Yes.
And that was TC7, in the Jeremy Bowen named 'Dentist Waiting Room Chic' era of the programme..
Yes, it's TC7, but they have moved the newsreader's desk to the right hand side, and are using a green screen for the head shots. You can see the green hue on the back of her chair when turning to talk to the correspondent on the plasma screen.
I thought Big Moira's desk was always on the left of the set.
Furthermore, it was a "
Romanian
Dentist's Waiting Room", not just any old dentist.
Sorry if this has been answered on another occasion, but does anyone know the technical background as to how titles such as these worked:
The 'flying fish fingers' start over the wide camera shot of the studio and the logo at the end of the titles spins down to end up over the first headline. How was that sort of integration achieved?
ITN's News at 540 had a similar effect in the late 80s where the logo spins around in front of the pictures of the top story:
Would anyone be able to explain in layman's terms how that happened? Assuming the titles were on video tape, how they did achieve the integration with other pictures in the days before computers were commonplace? Or were these types of titles operated by some dedicated piece of kit in the gallery?
Thanks very much for the excellent explanation, TheSebastian. I'd never even spotted those fades to black in the Nine titles - now I not only can't un-see them, I understand what they were for!
It was many years before I spotted that fade out from the studio to the actual titles.
At the time they were used, like everyone else, I was of the belief that the studio background was the same as the image we saw in the titles. The viewer is busy focusing on the 'fish fingers', and so doesn't really see the transition.
I agree, they had me fooled until now, too. I was too young to remember them from the time (incidentally, I was born just a couple of hours before the edition of the Nine seen in the video above was broadcast!) but in the 20 years since I first saw them online, I've never spotted the transitions until today. They were incredible titles and the music was fantastic too. Understanding how they worked just adds a whole new layer of awe!
That rendition of the BBC Nine is probably my most favourite news theme and title sequence ever. Even today.
In an entirely unrelated aside, I note that Trevor always spoke to people behind the scenes in his bulletin extros. He was famous for it on News at Ten when he anchored solo.
In an entirely unrelated aside, I note that Trevor always spoke to people behind the scenes in his bulletin extros. He was famous for it on News at Ten when he anchored solo.
Yes, I quite liked that about Trevor. It was a subtle nod to the fact that it takes a lot more people behind the scenes to make a news broadcast than just the presenter. I've no idea if that was his intention but it came across that way. Kind of like breaking the fourth wall.
Look at the studio design for the One and Six bulletins in 1989 - very basic sets, simple desk structure - the idea was the news was the main thing about the programme, not the set design.
I did enjoy the individual styles for each news bulletin back then - of course they decided to go all corporate and similar design from April 1993, meaning cost savings by using one main set in one studio.
It is an era of news presentation which has gone and will never be back sadly. Thankfully we always have YouTube and the superb TV Ark to remind us of this era which has thrown into the dustbin of broadcasting history.
