A new red & black graphics package was introduced.
A 4K Ultra HD version of the feed was now made available to broadcasters.
A new graphics package was introduced, featuring a “flatter” look and feel.
FOM made a 5.1 surround sound mix available to broadcasters taking the HD feed.
FOM took over production of the World Feed for the following race, taking the total of FOM-produced rounds to 19 out of 20:
Only the Monaco Grand Prix is now produced by someone other than FOM, namely the Monegasque broadcaster TMC
An HD version of the feed was now made available to broadcasters for all rounds.
A new slanted, black graphics set was introduced.
The 2004 graphics set was updated, giving the graphics a bevelled, “3D” look. The graphics for the 16:9 version of the feed started to encroach out of the 4:3-safe area.
FOM took over production of the World Feed for the following race, taking the total of FOM-produced rounds to 16 out of 18:
The world feed for every round was now both produced and made available to broadcasters in 16:9 widescreen. Graphics remained within the 4:3-safe area.
FOM took over production of the World Feed for the following races, taking the total of FOM-produced rounds to 15 out of 17:
For the 2006 Japanese Grand Prix, host broadcaster Fuji TV filmed the event in 1080i High Definition, with up-scaled FOM graphics & burnt-in Japanese graphics. International viewers saw an SD downscale of the feed, minus the Japanese graphics. This continued up until 2012 when FOM took over production of the event.
FOM took over production of the World Feed for the following races, taking the total of FOM-produced rounds to 7 out of 19:
For the 2005 Belgian Grand Prix, host broadcaster RTBF filmed the race in 16:9 widescreen (seemingly as an internal trial), however both domestic and international viewers saw the feed cropped to 4:3.
Starting in 2004, FOM took over production of the World Feed at certain races, producing the World Feed for 4 of the 18 rounds that year:
A new black-on-white graphics set was introduced.
The world feed began to feature team radio broadcasts
For the Australian Grand Prix during these years, the World Feed was filmed by the host broadcasters Nine Network (2001 & 2002) and Network Ten (2003) in 16:9 widescreen. The widescreen version of the feed was only shown to Australian viewers watching in digital. Australian viewers watching in analogue got a 14:9 crop, and international viewers got a 4:3 crop.
For the 2002 United States Grand Prix, the World Feed used the F1 Digital+ ‘Super’ feed.
For the Brazilian Grand Prix during these years, the World Feed was taken from the F1 Digital+ ‘Super’ feed, minus F1 Digital’s exclusive graphics and additional on-board angles.
After a trial at the 1996 British Grand Prix, the F1 Digital+ package was officially launched at the 1996 German Grand Prix. For more information, see the F1 Digital+ section of this website.
For the 1994 season, FOM introduced the famous black & yellow graphics package.
The language of the graphics was now in English, regardless of where the Grand Prix was taking place.
From part-way through 1991 until the end of the 1993 season, the World Feed used an (EBU?) graphics package that was used across a variety of sports from that period, not just F1.
The language of the graphics was the official language of wherever the Grand Prix was taking place that weekend.
Used sporadically in 1991, the package was used more frequently during 1992 to 1993.