"With a final dollop of blood splatter sploshing across the plasma TV, Series One of BBC's visceral police drama Ripper Street came to a crashing finish on Sunday night!
Screen Scene VFX completed all the visual effects work on Ripper Street's first season, and are proud to share this fantastic breakdown/making of video showing you how they weaved their inimitable brand of wizardry to make Dublin look like Victorian London."
(Screen Scene Post Production Facilities, 26 February 2013)
"Interstitials can therefore be found within programmes as well as around them. They constitute a class of television output rather than a genre. They consist of messages or declarations addressed to the viewer from outside the diegetic worlds of fiction or the discourses of news, documentary and factuality. They consist of metadata about both the programme of the moment and the future plans of the broadcaster. They bring together the past and future of broadcasting within its present moment. In addition to this metadata function, other forms of interstitial come from agencies beyond the world of broadcasting who are given conditional access to broadcasting: the advertisers, the sponsors and the government in the form of its public service announcements. This is a whole class of television output: heterogeneous, but occupying a distinct position in relation to the other class of television that is programmes of whatever genre. Sometimes interstitials overlap with or invade programmes. Interstitials make up a class that we have to learn to distinguish. One of the problems of arriving in a new television culture is that of learning how the interstitials work - what they are trying to tell you; how they interlace with the programmes; how they shape the spaces that the programmes occupy; and how they build anticipation and delay into the development of those programmes. It can take an appreciable amount of time to become a skilled viewer as a result."
(John Ellis, 2011, p.95)
Published in: Ephemeral Media, Transitory Screen Culture from Television to YouTube Edited by Paul Grainge Palgrave Macmillan, November 2011 ISBN: 978-1-84457-434-6, ISBN10: 1-84457-434-2 http://us.macmillan.com/ephemeralmedia/PaulGrainge
"Notts TV Ltd is a consortium led by Confetti Media Group, Nottingham Post Media Group, Nottingham Trent University and Inclusive Digital Ltd. Together the group has the skills and experience needed to run a TV station for Nottingham - including expertise in TV news, launching and managing TV channels, local journalism and programme production, technical and engineering issues, advertising and marketing, education and training.
Notts TV provides Confetti students with a great opportunity to work in a real TV environment, providing content and programming for news, sport, business, politics and a range of issues that matter to local residents.
The station will utilise the news reporting expertise of the Nottingham Post Group and involve students from both Nottingham Trent Universities' Centre for Broadcasting and Journalism and Confetti Institute of Creative Technologies."
(Confetti Media Group, 2012)
"Max Headroom was one of the most innovative science fiction series ever produced for American television, an ambitious attempt to build upon the cyberpunk movement in science fiction literature. The character of Max Headroom, the series's unlikely cybernetic protagonist, was originally introduced in a 1984 British television movie, produced by Peter Wagg, and starring Canadian actor Matt Frewer. ABC brought the series to American television in March 1987, refilming the original movie as a pilot but recasting most of the secondary roles. The ABC series attracted critical acclaim and a cult following, but only lasted for fourteen episodes. The anarchic and irreverent Max went on to become an advertising spokesman for Coca-Cola and to host his own talk show on the Cinemax cable network."
(The Museum of Broadcast Communications)
An "ever growing collection of Channel 4 current set of idents. The simple idea that flows through all these idents is the creation of 'the 4, be it optical illusion, supernatural intervention or coincidence, the iconic Channel 4 logo rears its head at some point during all these videos.
The basic premise leaves open many possibilities to play with, which perhaps also explains the longevity that these idents retain. New idents continue to be produced by Channel 4"
(John Beohm, idents.tv)