Motion graphics, visual effects and broadcast design

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.

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, Con Pederson, Douglas Trumbull 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, Lou Dorfsman, John J. Graham and Harry Marks are notable pioneers in broadcast design.

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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).

Though 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.

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.

Jim Blinn Bui Tuong Phong

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.

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.

The original East Coast answer to the Computer Image Corporation is Dolphin Productions.

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

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.

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.

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.

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 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.

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 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.

 

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.

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.

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).

Staying 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.

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

For the Bosch FGS, it had the flat shading technique, which had a faceted, blocky look with a very fast performance, visible edge artifacts and a calculation point once in each polygon.

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 initially developed.

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

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.

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.

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

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.

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.

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.

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

Vertigo Systems, a company based in Vancouver, built the V-2000 system in 1986.

Unusually, Vertigo Systems was founded by two real estate edevelopers who built 

NewTek, founded in Topeka, Kansas by Tim Jenison and Paul Montgomery, introduced its own Video Toaster in 1990, one noted feature 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.

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.

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.

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 logo that represents the Lissajous curves for the unrelated ABC (Australia) was created 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.

Stanley J. Beck and Ed Feldman serve as the namesakes of the defunct motion graphics firm known as Edstan, which produced the titles for network television, but also for emerging cable giants.

Using film-based techniques, including slit-scan and backlit cel, Edstan offered a network feel that can improve the often low-budget cable TV aesthetic.

For Edstan, during its peak, its designs served a wide variety of clients, including the iconic Big Three networks (ABC, CBS, NBC), Metromedia, HBO, Star Channel (QUBE), etc.

Bill Feigenbaum often collaborated with Edstan.

Just before Edstan, cable television branding was flat and amateurish.

Edstan countered cable TV's early low-budget perception with the same high-end film-based animation trends as the Big Three networks and major-market indie station owners, like Metromedia.

Incidentally, Edstan bridged the gap between high-end, film-based traditional animation being seen on network television and early cable TV, which was low-budget and low-quality.

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

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.

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.

Just before 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.

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

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

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.

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.

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, like Lambie-Nairn.

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 in both the United States and the world, whereas Crawford DesignEFX branded the emerging cable giants.

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

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

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

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

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

For years, many television stations based in the First World have high production values.

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

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

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

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

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

Nine's news service also used the rotating striped globe, made by Cranston-Csuri 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 the Australian regions not to have television 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, the glass slipper being fitted by the regional TV princess wearing a ball gown to marry the charming metro TV prince in Australia (both in graphics and visuals) 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.

Synchronized Sound, 11th Street Post and IMG Graphics are former companies based in Atlanta.

James Klotz, an Atlanta native, founded Synchronized Sound in 1993

Having been originally influenced by classic rock, new wave and punk, James Klotz began working for Turner Broadcasting System in 1989 as the industry was shifting from analog to digital.

L. David McCollum and Harold Sellers are James Klotz's longtime friends, the earlier of whom joined Turner in 1989.

Ever since its inception in 1993, Synchronized Sound has produced sounds for Turner networks.

Alexander Grinke is the German-born motion graphic designer working for MBC.

Born in Nuremberg, Alexander Grinke has worked for MBC, first as its creative director and then its remote worker in Singapore.

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

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

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

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

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 evolved into smaller text-to-picture composite graphics positioned alongside the anchor.

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

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

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

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

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

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

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

Saul Bass also made the title sequence for The Seven Year Itch, notable for its iconic and famous scene, where Marilyn Monroe's white dress is lifted by a breeze from a subway.

Billy Wilder directed Marilyn Monroe's The Seven Year Itch film.

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

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

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

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

In the pre-Stephen Frankfurt era, television advertising heavily focused on talking heads.

The 1950 Royal Triton Oil commercial, featuring a young 24-year-old Marilyn Monroe, is one of the earliest examples of a major Hollywood star in a television commercial.

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

To Kill a Mockingbird has its creative title sequence by Stephen Frankfurt.

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

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

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

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

The climactic Star Gate sequence in 2001: A Space Odyssey, made by both Douglas Trumbull and Con Pedersonn used slit-scan.

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

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

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

Robert Abel & Associates also did the animation for ABC's campaigns/promos with Harry Marks.

Co-headed by namesake Robert Abel (a protégé of both Saul Bass and John Whitney Sr.) and Douglas Trumbull's friend Con Pederson, Robert Abel & Associates has innovated high-end CGI.

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

For the broadcast designs by Harry Marks, Robert Abel & Associates and PDI did the animation.

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

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

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 the HBO Feature Presentation sequences, the first such occasions.

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

Liberty Studios created the iconic and famous HBO Feature Presentation sequence, which is one of the most beloved opening bumpers ever.

For the HBO Feature Presentation sequence, it features the HBO loog flying in space backdrop

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.

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

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

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

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

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.

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

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

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

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.

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

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

Mark Johnson at Pittard Sullivan directed and designed the late-1990's incarnation of the HBO Feature Presentation, with Computer Cafe doing the animation.

This Pittard Sullivan-designed HBO Feature Presentation sequence made its debut before the exclusive HBO premiere of the Steven Spielberg film Saving Private Ryan, aired in the late-1990's.

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

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

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

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

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

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

During its first 12 years, 8 under Ted Turner, even after its national superstation status started, WTCG utilized a low-budget and archaic on-air look.

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

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

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

For the graphics packages made for SuperStation WTBS, during the Star Wars and Rising Star eras, the Quantel DPE-5000, Chryon and Grass Valley systems were used. 

Notably, the Space Age aesthetic for SuperStation WTBS, which started in August 1978 under WTCG, happened right as Turner launched CNN.

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

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.

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

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

Not long after, the WTBS national feed began using a sophisticated 3D logo design using cutting-edge CGI technology, with Digital Productions doing the animation, during the Marble era.

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

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

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

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

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

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

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

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

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

Incidentally, during their initial years on a local basis, the on-air looks of both HBO and WTCG, with apologies to one of Aesop's Fables, were slow-paced tortoises.

Furthermore, with apologies to Cinderella, during their years on a local basis, the on-air looks of both HBO and WTCG were banished and isolated servants.

The signal uplinks via satellite across the nation, with apologies to Cinderella, were Fairy Godmothers elevating both HBO and WTBS from servants into princess in graphics and cinematic visuals.

By the same token, with apologies to Cinderella, the national satellite uplinks involving both HBO and WTBS were glass slippers for princesses wearing the ball gown to marry the Big Three princes.

In addition, with apologies to one of Aesop's Fables, the nationwide satellite uplinks for both HBO and WTBS made the tortoises run at the same speed as the hares in graphics and cinematic visuals.

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

Meanwhile, the Star Wars-like SuperStation logo for WTCG, introduced in 1978, is cinematic.

When MTV began on August 1, 1981, it used footage of the landing of the first humans on the moon in Apollo 11 in July 1969.

MTV's usage of the Apollo 11 moon landing reinforced this "satellite/space" theme (present in the logo inspired by Star Wars for Ted Turner's SuperStation WTBS).

From 1984 to 2009, Etienne Robial was the general artistic director for Canal+.

At a time when European television used a staid presentation, Etienne Robial's innovative work being created for Canal+ altered this landscape with the concept of habillage.

Having been created in the form of a mathematical geometric grid, based on squares, Etienne Robial's innovative work for Canal+ was successfully exported to 11 countries.

Meanwhile, Etienne Robial created a new logo and identity for M6; this was being made to replace its former logo that was similar to MTV.

The Futura typeface that Etienne Robial has often used is for both Canal+ and M6, the earlier using its customized version, replacing the Plus word with an asymmetric + sign.

Whereas Etienne Robial's Canal+ work used a sophisticated, orderly and cinematic vibe, his M6 work utilized an energetic, bold and pop culture one.

Etienne Robial's work for Canal+, which changed European television presentation, recalls regional television in Australia in the post-aggregation era.

In some European nations, like France, until Etienne Robial, television used low production values in graphics and visuals.

Conversely, in Britain, television used more advanced production values similar to other Anglophone broadcasters.

However, with Etienne Robial, both France and Britain used similar production values in television.

Until Etienne Robial, with apologies to one of Aesop's Fables, television in some European nations like France was a slow-paced television tortoise in graphics and visuals.

For years, with apologies to one of Aesop's Fables, British television had been a fast-paced hare in both graphics and visuals similar to Anglophone broadcasters.

Plus, until Etienne Robial, with apologies to Cinderella, television in some European countries was a modest girl in graphics and visuals.

Meanwhile, British television (with apologies to Cinderella) was a beautiful princess being similar to Anglophone counterparts.

Yet, with apologies to Cinderella, Etienne Robial's work was a Fairy Godmother that turned television presentation in some European nations into a princess in graphics and visuals.

In addition, with apologies to Cinderella, Etienne Robial's work was also a glass slipper being used by European princesses waeing the ball gown to marry Anglosphere TV princes.

Furthermore, Etienne Robial, with apologies to one of Aesop's Fables, forced the slow-paced television tortoise in European nations to run at the same speed as the fast-paced hare in the Anglosphere.

Until 1984, both ARD and ZDF held a national duopoly on the German television landscape with their staid presentation.

Sat.1 and RTL Plus, which are Germany's first two private television channels on a national basis, both launched in 1984, broke the ARD and ZDF duopoly with their American-style approach.

Initially, both Sat.1 and RTL Plus operated on a shoestring budget, which recalled Australia's regional television industry under the solus system.

However, in the late-1980's, both Sat.1 and RTL Plus improved and increased their production values, recalling Australia's regional TV after aggregation.

With apologies to one of Aesop's Fables, both ARD and ZDF served as the slow-paced tortoises, while private stations, like Sat.1 and RTL Plus, were fast-paced hares since the late-1980's.

In addition, with apologies to Cinderella, both ARD and ZDF were the isolated servants, whilst private stations, like Sat.1 and RTL Plus, were, since the late-1980's, known as princesses.

Responding to Etienne Robial's work for both Canal+ and M6, Sat.1 began using Futura, lasting until 2001, also resulting in high production values and a slicker and sleeker look.

Meanwhile, RTL's move to Cologne led to higher production values and a slicker and sleeker look.

Coinciding with its relocation to Cologne, RTL Plus introduced its new and distinctive symbol, which featured the iconic red, yellow and blue colour scheme, designed by Studio Cerise.

This colour scheme for the RTL Television logos during its Cologne years bridged the gap between its origins and its future: the red and blue for Luxembourg, the red and yellow for the German flag.

Novocom/GRFX, Pittard Sullivan and 3 Ring Circus made the slick graphics packages for Sat.1, RTL Television and ProSieben from the early-1990's to the late-noughties.

By the 1990's, with apologies to one of Aesop's Fables, private stations, like Sat.1 and RTL Plus, were fast-paced hares after innitally being slow-paced tortoises.

With apologies to Cinderella, by the 1990's, private stations, like Sat.1 and RTL Plus, were princesses.

During the Cold War era, television in the Eastern Bloc used lower production values than its Western counterparts overall, and news came under strict communist control.

Incidentally, during the Cold War, television in the Eastern Bloc used a basic and archaic feel.

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

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

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

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

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

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

MTV, during the Goulash Communism era, had a more innovative and progressive on-air look than the other Eastern Bloc broadcasters during the Cold War.

JRT used an on-air look aligned with Western broadcasters during the Cold War.

In fact, with apologies to one of Aesop's Fables, MTV, during the Goulash Communism period, was the fast-paced Hungarian hare, using a more innovative and progressive presentation.

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

In addition, with apologies to Cinderella, MTV, during the Goulash Communism era, was the beautiful princess of the Eastern Bloc, with an on-air look wearing a glass slipper and a ball gown.

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

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

Likewise, with apologies to the Cinderella fairy tale, glasnost and perestroika were glass slippers which allowed the Eastern television princesses wearing the ball gown to marry Western princes.

In stark contrast to Hungarian television's high production values under a communist regime, Icelandic television often operated with few resources until the 1990's.

By the 1990's, Icelandic television had similar high production values to the Hungarian one.

Until the 1990's decade, with apologies to one of Aesop's Fables, Icelandic television was a slow-paced television tortoise in graphics and visuals for a capitalist nation.

Conversely, since 1957, with apologies to one of Aesop's Fables, Hungarian television was a fast-paced television hare in graphics and visuals for a nation in the Eastern Bloc.

With apologies to Cinderella, Icelandic television served as a modest girl in graphics and visuals for a capitalist nation until the 1990's.

Meanwhile, with apologies to Cinderella, Hungarian television was a beautiful communist princess.

By the 1990's, with apologies to Cinderella, Iceland used similar high production values to Hungary in television, becoming a princess facilitated by the Fairy Godmother.

Likewise, with apologies to the Cinderella fairy tale, the 1990's decade was a glass slipper that allowed television princess wearing the ball gown in Iceland to marry Hungarian TV princes.

Furthermore, the 1990's, with apologies to one of Aesop's Fables, also forced the slow-paced television tortoise in Iceland to run at the same speed as the fast-paced hare in Hungary.

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

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

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

In the Arabic-speaking countries of the Middle East, just before CNN's coverage of the first Gulf War period, television stations have a basic and archaic on-air look.

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

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

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

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

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

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

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

Besides, CNN's coverage of the Gulf War, with apologies to one of Aesop's Fables, also forced the Arab world's slow-paced TV tortoise to run at the same speed as the fast-paced Western hare.

The second news intro sequence for MBC (Middle East Broadcasting Centre) was designed by Richard Norley of ITN, with Infynity doing the animation, set to Gari's Advantage package.

Mark Jones led the creative direction for Sky News Arabia upon its debut.

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.

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

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.

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.

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

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

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

For years, until 1986, MTV (Hungary) used a news intro consisting of a studio camera over its former main hub at the Stock Exchange Palace in downtown Budapest.

A brass-heavy fanfare was used for the intro for Hirado (MTV) until 1986.

In 1986, a more modern and contemporary news intro for Hirado (MTV) was introduced, laden with a synth-driven theme by Gabor Presser.

Youtuber mxL produces recreations of television graphics, especially à la Novocom/GRFX, an agency known for its glossy 3D textures, light streak motifs and sweeping camera movements.