramatic orchestral music.

The RCA TK cameras are the first cameras being made for colour television on a practical, commercial and fully electronic basis.

Before the RCA TK cameras, colour television systems were attempted, but relied on semi-mechanical methods.

For the RCA TK-41 camera, it was the industry standard during the 1960's.

Also in RCA's innovation list is the image orthicon video camera tube, utilized during the post-WWII period until the 1960's.

Besides, the Iconoscope, the Emitron and Image Dissector are early television camera tubes.

Vidicons are video camera tubes which became a commercial success, due to its simplicity, smaller size and lower cost, making small-sized video cameras what they were.

Plumbicons are variants of the Vidicon, developed by the Dutch-based multinational company Philips.

In contrast to Vidicons, which caused problems, particularly in low-light conditions, producing noisy pictures and lag effects, Plumbicons have higher resolution, better image quality and others.

Solid-state sensor technology like CCD and CMOS replace Vidicons and Plumbicons in the 1990's.

Dalmo-Victor is a technological empire.

Ampex, which is a spin-off of the Dalmo-Victor company, is known around the world as an iconic and famous technological innovator.

Quadruplex videotape is the first practical and commercially successful videotape format, whereas the Ampex VRX-1000 is the first commercially successful videotape recorder.

Television programming, which is being recorded on tape, provides more schedule flexibility, but also attracts famous celebrities untied to live broadcasts.

Kinescope is the process used to film the television screen, but it is cumbersome and expensive; both quadruplex and the Ampex VRX-1000 are solutions to these limitations.

With both quadruplex and the Ampex VRX-1000, television quality improved.

For Type C videotape, it is smaller, easier to operate and provides slightly higher video quality than the quadruplex videotape.

Plus, Type C videotape has functions that quadruplex has not, like still and slow-motion playback.

Whereas Type C videotape was successfully adopted on both sides of the Atlantic (making it the global leader), Type B videotape was successfully adopted in mainland Europe.

Trinitron is the brand name for Sony's system of television sets.

Some of the notable innovations for Sony's Trinitron system of television sets include vertical bars, one electron gun, an aperture grille and a flatter screen surface in design.

With these innovations, Trinition is an advancement in colour television technology.

Before Sony's Trinitron system, early television sets featured dots, three electron guns, a curved screen surface in design and a shadow mask; these resulted in a dimmed and grainy picture quality.

However, with Sony's Trinitron system, television sets have found solutions to these issues.

FD Trinitron/WEGA is Sony's flat incarnation of this Trinitron system, which featured a flatter screen surface and further improvements to the electron gun, the aperture grille and the deflection yoke.

The Ikegami HL-33 is the first compact hand-held video camera made in colour for ENG and the first broadcast camera to use 1-inch Plumbicon tubes.

Introduced in 1972 (or 1973, sources vary), the Ikegami HL-33 gave birth to ENG.

Earlier, in 1962, Ikegami introduced the first 4 1/2-inch portable image orthicon tube hand-held video camera.

Before ENG, film was the primary medium for recording and broadcasting news footage.

With ENG, news footage was done on a smooth and fast-paced basis, using portable, lightweight and mobile equipment like video cameras and microwave systems.

Sony's Portapak is an innovative video camera using a 1/2-inch reel-to-reel format.

Contrasting to bulky studio cameras requiring crews and transport, Sony's Portapak is the first portable system to allow one person to shoot and record video easily outside studios.

Furthermore, in contrast to film or telecine, the Portapak has video played back on location.

Having been introduced in the late-1960's, the Sony Portapak was the catalyst for ENG, doubling as a precursor to the Ikegami HL-33.

Whereas the Sony Portapak is a monochrome video camera being designed for non-broadcast use, the Ikegami HL-33 is a colour video camera being made for the ENG process.

Plus, Ikegami introduced the TK-301 and the TK-301A colour cameras, both of which resulted in huge improvements over other cameras.

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.

KNXT followed WBBM-TV's example in 1973.

Starting in 1973, both WBBM-TV and KNXT used studio sets with the newsroom as a backdrop, the earlier lasting longer than KNXT.

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 KNXT newsroom studio based on WBBM-TV.

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

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

WNBC-TV implemented a futuristic space-age control room-like studio set for NewsCenter.

Over the years, elements of the futuristic space-age control room-like studio set for NewsCenter were being used.

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.

During its first 30 years, CNN had used the newsroom as a studio backdrop from its two main hubs 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.

Some of the local television stations in North America, like WBBM-TV, were early testing grounds for CNN's first studio set, doubling as its innovative newsroom-as-set trend.

BCTV (CHAN-TV), which used its newsroom-as-set trend at its purpose-built studios during the Tony Parsons era, was the main inspiration for CNN's first studio 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 established at its original hub.

Not until the late-1980's did CNN officially move to the Omni complex, which became CNN Centre.

Eleven 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 the renovated CNN newsroom studio, which lasted from October 1998 until May 2010, and Robert Dickinson did its lighting construction.

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.

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

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.

CNN's sister network CNN2 (later CNN Headline News or Headline News) used a studio set, which featured a control room backdrop from its early-1980's launch to 2005.

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.

In May 2010, the newsroom studio used by CNN was gone, moving to Studio 7 at CNN Centre; this continued until 2014, when its own daytime programming and personnel moved to New York.

CNN Headline News took over Studio 7 in 2014.

Upon its relocation to 299, CityPulse changed its format to a deskless 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.

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.

For Sky News, the newsroom as a studio backdrop lasted from its 1989 debut to the late-2010's.

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.

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 studio set of the CBS Evening News, 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).

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.

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

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

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

This newsroom 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.

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.

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 building was the testing ground for the newsroom-as-set trend.

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

With Chile entering a new democratic era, 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.

During its first years, Vesti on RTR/Russia-1 came from the Ostankino Technical Centre, featuring an enclosed and isolated studio set comprising of 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 duratran, Vesti on RTR/Russia-1 still came from the Ostankino Technical Centre.

Some months after the 1993 events, Vesti on RTR/Russia-1 moved from the still-damaged Ostankino Technical Centre to a new and separate studio based at Yamskoye Pole.

With its move to Yamskoye Pole, Vesti on RTR/Russia-1 started using the newsroom-as-set trend, the first of its kind in Russia.

Made in joint cooperation with a Dutch company, the newsroom studio set for Vesti on RTR/Russia-1 demonstrated a worldwide influence on its design.

Based upon CNN, in turn, inspired by BCTV, this newsroom set for Vesti on RTR/Russia-1 conveyed urgency and transparency that other newscasts in post-Soviet Russia have not.

When it began 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.

In late-2017, VTC introduced a physical newsroom-as-set trend, the first of its kind in Vietnam.

Many Vietnamese television broadcasters, like VTV, utilize traditional news studios, either physical or virtual, but VTC distinguished itself by using a real newsroom-as-set trend.

NFL Films is the film and television production company of the National Football League.

Initially known as Blair Motion Pictures, NFL Films has revolutionized the sports filming world.

Ed Sabol and his son Steve Sabol are the NFL Films figureheads, both of whom make this company a success story.

John Facenda is the first narrator for NFL Films until his 1984 death.

Sam Spence is the primary music composer for NFL Films from 1966 to 1990, having crafted his epic Hollywood-like music scores.