Thames 1976 – 1989 Branding

In 1976, Thames introduced a new coloured version of its ident. A decade later, in 1986, they revamped the ident once more, transitioning to a digital format.

Thames In-Vision Continuity

By June 1985 a new Thames backdrop is introduced to the presentation studio.

Thames Programme Promotions

Creating a trailer is an art form in itself, and broadcasters often employ whole departments whose sole responsibility is to plan, assemble and produce them. The best programme and film trailers usually consist of a well-judged selection of funny or startling clips, cut to dramatic or catchy music and linked with arresting or quirky voice-overs. But it was not always the case. During the 1970s and early 1980s, it was possible for trailers to comprise of just of one thirty-second clip, with a caption superimposed on the end, or perhaps a line of narration delivered live by the duty continuity announcer. No matter what the era, it seems fair to observe that the sophistication of any trailer grows in proportion to the availability of time and budget, for editing and for graphics. With Thames TV broadcasting for twenty-four years, many different styles of trailer can be detected among their on-air promotions. Often they relied on the vocal talents of Bruce Hammal to deliver the puncy narration, always ending in a well-emphasised channel identification, “…ON THAMES!”

Thames Holding Slides

The various holding slides and captions that used to pop up just after a show had ended, leading into an ad break with the name of the programme coming next. These examples of “break teases” are listed in date order,

By 1980 a new style of holding slide was introduced

Another style of holding slide introduced in 1982

In 1988 a new style appeared

Thames Miscellaneous Items

In the summer of 1984 a major strike was called, this time, over Thames’s management unilaterally issuing new rostering schedules (overtime payments for transmission staff), and the use of new cameras and editing equipment. There were no internal discussions of the potential savings that could be derived from new shift patterns, but there was a strong sense that union controls had to be removed before the company embarked on increasing its operations. The technicians walked out, but the station was off the air for just one day as management and administration staff took over their roles. On Monday 27 August, ATTC technicians walked out again over the new shift patterns; the strike ended on 3 September 1984, at 1pm after the union agreed to rostering according to need, while the management dropped plans for ending six day working fortnights. Bryan Cowgill said: “The need for sensible change in the way we conduct our operations has been at the heart of this dispute. The outcome of a damaging and costly dispute has resulted in substantial progress towards a more realistic and effective way of working”.Over the following four weeks, further discussions took place about implementing the plans while introducing new technologies. On Wednesday 17 October, another strike was instigated, as talks failed to reach agreement. The union warned against a management-run service, as it would be a recipe for total network disturbance and a massive loss of programmes, but Thames claimed that it would be justified due to the strike being unofficial.[22] On Tuesday 23 October, a management-run service started operating; the company claimed the revised schedule was popular with the viewers. The strike finally ended on 3 November 1984, after 62 film editors agreed to the new conditions, while the ACTT agreed as well to start negotiations about the introductions of new technology. Additional episodes of network productions were screened to help clear the backlog, since no outside programmes were broadcast. Thames said: “We are delighted in the outcome of the dispute which we believe is in the best interests of everyone who works at Thames