Motion graphics, visual effects and broadcast design

For years, both film and television have used high production values, often being connected to motion graphics and visual effects, to give them a polished and professional feel.

Saul Bass, Maurice Binder, Pablo Ferro and John Whitney Sr. are some of the noted trailblazers in the motion graphics scene.

Georges Melies, Willis H. O'Brien and Ray Harryhausen are noted pioneers in early visual effects.

For the Space Age, Douglas Trumbull, Con Pederson and John Dykstra are also notable trailblazers in visual effects.

David C. Evans, Ivan Sutherland, Robert Abel, John Whitney Jr., Gary Demos, Ed Catmull, Alvy Ray Smith, Jim Clark, Jim Blinn, Henri Gouraud and Bui Tuong Phong are CGI trailblazers.

Oxberry, Scanimate, Quantel, SGI, Autodesk and Adobe are also noted motion graphics trailblazers.

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

Harry Marks is an individual in bridging the gap between the cinematic trends made by Saul Bass and Douglas Trumbull and network branding by the William Golden and Lou Dorfsman duo.

Stephen Frankfurt, R/Greenberg and Kyle Cooper are also trailblazers in motion graphics.

Charles Csuri and Robert Cranston Kanuth are also CGI trailblazers.

Buzz Potamkin, Hal Silvermintz, Candy Kugel, Vincent Cafarelli and John Korty are noted figures in animation.

Drew Takahashi and Gary Gutierrez are John Korty's noted animators.

Kenny Mirman is also a noted trailblazer in motion graphics.

Andrew J. Kuehn is a pioneer of the modern film trailer form.

John Sewell, Bernard Lodge, Alan Jeapes and Sid Sutton are just some of the individuals who reshaped British television presentation

Martin Lambie-Nairn is a television design trailblazer who changed television presentation by bringing computer graphics to Europe and applying cinematic/filmic live-action sequences to station IDs.

Stephan Boeder is a German individual who changed the way television presentation was made around mainland Europe with 3D computer graphics.

Hans Donner is a German-born Austrian individual who turns television presentation in Latin America upside down by bringing Western-rooted high-end television design to this region.

Rudi Bohm is Hans Donner's early partner, who, likewise, comes from Austria.

Sylvia Trenker, who comes from Switzerland, is Hans Donner's first wife.

Nilton Nunes and Roberto Shimose are Hans Donner's frequent partners.

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 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, 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.

Salt Lake City, Utah serves as the primary base for the innovative computer graphics company that was named after (and co-founded by) David C. Evans and Ivan Sutherland.

William Fetter is the person who coined the term computer graphics, but also the first to create a human figure as a 3D model.

John Oxberry is the namesake of a company that produced animation shot on film using 2D celluloid sheets; Scanimate is a system producing animation shot on video.

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 had been a renowned name synonymous for high-end animation.

For Scanimate, it has laid the groundwork for modern and sophisticated digital animation tools.

Lee Harrison III is the creator of the Scanimate system.

Denver is the birthplace of the Scanimate system and houses its developer called the Computer Image Corporation (CIC).

Although superseded by technology based on digital, the legacies in developing motion graphics being made by both Oxberry and Scanimate and their influences on modern animation would continue.

Incidentally, Oxberry does to film what Scanimate does to video.

Similarly, both Oxberry and Scanimate are pre-digital computer animation techniques establishing the fundamental workflows and visuals for modern motion graphics.

The System IV is an advanced analog computer animation system, which was developed by CIC as an improved digital 3D successor to the original Scanimate system.

Unlike Scanimate, the System IV had true 3D animation, allowing for complex spatial movements.

For Stephen Frankfurt's film title sequences, they have an intimate focus on precious childlike objects, along with its use 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.

David C. Evans started the computer science department of the University of Utah, where he mentored future industry titans.

In the mid-1960's, Ivan Sutherland created Sketchpad, the first device with a GUI and a light pen.

Evans & Sutherland, in 1969, introduced the Line Drawing System-1, the first graphics device with a graphical processing unit (GPU), which is shortened to LDS-1.

Just 4 years after its LDS-1 in 1969, in 1973, Evans & Sutherland also introduced the Shaded Picture System, the first commercial product producing real-time shaded 3D graphics.

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

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.

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

Georges Melies developed stop-action, dissolves and dooule exposure, all being innovative VFX.

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.

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

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.

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).

Douglas Trumbull and Con Pederson, both from Graphic Films (which former Disney animator Lester Novros led), adapted and perfected slit-scan, which John Whitney Sr. developed.

Robert Abel & Associates, with its innovative and advanced techniques, has been a pioneer in high-end motion graphics.

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 younger than John Whitney Sr., had worked at Triple-I's computer graphics division, along with his partner Gary Demos.

Doctor Who Bernard Lodge

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.

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

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).

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

Wavefront Technologies is one of the most successful 3D CGI companies being created by some of the Robert Abel & Associates personnel.

The Advanced Visualizer (TAV) is the flagship product of Wavefront Technologies.

1984 is when Wavefront Technologies was founded.

Having lasted from the mid-1980's to the late-1990's, The Advanced Visualizer (TAV) from Wavefront created high-end 3D computer graphics.

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

Nigel McGrath, who began his career in motion graphics in 1972 and began his first CGI company in 1980, co-founded Alias in 1984.

PowerAnimator is the former flagship product of Alias Research, which, like The Advanced Visualizer (TAV) from Wavefront, created high-end 3D computer graphics.

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.

In 1986, just 2 years after its 1984 launch, TDI merged with INA's 3D computer graphics activities to create TDI Explore.

Like The Advanced Visualizer (TAV) from Wavefront and PowerAnimator from Alias Research, TDI Explore created high-end 3D computer graphics.

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

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

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.

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 era to found his own computer graphics company called Discreet Logic and re-distribute Eddie from Animal Logic.

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).

Plus, Nigel McGrath co-founded Side Effects, three years after founding Alias in 1984.

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

Side Effects was founded to bring 3D computer graphics to a wider audience, and has also cultivated a relationship with Alias|Wavefront, both companies that Nigel McGrath co-founded.

Maya is the codename integrating SGI products, including Wavefront's The Advanced Visualizer, Alias PowerAnimator and TDI Explore.

PRISMS was one of the software aspects by Side Effects, which Omnibus initially developed.

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

In 1989, TDI's production division merged with Sogitec to form Ex Machina, and in 1993, Wavefront purchased TDI Explore.

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.

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.

Dolphin Productions is the former East Coast answer to Image West.

Both Image West and Dolphin Productions use Scanimate to create animation on video.

Meanwhile, Bosch and Philips, through their Broadcast Television Systems (BTS) division, introduced their FGS software, one of the first 3D VFX systems to be operated through on-screen menus.

Whereas the Aurora 100 was the first turnkey digital CGI system, the Bosch FGS revolutionized CGI

Founded in 1980 by Carl Rosenthal, Pacific Data Images (PDI) is one of the CGI pioneers.

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

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

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

Also in 1981, Charles Csuri and Robert Cranston Kanuth formed Cranston/Csuri Productions (CCP). 

Lucasfilm entered computer graphics by hiring some individuals from the NYIT CGL team, including Edwin 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 iconic and world-famous rendering program.

Intelligent Light, which was founded in 1984 to develop software for animation and rendering prior to SGI, is now a problem-solver for engineering visualization.

Meanwhile, Cubicomp Corporation, a former company founded in the early-1980's, introduced its own PictureMaker software in 1984.

The Cubicomp PictureMaker was lower-end than the high-end Bosch FGS.

Berkeley is the first base for Cubicomp Corporation, until its move to Hayward in 1986.

Cubicomp was a pioneer in bringing high-end 3D computer graphics to personal computers.

For the Cubicomp PictureMaker, it allowed smaller production houses and local TV stations to create broadcast-quality 3D graphics previously unaffordable, rivalling large-market ones.

Vertigo Systems International, founded in the early-1980's, released its own CGI system in 1986.

Unusually for a digital 3D CGI company, Vertigo Systems was founded by individuals in the real estate scene who built prefabricated homes in non-Anglosphere nations.

In contrast to the Bosch FGS, which had a flat shading technique and low-resolution visuals, Vertigo's digital CGI system, released in summer 1986, had more features and less cost.

For the Vertigo digital CGI system, it used spine-based extrusions, polygon mesh modeling, a materials editor, nestled keyframe animation and one of the first digital video frame buffers.

Plus, the Vertigo digital CGI system had used smooth shading and rudimentary reflection mapping, but without cast shadows, yet it also used 3D morphing techniques.

Besides, the Vertigo digital CGI system, released in summer 1986, was likewise built to run on a Sun Microsystems processor and was supplied by an SGI IRIS.

West Pender Street in Vancouver was the base for Vertigo Systems International.

In the late-1980's period, Cubicomp purchased Vertigo Systems, bridging the gap between the low-end PictureMaker and the high-end Vertigo.

The name Vertigo belongs to the Alfred Hitchcock film, but also a former computer graphics company based in Vancouver.

Gary Yost created Antic Software for Antic Magazine in 1984, when Jack Tramiel acquired Atari from Warner Communications and closed the Atari Program Exchange.

Tom Hudson developed CAD-3D for the Atari ST, which Gary Yost named Cyber Studio.

Leaving Antic to found his own group in the late-1980's, Gary Yost developed 3D Studio for the DOS platform, which Autodesk published, in 1990.

NewTek, founded in Topeka, Kansas by Tim Jenison and Paul Montgomery, introduced its own Video Toaster in 1990, a key component of which is LightWave 3D.

LightWave 3D blends the names of the high-end 3D CGI software: Intelligent Light and Wavefront.

VideoScape 3D and Modeler, both sold by Aegis, serve as the precursors of the iconic LightWave 3D software from NewTek.

Prior to the Video Toaster from NewTek, professional video makers relied on expansive hardware for video production, but with it, they had enormous growth in capability and accessibility.

Subsequent versions, like the 1993 version of the Video Toaster and updates to LightWave 3D, led to faster rendering, motion blur and more powerful 3D capabilities for this platform.

For both the Video Toaster and the LightWave 3D systems coming from NewTek, they revolutionized Hollywood by making high-end visual effects accessible for film and television.

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.

Richard Winn Taylor II is an individual working with Robert Abel & Associates, Triple-I and MAGI Synthavision, plus others.

While at Robert Abel & Associates, Richard Taylor developed a backlit technique called "candy-apple neon," adding vibrant, glowing and fluid 3D effects to characters and scenes.

Quantel, with apologies to one of Aesop's Fables, transformed graphics and video from the slow-paced tortoise into the fast-paced hare.

Plus, with apologies to Cinderella, Quantel transformed graphics and video from rags into riches.

Richard Greenberg and his son Robert Greenberg founded their eponymous and world-famous agency called R/Greenberg Associates (R/GA) in 1977.

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.

For Harry Marks, he is an innovator in adapting high-end cinematic techniques for television through Douglas Trumbull, Con Pederson and Robert Abel.

The Quantel DPE-5000 is 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 workstation ever and the industry standard for television graphics.

1978 and 1981 were years when both the Quantel DPE-5000 and Paintbox systems were released.

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

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 commercial post-production.

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

Flat shading uses faceted and blocky visuals with a very fast performance, visible edge artifacts and a calculation point once each polygon.

Henri Gouraud made the eponymous Gouraud shading, with smooth visuals (but without highlights), a performance that is fast, mach banding artifacts and a calculation point per vertex.

Bui Tuong Phong developed the eponymous Phong shading technique, using smooth visuals and sharp highlights, a expansive performance, less artifacts and a calculation point per pixel, in 1973.

Jim Blinn and Bui Tuong Phong developed the eponymous Blinn-Phong reflection model in 1977.

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.

The Vidifont is the first electronic graphics generator being used for television; in other words, the first machine to directly create text for television transmission.

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

Besides, the CBS Laboratories Vidiac and the A.B. Dick Videograph 990 System are among the earliest character generators.

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

Services Resources Corproation (SRC) is the former name for Chryon.

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).

The Chiron I, which was actually the A.B. Dick 990, was a huge improvement over A.B. Dick's.

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

With its DPE-5000 and Paintbox workstations, Quantel moved television from a manual, analog-heavy environment to a sophisticated digital workflow.

Boss Film Studios, led by Richard Edlund, successfully made the transition from practical to digital.

Having been a competitor to ILM (with whom Richard Edlund worked), Boss Film Studios has cleaner effects than VistaVision that ILM used.

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.

Calico Creations used cut-outs with a cinematic feel in promos and news intros during its peak.

Klein &, an eponymous Los Angeles-based company owned by Bob Klein, who also founded another company with Alan Barzman, specialized in both motion graphics and news music.

Telesound, a San Francisco-based company run by Karl Sjodahl and David Horak, specialized in both motion graphics and news music, like Klein &.

With television surpassing radio in popularity, William Golden created a new symbol to separate CBS Television from its radio division.

For William Golden, his logo for CBS Television features the eye, symbolizing this medium.

Often paired with a high-contrast Didot/Bodoni typeface, the iconic and world-famous CBS eye logo, 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 logo.

Lou Dorfsman took over as CBS' creative director upon William Golden's death, making architecture, interiors and cafeteria menus.

Frank Stanton protected and championed William Golden's CBS eye logo.

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

John J. Graham is the creator of both the NBC peacock logo and the NBC snake logo, the earlier being used to signify colour television with 11 feathers, both in the 1950's.

To celebrate its 50th year, doubling as America's bicentennial year, NBC dropped its peacock and snake symbols, both of which John J. Graham created, in favour of a Trapezoid N.

Lippincott & Marguiles created a Trapezoid N logo for NBC, which the Nebraska ETV Network filed a trademark infringement lawsuit against.

However, the peacock, which was used to signify colour, had such a close association with NBC that its president Fred Silverman made a decision to reinstate its iconic one as its official logo.

With the help of its creative directors Gene Kolomatsky and Ted Szumila, the Trapezoid N logo and the peacock, both associated with NBC, were combined to create the Proud N.

Introduced by Fred Silverman, the Proud N symbol marked the first time that the peacock had served as NBC's official logo rather than just a colour television indicator.

Like John J. Graham's original version, the Proud N logo for NBC used 11 feathers.

Chermayeff & Geismar was hired to make own its modern version of the NBC peacock in 1980.

With Chermayeff & Geismar hired to create its own modern iteration of this iconic and famous NBC peacock, 11 feathers, as seen in John J. Graham's peacock and the Proud N, were reduced to 6.

Besides, the head in the iconic 6-feather NBC peacock logo was turned to face right, a symbol of the network looking towards the future.

Steff Geissbuhler refined and finalized Chermayeff & Geismar's 6-feather NBC peacock logo.

Each of the 6 feathers of the modern NBC peacock represents its divisions.

Yellow represented news, whilst orange for entertainment, red for stations, purple for network, blue for productions and green for sports, all represented by the 6 feathers of the modern NBC peacock.

The use of this 6-feather NBC peacock logo, made by Chermayeff & Geismar, was delayed, however, because this network was, at the time, in the ratings doldrums under Fred Silverman.

Under Brandon Tartikoff, NBC's ailing fortunes reversed, leading to its 6-feather peacock logo finally being unveiled at the end of its 60th anniversary special on May 12, 1986.

Having been an iconic and famous broadcaster since 1926, NBC had celebrated its 60th anniversary in 1986 by unveiling its 6-feather logo made by Chermayeff & Geismar.

Meanwhile, NBC Futura serves as NBC's custom iteration of the Futura typeface (often paired with its contemporary version of its iconic peacock).

NBC's unveiling of its 6-feather logo was not simply a birthday present for its 60th anniversary, but a victory lap for a network that, under Brandon Tartikoff, had finally found its footing again.

On the other hand, Paul Rand recreated the ABC logo into its best-known (and current) form, with the lowercase letters "abc" enclosed in a single black circle, which debuted in October 1962.

William Golden's CBS eye is the longest-running Big Three network logo with minimal changes.

John J. Graham's NBC peacock, even with interruptions and changes, is the second longest-running Big Three network symbol.

Paul Rand's ABC circle is the third longest-running Big Three network logo (second longest overall).

G. Dean Smith, a San Francisco graphic designer, created a symbol for ABC's five owned-and-operated television stations (all on VHF channel 7), consisting of a 7 numeral inside a perfect circle, in 1962.

The Circle 7 logo, created for all ABC-owned stations on VHF channel 7 by G. Dean Smith, is likewise being used by other US stations, plus international broadcasters, in this form or another.

For the Circle 7 logo, it features a 7 numeral being customized with a slight curve to the horizontal bar, allowing it to flow harmoniously with the curve of the circle.

Plus, G. Dean Smith's Circle 7 logo was made using a self-contained unit that looked as good on grainy television as it does on a modern smartphone.

Before G. Dean Smith's Circle 7 logo, stations have distinct logos, but this one unified all ABC-owned stations, creating a national-local feel.

KGO-TV, located in G. Dean Smith's San Francisco hometown, is the first station to use his iconic and famous Circle 7 station logo, when it was introduced in 1962.

Also in 1962, Paul Rand's circular ABC network logo was introduced.

In the late-1990's period, KGO-TV and its sister stations updated their branding by simply attaching the circular ABC network logo by Paul Rand to the Circle 7 station logo by G. Dean Smith.

Both Paul Rand's ABC circle logo and G. Dean Smith's Circle 7 were introduced by ABC in 1962.

For the circular ABC network logo and the Circle 7 station logo, both introduced by ABC in 1962, they maintain their status as two of the most enduring logo designs in the history of television.

Even as stations changed ownerships or affiliations over the years, the Circle 7 logo extends far beyond ABC.

The reason why this Circle 7 logo, which G. Dean Smith made for ABC-owned television stations, was revolutionary for its time is because it conveys both legibility and versatillity.

Crossing the pond, the BBC uses a world-famous logo, featuring the BBC letters inside the 3 boxes that signify the British Broadcasting Corporation, even with changes in form.

While the first iteration of the BBC's iconic 3-box logo comprised 3 squares, but with the letters being slanted, its second version had 3 slanted squares to match the slanted letters, with updates.

The second iteration of the BBC's core 3-box logo lasted from the mid-1960's to 1997, having been its definitive identity.

For the second phase of this second iteration of the BBC's iconic and famous 3-square logo, lasting 17 years until the late-1980's, its boxes were rounded.

Michael Peters refined the iconic 3-box logo of the BBC in the late-1980's period with coloured flashes based under the boxes to represent the nations of the UK and colour television for its third phase.

Helvetica Neue is the font for the third phase of the second incarnation of the BBC's iconic 3-box logo, made by Michael Peters.

October 1997 is when the BBC updated its 3-box symbol to straightened both the squares and letters to solve technical, on-air display issues, lasting 24 years until 2021.

Having lasted from 1997 to 2021, the third version of the BBC's core 3-box logo is iconic and famous.

Gill Sans is the font for the third version of the BBC's 3-box logo from 1997 to 2021.

Abram Games made the logo for the BBC Television Service, with the Bat's Wings as its nickname.

For the Bat's Wings logo by Abram Games, it was commissioned to modernize the image of the BBC Television Service in response to potential commercial competition from ITV.

Unveiled on December 2, 1953, the Bat's Wings is British television's first animated on-air symbol.

Bill Kennard and Brian Sadgrove both created the iconic and famous logos for the unrelated ABC and Channel Nine (or the Nine Network) in the 1960's.

The iconic and famous Lissajous logo for the unrelated ABC (Australia) was made by Bill Kennard.

Having been born in the UK (and having worked with the BBC as a lettering artist), Bill Kennard went down under in the mid-1950's.

In preparation for colour television, in October 1974, Bill Kennard's iconic and famous Lissajous curve symbol for the ABC (Australia) was given a facelift - thickening the lines and using a crossover.

Annette Harcus refined the iconic and famous Lissajous curve logo for the ABC (Australia), which was rendered in 3D silver colour, but losing its crossover use, introduced on January 1, 2001.

Just one year later, in January 2002, this Lissajous curve logo for the ABC (Australia) brought back its crossover use, but still using 3D silver colour.

Meanwhile, Brian Sadgrove's iconic and long-running logo for Channel Nine consists of a 9 numeral besides the nine dots arranged in a 3x3 grid.

Typography on South American stamps inspired the first official logo for Danmarks Radio (DR), used from the mid-1960's to 1996.

Ingolf Home created the iconic and famous logo for NRK (Norway's national public broadcaster).

Gissil B. Bjornsson created the iconic and famous logo for Sjónvarpið, which is the national television service of RÚV (Iceland's national public broadcaster).

Even with changes in television graphics, broadcast technology and corporate rebrands, this iconic and famous logo for Sjónvarpið (RÚV) remains consistent in Icelandic television.

Designed in 1966, this iconic Sjónvarpið (RÚV) logo is minimalist, and comprises stylized curves that form a circular eye-like shape, symbolizing both a broadcast signal and a viewer's eye.

Stanley J. Beck and Ed Feldman serve as the namesakes of the defunct motion graphics firm known as Edstan, also known as SEL Animation Service.

Using film-based techniques, like slit-scan, streak and backlit cel animation, Edstan was high-end.

During its peak, Edstan had a wide variety of clients, ranging from the Big Three broadcast television networks (ABC, CBS, NBC), Metromedia, HBO, Star Channel (QUBE), etc.

Bill Feigenbaum often collaborated with Edstan.

Just before Edstan, cable television had low production values, simple typography and static visuals.

Edstan countered cable television's low-budget perception by applying the high-gloss motion graphics trends being seen on network television.

For Edstan, it had bridged the gap between the high-gloss motion graphics trends being seen before on network television and usually low-budget and low-quality cable TV on a national basis.

With apologies to Cinderella, before Edstan, network television had been as a glamorous and beautiful princess, while early cable television had been a banished and isolated servant.

Besides, with apologies to one of Aesop's Fables, prior to the Edstan Studio period, network television served as a fast-paced hare, whilst early cable television was a slow-paced tortoise.

However, with apologies to Cinderella, Edstan was a Fairy Godmother that turned America's cable TV industry from an early banished and isolated servantinto a princess in graphics and visuals.

Plus, with apologies to Cinderella, the glass slipper by this cable servant-turned-princess wearing a ball gown to marry America's charming Big Three princes was Edstan.

In addition, with apologies to one of Aesop's Fables, Edstan forced the early cable television tortoise in America to catch up to (and win over) the fast-paced network TV hare.

Fred Seibert and Alan Goodman are the first creative directors for MTV.

Buzzco Associates, Colossal Pictures and Broadcast Arts are some visual houses having worked with MTV upon its launch on August 1, 1981, defining the network's innovative style.

Perpetual Motion Graphics is the former name for Buzzco Associates.

Led by Buzz Potamkin, Buzzco's work helped transition animation from a medium for children into an adult communication/branding instrument through MTV.

Having worked with MTV since its August 1981 launch, Buzzco is one of the first professional studios providing the experimental interstitials to give this service its avant-garde reputation.

Candy Kugel and Vincent Cafarelli are Perpetual's co-founders, besides Buzz Potamkin.

Drew Takahashi and Gary Gutierrez, both having worked with John Korty, co-founded/co-led Colossal Pictures, where they pioneered the Blendo technique that defined MTV's look.

Steve Oakes and Peter Rosentheal co-founded Broadcast Arts in 1978; it used stop-motion that defined MTV's look.

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

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

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

Before TVbD was founded, graphic designers from Turner Broadcasting System also used the Quantel DPE-5000, Chyron and Grass Valley systems.

Many designs that TVbD had made were characterized by many 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 local television stations and corporate media companies, like Gannett, Scripps and Post-Newsweek.

Prior to Turner-rooted TVbD, television branding used static slides for promos and station IDs.

However, TVbD countered static slides with dynamic, brand-centric animation.

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

Jay Cordova, Jay Antzakas and Melanie Goux are TVbD's other co-founders, besides jcbD.

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 Turner-rooted TVbD, Novocom/GRFX had a modern and slick aesthetic in television graphics.

Just as TVbD grew out of the Turner empire in Atlanta, Novocom grew out of the Hollywood boom.

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

Unlike the jerky animations being made in the 1980's, Novocom/GRFX, in the 1990's, had pioneered smooth and sweeping camera paths with a cinematic feel.

John Sewell, Bernard Lodge, Colin Cheesman and Martin Lambie-Nairn are likewise trailblazers in broadcast design across the pond.

Richard Levin was the BBC's design head.

Hired by the BBC as its first graphic designer after his graduation from the Royal School of Art, John Sewell established and managed the department that created television graphics.

Under John Sewell, the BBC's graphics department pioneered the early on-air design aesthetic.

Whereas Abram Games developed its first modern on-air identity, the BBC's graphics department was established by John Sewell, both in response to potential commercial competition from ITV.

Potential commercial competition from ITV had its roots in the American coverage of the June 2, 1953 coronation of Elizabeth II, interrupted by commercials featuring J. Fred Muggs.

During its first 18 years except WWII, with apologies to Cinderella, the graphics of the BBC Television Service were banished and isolated servants.

Plus, during its first 18 years except WWII, with apologies to one of Aesop's Fables, the graphics of the BBC Television Service were slow-paced tortoises.

John Sewell, with apologies to Cinderella, was the Fairy Godmother transforming staid graphics at the BBC Television Service into dynamic princesses.

In addition, with apologies to one of Aesop's Fables, John Sewell also forced the slow-paced BBC TV tortoise to catch up to (and win over) the fast-paced ITV hare.

Bernard Lodge pioneered rostrum cameras controlled by computers for title sequences.

Having been with the BBC from 1960 to 1977, Bernard Lodge joined forces with Colin Cheesman to launch their own company.

Lodge-Cheesman was a role model for other BBC colleagues who left the company to found their own creative design companies in the 1980's and the 1990's.

Filmfex worked with Lodge-Cheesman.

Martin Lambie-Nairn revolutionized television graphics in Europe, not simply with 3D CGI, but with cinematic live-action sequences for brand IDs/title sequences.

Daniel Barber is one of the employees who worked at Lambie-Nairn from the late-1980's to 1993.

St Martin's School of Art is where Daniel Barber studied graphic design and film.

At Lambie-Nairn, Daniel Barber moved television graphics from tradtional CGI and flat text towards a more cinematic quality by incorporating live-action elements into station IDs/title sequences.

For Daniel Barber, his cinematic approach at Lambie-Nairn made television branding as sexy as MTV.

Billy Pittard and Ed Sullivan are the namesakes of an influential broadcast design firm, which rivalled Novocom/GRFX and Turner-rooted Television by Design (TVbD).

Like Lambie-Nairn, Pittard Sullivan often used cinematic live-action for station IDs and titles.

For Billy Pittard, his professional career started at WNGE-TV (now WKRN), where, as its art director until 1984, he was involved in developing digital video tools.

At WNGE-TV (now WKRN), Billy Pittard did pioneering creative work using digital video tools.

Hollywood came calling for Billy Pittard in 1984, when he went to KCBS-TV to modernize its look.

Under Billy Pittard, KCBS-TV's graphics went digital to replace traditional artwork on film.

In 1986, Billy Pittard moved on from KCBS-TV to found his own company with Ed Sullivan.

Crawford Media Services had its own motion graphics/visual effects division called DesignEFX.

During the 1990's, Crawford DesignEFX utilized the Quantel Henry, Alias|Wavefront, Discreet Logic Flame, DigiBeta and D-1 (Sony).

Similar to TVbD, rooted in Atlanta, plus Novocom/GRFX and Pittard Sullivan, both using Hollywood roots, Crawford DesignEFX had a modern and slick aesthetic in television graphics.

Novocom/GRFX defined the network television look, not just in the United States, but also around the world, whereas Crawford DesignEFX branded the emerging cable giants.

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

Chris Pullman served as the Vice President for Design at WGBH-TV from 1973 to 2008.

Just before Chris Pullman, 

Telesound is a former company based in San Francisco, which, besides news music, also ventured into motion graphics.

Karl Sjodahl, David Horak and John Hawkins are some of the key Telesound personnel.

Harvey Dubner ran his eponymous company called Dubner Computer Systems.

Greer Griffith and Mark Tekushan both began their broadcast design work at WHYY-TV in 1980, after which they moved on to New York, but in separate ways.

Both Greer Griffith and Mark Tekushan reunited to form the GT Group/Griffith and Tekushan in 1985. 

For Kyle Cooper, he has inspired younger designers to follow the trends that the Saul Bass, Maurice Binder and Pablo Ferro trio have developed

Having started his career at R/Greenberg (R/GA), Kyle Cooper founded his own company known as Imaginary Forces, which was formerly R/GA's LA branch, in late-1996.

Peter Frankfurt, who is Stephen Frankfurt's son, is also one of the three Imaginary Forces founders.

Chip Houghton, aside from both Kyle Cooper and Peter Frankfurt, is one of the three Imaginary Forces founders.

VideoPack is the former post-production division of Allarcom, which also ran its broadcast and cable properties, including ITV (CITV).

During its peak, VideoPack used the Cubicomp PictureMaker system.

Studio Post and Transfer is rooted from Allarcom's VideoPack service, during whose peak it used the Alias|Wavefront, SGI and Parallax Matador technologies.

Frank Coulas was the motion graphics head of the VideoPack/Studio Post and Transfer service from Allarcom.

Cascade Pictures of California (CPC Associates) is a former company.

Notable for its work on stop-motion, minatures and cel animation, CPC Associates also dabbled in the motion graphics scene using film-based techniques in the photo-fusion approach.

Besides, CPC Associates is where Tim Landry had his first full-time job after college.

Under Tim Landry, CPC Associates added backlit animation.

Electric Image (EI), Digital Pictures and Infiynity are former high-end British 3D computer graphics companies.

John Paul Docherty left Molinare to start Electric Image, which then struck an agreement in the US to outsource software from Abel Image Research from Robert Abel & Associates.

For its film work, John Paul Docherty's Electric Image used an Oxberry Matrix camera.

Chris Briscoe founded Digital Pictures in the early-1980's era as Britain's first 3D computer graphics facility.

Infynity is a former high-end British 3D computer graphics firm based at Great Marlborough Street in London, which former BBC designers Chris Fynes and John Spiers founded/led.

Before Quantel, broadcast design was made through reflective artwork on film (slides/animation).

Plus, before advanced character generators, including the Chyron IV, superimposing text over a picture served as a labor-intensive process that often resulted in poor-quality and unstable text.

However, with its innovative and groundbreaking systems, including the DPE-5000, the Paintbox, the Mirage, the Harry, the Henry and the HAL, Quantel modernized broadcast design with digital.

Advanced character generators, like the Chyron IV, improved text superimposed over a picture.

During its initial years as a regional pay-TV service, HBO used some logos with a ticket stub, a feature meant to signify that viewers can pay admission for premium content.

However, the ticket stub look during HBO's regional years was too cluttered and literal.

Betty Brugger, who was the art director for HBO's owner Time-Life, had decided to create a better and more modern logo for HBO than its ticket stub, using ITC Avant Garde Gothic Bold as its font.

For Betty Brugger's 1975 HBO symbol, it features the bullseye mark.

The bullseye mark, based inside the cylindrical O in Betty Brugger's 1975 HBO symbol, represents the camera lens or the projector reels in both filmmaking and film production.

Likewise, the O in Betty Brugger's 1975 HBO logo represents filmmaking, conveys the idea of a home cinema experience and functions as an icon for high-quality film and television content.

With its national satellite uplink in 1975, Betty Brugger's 1975 HBO logo marked the beginning of its national expansion beyond its regioanl roots.

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

Gerald Huerta refined Betty Brugger's 1975 HBO logo in 1980, with letters being trimmed and spaces being widened, making it an iconic and world-famous symbol for film lovers at home.

Plus, the bullseye mark inside the HBO logo bridges the gap between the hardware of the past (tuning knobs/power button from a TV set) and the art of the future (camera lens/projector reels).

Agencies like Bemis Balkind did the creative campaign work for HBO.

Likewise, during its initial years, 8 under Ted Turner, even after its national superstation status started, WTCG used a 17 numeral inside a rounded rectanglar cutout repesenting a TV screen.

However, in its first years as a national superstation, this 17 numeral in a rounded rectanglar cutout for WTCG reflected its origins as a local UHF station operating on a shoestring budget.

In August 1978, Turner Broadcasting System introduced the SuperStation logo for the WTCG national signal, inspired by one for Star Wars, created by Suzy Rice and refined by Joe Johnston.

The SuperStation symbol, inspired by one for Star Wars, gave the WTCG national feed a futuristic and cinematic feel.

From 1980 to 1981, the logo for SuperStation WTBS was a colourful star being made in the form of a polyhedron.

Communication Trends, Inc., based in Atlanta, made a logo for CNN in a modified iteration of the Yagi Double typeface, designed by (and named after) Teruoki Yagi.

Led by Toni Dwyer, Communication Trends, Inc. worked with CNN.

In contrast to the polyhedral WTBS logo that signified entertainment, the CNN logo, based on the Yagi Double font, signified serious global news and information.

Both SuperStation WTBS and CNN, incidentally, were pioneering services in the basic cable television industry through Ted Turner.

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

Garamond 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.

Jim Parkins designed the TBS Superstation logo after 2002, its font being Myrad Pro Bold Italic.

Emphasizing its new focus on comedy, TBS introduced its new symbol before 2005, using a half-circle resembling a smiling mouth, designed by Publicis NY.

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

In 2001, Trollback & Company designed a logo for TNT.

Even with the change of its call letters, SuperStation WTBS maintained the Star Wars-like symbol that WTCG first used in August 1978.

The iconic and world-famous MTV logo was designed in 1981 by Manhattan Design.

Patty Rogoff sketched the blocky M, whilst Frank Olinsky spray-painted the TV in a graffiti style, both being made for MTV's iconic and world-famous logo.

Manhattan Design's 1981 MTV logo reflected the energy and rebellion found in New York City's youth culture.

Gips Balkind designed the iconic logo for ESPN in the form of a razor cut in 1985.

David Leedy designed the iconic logo for the Arts & Entertainment Network in the late-1980's.

Lee Hunt Associates designed a logo for the Disney Channel, upon its conversion to a commercial-free basic cable service, on April 6, 1997.

The iconic and famous KBS typeface in a modified Handel Gothic iteration was introduced in October 1984, and a more iconic symbol, made à la Taeguk, was introduced in August 1985.

Having been local services in their first years, both HBO and WTCG looked like public-access TV.

But with their national satellite uplinks, which launched the modern cable television era, both HBO and WTCG began using logos with a cinematic Hollywood look and feel.

For the HBO logo on a national basis, the O represents filmmaking, home cinema and high-quality film content, with the bullseye within the O that represents the camera lens or the projector reels.

Meanwhile, the SuperStation logo for WTCG, made à la Star Wars, has a cinematic feel.

Television stations based in the First World have high production values for years.

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 an isolated area into a princess-like one 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.

WIN Television, Prime Television and Southern Cross are the three television networks in Australia's regional areas.

For 17 years, since its 1989 aggregation, the logo for WIN Television had been a variation of the Nine Network logo, with a WIN text replacing a 9 numeral besides the 9 dots arranged in a 3x3 grid.

Plus, the font that WIN Television used in its 1989 logo is TW Cen MT Condensed Extra Bold.

Prime Television's first logo since its 1989 aggregation was one being coloured in green (featuring the word prime with the letter i dotted with a stylized globe).

In 1990, a new circular logo was introduced for Prime Television.

The circular logo introduced in 1990 for Prime Television doubled as its television logo from 1990 to 1996, whereas its green, globe-dotted logo was its secondary one from 1990 to 1996.

Stephan Boeder was the head designer for ARD; in 1984, he collaborated with Cranston-Csuri to create animation packages using high-end 3D, an innovation never before used in the DACH region.

Having studied graphic design in Vienna and having worked in design studios in both Switzerland and Austria, Hans Donner moved to Latin America in 1975.

Just before Hans Donner's 1975 relocation to Latin America, television presentation in this region was basic and archaic, but with his own work, it became a high-end aesthetic.

The early work being made by Hans Donner had the slit-scan, backlit and streak techniques, similar to Harry Marks, Douglas Trumbull, Robert Abel & Associates, Edstan and others.

Plus, Hans Donner had created title sequences with live-action elements being shot on video.

April 1981 was when Hans Donner collaborated with the NYIT CGL team to make station idents using high-end 3D CGI, an innovation never before used outside North America.

Not long after, just 21 months after his collaboration with NYIT began in April 1981, Hans Donner also collaborated with PDI to make station IDs, but using full 3D.

In the mid-1980's, both Hans Donner and Roberto Shimose started their own high-end motion graphics studio, which initially used DEC and PDI technologies, and later Alias and SGI technologies.

Other television services across the globe, including Latin America, follow in Hans Donner's footsteps.

With apologies to one of Aesop's Fables, before Hans Donner made his relocation from Austria to Latin America in 1975, television presentation in this region was a slow-paced tortoise.

Besides, with apologies to Cinderella, just prior to Hans Donner's 1975 relocation from Austria to Latin America, television presentation in this region was a banished and isolated servant.

The Fairy Godmother that turned television presentation in Latin America into a high-end and dynamic princess in graphics and visuals, with apologies to Cinderella, was Hans Donner's work.

Plus, with apologies to this Cinderella fairy tale, Hans Donner's work served as a glass slipper allowing Latin American princesses in a ball gown to marry the charming Western princes.

In addition, with apologies to this Cinderella fairy tale, Hans Donner turned Latin American television presentation from a pumpkin into a carriage.

Likewise, with apologies to one of Aesop's Fables, Hans Donner forced the slow-paced Latin American television tortoise to catch up to the fast-paced global media hare.

With his own innovative and groundbreaking works, Hans Donner proves that high-end motion graphic design for television has no borders/frontiers and the capability to reshape regional aesthetics.

Incidentally, for Hans Donner, he bridges the gap between Western-rooted production standards and the basic and archaic television presentation in the emerging region of the world.

BS Graphics used the Quantel HAL system, plus SGI and Softimage technologies.

Founded in 1993, BS Graphics modernized Russia's motion graphics scene by bridging the gap between Western production standards and post-Soviet Russia's television business.

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 regional television in Australia after aggregation.

Rotating globes and world maps are some of the visual elements being found in many television news opening sequences; 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.

Fritz Pfleumer, an Austrian-German engineer, invented magnetic tape in the late-1920's.

Magnetic tape, which was the best-known innovation by Fritz Pfleumer, later became the basis for the equally-innovative Magnetophon, developed in the 1930's by AEG.

During the Second World War, magnetic tape was kept secret, but when the Allied forces, including the United States, emerged victorious, they acquired recording equipment from Germany.

After the Allies emerged victorious in WWII, Americans, such as John T. Mullin, John Herbert Orr and Richard H. Ranger, took magnetic tape out of Germany and made it commercially viable formats.

The Ampex Model 200A, an improved American version of the innovative Magnetophon, which was based on Fritz Pfleumer's magnetic tape invention, was introduced in 1948.

For the Ampex Model 200A, it revolutionized both the broadcasting and the recording industries.

With the Ampex Model 200A, prerecorded radio programs provide more schedule flexibility, but also attract established and emerging artists untied to live broadcasts.

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

Both quadruplex and the Ampex VRX-1000 are video responses to the Ampex Model 200A, based on Magnetophon from AEG, in turn based on magnetic tape invented by Fritz Pfleumer.

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.

Like radio, prerecorded television programs, on film and videotape, offer more schedule flexibility and attract established and emerging artists celebrities untied to live broadcasts.

Norikazu Sawazaki, who hailed from Toshiba, demonstrated the first videotape recorder using the new helical scan method in the late-1950's.

Ampex introduced the first commercial helical scan video recorder called the VR-8000 in 1961.

Helical scan enabled features, like pause and variable speeds.

Responding to both the quadruplex format and the Ampex VRX-1000 recorder, JVC developed its own two-head video tape recorder in the late-1950's and, by 1960, a colour version.

JVC also created the DV220, once its standard video tape recorder, in the mid-1960's.

In 1969, JVC joined forces with Matsushita Electric (which formerly held a majority stake in JVC) and Sony to build a video recording standard for the Japanese consumer.

U-matic is the world's first videocassette format on a commercial level.

For U-matic, it is among the earliest video formats to use a cassette with the videotape being enclosed inside, replacing the bulky reel-to-reel/open-reel systems made earlier.

This innovative design made for U-matic made video recording more portable and easier to handle.

Key successes for this U-matic format came from industrial and educational markets and the electronic news gathering (ENG) process, as well as professional, non-broadcast video production.

Cartrivision is the first home video format to have prerecorded tapes, specifically feature-length motion pictures, for consumer rental.

Avco, which gained a foothold in the film industry in the late-1960's with Embassy Pictures, also ran its subsidiary Cartridge Television Inc. (CTI), which produced the innovative Cartrivision format.

The film catalog for this Cartrivision format came from its parent company Avco Embassy Pictures, but from major Hollywood studios as well, including 20th Century-Fox, Columbia and others.

Not confined to films, Cartrivision also offered other content, like sports, instructional films, etc.

Unlike later video cassette recorders, Cartrivision was initially integrated into colour television sets.

June 1972 to July 1973 was the period from which Cartivision was available for consumer rental.

Many factors caused Cartrivision's own demise, including high costs, inconvenient mailing and rental processes, large-sized machines and technical issues.

Despite its short lived-run and its demise caused by its problems, Cartrivision's innovative features still continue to live on, leading to the home video revolution.

Ampex also introduced the HS-100 and the HS-200.

Soon after the U-matic release, all of its three developers began working on new consumer-grade video recording formats of their own.

For instance, Sony started working on Betamax, Matsushita on VX, JVC on the CR-6060.

Philips designed the Video Cassette Recording (VCR) concept, the first consumer-level home VCR.

Introduced in 1972, the Philips VCR format was used in the UK, mainland Europe, Australia and South Africa.

JVC's own VHS format was released in Japan, one year after Betamax's 1975 release, and in the United States in August 1977.

VHS won the videotape format war over Betamax, becoming the most popular media format for VCRs.

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.

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

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

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.

Norelco cameras use advanced Plumbicon tubes, positioning them as an alternative to the RCA colour television cameras.

Responding to the success of the Norelco camera designs with Plumbicons, RCA abandoned its older television camera designs and incorporated Plumbicon tubes into its next-generation cameras.

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.

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

Ikegami also introduced the DNS-11, one of the first portable, tapeless and non-linear camcorders.

The CMX-6000 is the first non-linear video editing system.

Before the CMX-6000, videotape editing had linear constraints.

With the CMX-6000, videotape editing became non-linear.

Ampex introduced its ACR video playback and recording machine in 1972, which was superior to the RCA TCR-100, released two years before the Ampex ACR (1972).

Meanwhile, the Sony BVH-1000 is one of the first videotape recorders in a Type C concept, marking a shift towards high-quality, broadcast-standard, open-reel video.

C-band is used for TVRO systems, and Ku-band 

Primestar DirecTV, USSB and Dish Network.

Philco Radio Time, the first program on a major American broadcaster to be prerecorded, has endured innovations.

For its first season, Philco Radio Time used poor-quality, unedited and live transcription discs.

The second Philco Radio Time season pioneered prerecorded broadcasts using AEG's Magnetophon machine; its third and last season featured Ampex Model 200A recorders with 3M.

All in all, Philco Radio Time brought film technology to radio and set new broadcast standards.