Changes in cable television recalling Australia's post-aggregation regional TV era

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For the iconic HBO in Space sequence, it uses a model city being divided into 3 sections: the city, the outskirts and the countryside, filmed with a computer-controlled camera.

Plus, the big and shiny HBO logo used for this HBO in Space sequence is a physical model made from chromed-plated brass, also filmed with a computer-controlled camera.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Until November 1, 1986, the HBO in Space sequence was used before most programs.

On November 1, 1986, the HBO in Space sequence was reduced to be aired before big-ticket primetime movies and special events to prevent it from the process of getting outdated.

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

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

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

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

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

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

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

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

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

Also on November 1, 1986, the HBO Movie sequence was introduced, used before most general movie presentations, created by California Film, with Pacific Data Images doing the animation.

This HBO Movie sequence lasted until October 31, 1997.

For this HBO Movie sequence, it begins with a heliotrope HBO logo positioned across a filmstrip, with light rays shooting through it, then zooms out from CGI squares glowing in neon colours.

Lights shoot out from the final square, illuminating a group of small, rainbow-coloured dots; they zoom out to form a purple HBO logo with the Movie word was made in a script font on a black backdrop.

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

Orest Woronewych was a pioneer in adapting computer technology for on-air looks while at HBO; his innovative work led to much of the bold and distinctive graphics used by HBO and Cinemax.

Having worked at HBO from 1978 to 1996, Orest Woronewych's innovations have since been used by many other television networks in the US and the world.

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

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

Hammerhead Graphics designed the graphics for HBO Sports since 1997.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This graphics package being created in 1981 for the WTBS national feed had an exclusive focus on the SuperStation WTBS identity, further professionalizing its national presentation.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For its movie intros starting in late-September 1989, the renamed TBS SuperStation commissioned the newly-opened Disney-MGM Studios at Walt Disney World to be used as a shooting location.

The New York Street backlot at Disney-MGM was specifically used for the 1989 TBS movie intros.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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