Chicago Scenic was pleased to work with Peter Provost of Provost Studio again, this time on our second design-build project for the Chicago Tribune. This broadcast set is especially hard working because it becomes two distinct sets that serve two distinct audiences; one targeting the Chicago Tribune’s free daily “RedEye” circulation, the other targeting “Chicago Magazine’s” upscale audience.
The RedEye set (shown at right) sports an edgy, industrial look with a faux brick and plaster wall, a stenciled outline of the Chicago Street grid, a door that opens onto an ‘El’ stop, and a prominent RedEye logo.
The Chicago Magazine news set, by contrast, is white and sleek and sophisticated (shown above). RedEye’s prominent red logo is replaced by a bright white back wall, accent lighting, and bold black and white logo treatments. The set is built around two upholstered club chairs and a geometric-design rug. Framed photos of Chicago landmarks hang on the wall and three sets of doors open onto an ‘El’ platform.
The studio and sets were designed for flexibility and to maximize the combination of camera angles, Chicago Scenic’s Project Manager Stefan Koniarz said. “We can accommodate a standing one-person shot all the way to a five-person panel.”
Koniarz and Provost worked closely with the Tribune’s Senior Video Producer Mason Pierce and Designlab Chicago’s Lighting Designer Jill Stewart on the project.
