Well, as we prepare to put the clocks back, I thought I’d show you the clocks going forward. Today’s Sunday Matinee is a slice of Granadaland from the 50s, 60s, 70s and 80s…
My interest in all things Granada was piqued recently when I came across a copy of “Easy Go” by Nick Glennie-Smith. This was the breezy mid-80s start-up piece that was usually heralded by a very naff block graphic transition and ended up with Colin Weston talking over it cheerily in-vision to let us know how parky it was outside.
I’ve always wanted to have the Granada block graphic transition available as a Flash file should I ever need it, so when I got some free time recently I decided to recreate it. For source material I had an old RealVideo file of a VHS recording of a Granada closedown which I downloaded from the web many years ago.
The Granada transition is based on a grid of 32 x 24 squares, meaning that each square was 24 pixels in size making up the full 768 x 576 PAL resolution. So the first thing I did in Flash 8 was change the grid from 18 pixels to 24 pixels. I then added guides every four grid squares to help positioning on screen.
To help me create the animation, I needed to view the video file frame by frame in Avidemux. However Avidemux didn’t like my rather antiquated RealVideo source file. Luckily I was able to convert the RealVideo file into an mpeg file using the command line video tool ffmpeg:
ffmpeg -i granada close 1985.rm -r 25 -target dvd -b 3000kb finalvid.mpg
After that I trimmed the resulting mpeg file in Avidemux so that it only contained the transition.
I didn’t bother turning the video file into an FLV to import into Flash – just as well as it turned out. I had enough problems with memory as it was! As I run Macromedia Flash 8 using the WINE compatibility layer for GNU/Linux, Flash 8’s performance tends to struggle with files over about a megabyte in size.
My approach was to use a symbol for my pixel, and build up each frame using multiple copies my pixel symbol.
Although it worked fine at first it was a big mistake in retrospect as it meant I eventually created a large, unresponsive Flash file. This is because when you use Flash in WINE for large files you have to use Save And Compact… for each save to stop the file growing exponentially in size and eventually corrupting. Worse still, whilst it is saving Flash becomes completely unresponsive.
As I worked on the Granada transition each Save and Compact… took longer and longer and would often throw me out of Flash completely so I had to reload it again. Flash also became increasingly slow and unresponsive while I was working. It got so bad that in the end the majority of time was spent “Saving and Compacting” rather than animating.
By the time I’d finished it had taken me an hour to do one second of animation – absolutely ridiculous! My end result was 2.4MB Flash File that took about six minutes to save after each alteration but output a SWF animation that was about 6K in size.
In order to be useful obviously needed a file I could actually work with sensibly. After breaking apart all the square symbols I got a file that was a more manageable 237K – and that could be saved instantly. However the output .swf file went up in size several times to nearly 23K.
I kept my original Flash file so that at a later date I can create a 16:9 aspect ratio version of the Granada transition. But I think I’ll wait until the performance of Flash 8 improves in WINE before I tackle that one!
The only other problem I had when creating the transition animation was the RealVideo file I had dropped the odd frame, so I had to create two frames from one at certain points.
Once I had the Granada transition, I decided it would be a shame not to put it to some kind of use, so I decided to recreate a Granada closedown from the mid-80s. I had a recording of a Granada closedown in another ancient RealVideo file and luckily I only needed two extra items – the Granada computer generated station clock and the Granada computer generated ident caption.
I was lucky enough to have some excellent source material for the Granada station clock – the output of the actual clock generator itself courtesy of Greg Taylor. Having the clock output also allowed me to get the RGB values of the actual colours exported by the electronics used to generate the clock and caption. Looking at off-air recordings of the clock and caption in use, I reckon these were often tweaked a bit in the gallery to make them a more Granada-ish powdery blue.
The clock itself was an interesting job. A couple of years ago I would have drawn and animated the entire thing in Flash 8. However, I did a mix and match for this. I drew the bottom of the clock with the Granada Giro G and namestyle in Inkscape 0.47. Then I exported the result as an EPS, imported the EPS into Flash 8 and then drew and animated the clock face itself.
I was quite pleased with this – it meant I could use the best tool for each bit of the job. Inkscape is far more suited to drawing logos and lettering, whereas Flash is far more suited to both drawing and animating things like clock faces.
The clock was a pretty quick job, polished off in under an hour from start to finish.
The Granada electronic caption was another quick job, as I had a large, high quality scan of a genuine caption card from Matthew Gulliver’s collection to work from. This caption dated from the same era as the closedown and the proportions of both the logo and lettering were identical.
Once I had all the bits and pieces I stuck them together in Flash 8 and exported the resulting sequence as a PNG sequence. I turned the PNG sequence into an uncompressed AVI file using VirtualDub. Then I imported to AVI file into Avidemux to add audio and export the result as an H.264 video/MP3 audio MP4 file.
I uploaded the finished result to my YouTube channel, and here it is:
Well, it had to happen sooner or later. My first documentary – my entry for the Golden Spigot of Hinton St. George:
It’s poorly made, factually dubious, and won’t tell you anything worth knowing – just like the real ones on the telly!
Google recently got a lot of criticism for “copying Microsoft’s search engine Bing” in changing the background of their home page. But, if I remember correctly, they did this as an experiment once before long before Bing came along to showcase loads of Google commissioned “modern art”. Although, that time, they didn’t enforce a random work of “art” on you by default.
Google’s homepage is so resolutely minimalist that it reminds me of Granada Television’s ident throughout the 70s and 80s; the two were obviously made for each other.
Now all I need is some Derek Hilton…
Recently I had another nice surprise – Michael S. Repton has uploaded a play-through of ROVERS, the Coronation Street theme I created for the BBC Micro version Superior‘s Repton 3 in the late 1980s, to his YouTube channel.
I’ve already described the “Rovers” Repton set here, but as always it’s fascinating to watch a player as good as Michael tackle my levels.
Sometimes, despite trying your best, you can still get things incredibly wrong. Seven years ago I wrote an article for Transdiffusion called “Granada writes…“. I tried really hard with the article to research it and back up what I wrote but it’s full of errors.
The diagonal cuts on the E should have really given the game away (click on the picture to enlarge)…
There’s a whole article to be written about the use of grots in 60s and 70s television – but probably not by me, or it would be full of factual errors!
The give-away here is the fact there are curves rather than right angles inside the R and the D (click on the picture to enlarge).
Egizio was designed by Aldo Novarese (1920-1995). He also, with Alessandro Butti, designed Microgramma and Eurostile. These two faces would also play an enormous part in television presentation in the late sixties and early seventies. A good list of Novarese’s other faces can be found here.
If you want to get a good starter collection of typefaces that were used on television in the 1960s and 70s including an excellent version of Egizio (called E710 on the disc) then you could do a lot worse than invest in the SoftMaker MegaFont XXL 2.0 CD. Although the price (45 Euro) and number of faces might suggest low quality, I’ve heard a number of people claim that many of the fonts on it are not only historically important and unavailable elsewhere but many of the others are more faithful reproductions of the originals than those offered by the big name font sellers. As soon as I get the money I’m certainly going to invest in a copy.