TriStar Pictures: Difference between revisions

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'''Trivia:'''
'''Trivia:'''
*This logo was based on a still image Sony had introduced alongside its sister studio Columbia on March 2, 1992. The logo was only used for home video and television until a fully animated logo debuted in the summer of 1993.
*This logo was based on a still image that Sony had introduced alongside its sister studio Columbia on March 2, 1992. The logo was only used for home video and television until a fully animated logo debuted in the summer of 1993.
*The footage of the white stallion was shot in a hangar at the Santa Monica Airport. The wings were done by combining real feathers and digitized computing and were merged with the white stallion's image via computer morphing. The cloud background was a large model shot in a studio.
*This logo was apparently animated in 2.20:1, as even open matte presentations have this logo cropped on both sides.
*This logo was apparently animated in 2.20:1, as even open matte presentations have this logo cropped on both sides.
*The logo bears an intentional resemblance to the Columbia logo introduced around the same period. This is done to reinforce the connection between the two studios.
*The logo bears an intentional resemblance to the Columbia logo introduced around the same period in order to reinforce the connection between the two studios.
*This logo was directed by John Callas, and behind-the-scenes stills of the logo (including alternate lighting of the cloud background and close-ups of the horse) can be seen on his Facebook account.


'''Bylines:'''
'''Bylines:'''
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'''Variants:'''
'''Variants:'''
*During this logo's early years, on movie trailers and commercials, when the Pegasus is spreading out its wings, the "'''T{{small|RI}}S{{small|TAR}}'''" text is fully solid, rather than transparently fading in as in the regular version. Also, it doesn't shine.
*During this logo's early years, on trailers and TV spots, when the Pegasus is spreading out its wings, the "'''T{{small|RI}}S{{small|TAR}}'''" text is fully solid, rather than transparently fading in as in the regular version. Also, it doesn't shine.
*On ''Sleepless in Seattle'' (the first movie to use this logo), the flash dims away earlier before the Pegasus spreads out its wings and the "'''T{{small|RI}}S{{small|TAR}}'''" text appears.
*On ''Sleepless in Seattle'' (the first movie to use this logo), the flash dims away earlier before the Pegasus spreads out its wings and the "'''T{{small|RI}}S{{small|TAR}}'''" text appears.
*The brightness of the clouds and the color of the byline vary depending on the film.
*The brightness of the clouds and the color of the byline vary depending on the film.
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*On a 2010 TBS airing of ''My Best Friend's Wedding'', the TriStar text is written in the same font as the preceding [[Zucker Brothers Productions]] logo.
*On a 2010 TBS airing of ''My Best Friend's Wedding'', the TriStar text is written in the same font as the preceding [[Zucker Brothers Productions]] logo.


'''Technique:''' A combination of live-action film (the Pegasus and cloud background, both filmed separately) and CGI (the light beam, wings, text, and fog), done by Intralink Film Graphic Design.
'''Technique:''' A combination of live-action footage (the Pegasus and cloud background, both filmed separately) and CGI (the light beam, wings, text, and fog), directed by John Callas for Intralink Film Graphic Design. The footage of the white stallion was shot in a hangar at the Santa Monica Airport. The wings were created by combining real feathers with the white stallion's image via computer morphing. The cloud background was a large model shot in a studio. Behind-the-scenes stills of this logo (including alternate lighting of the cloud background and close-ups of the horse) can be seen on Callas's Facebook account.


'''Audio:''' A majestic arrangement of the last logo's fanfare, this time composed by Bill Johnson. It starts with an ascending and descending back-and-forth piano glissando, followed by a two-note descending xylophone tune, on the last note, the same six opening notes from the last logo begin. Between the third and fourth notes, there is a delay filled with a four-note tuba tune. The music rises in intensity as we hear more and more instruments come in (including brass instruments and drums), ending in a very majestic fanfare.
'''Audio:''' A majestic arrangement of the last logo's fanfare, this time composed by Bill Johnson. It starts with an ascending and descending back-and-forth piano glissando, followed by a two-note descending xylophone tune, on the last note, the same six opening notes from the last logo begin. Between the third and fourth notes, there is a delay filled with a four-note tuba tune. The music rises in intensity as we hear more and more instruments come in (including brass instruments and drums), ending in a very majestic fanfare.
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