Peter Provost With Provost Studio

Intro: [00:00:04] Broadcasting live from the Business RadioX studios in Atlanta, Georgia. It’s time for Atlanta Business Radio. Brought to you by On pay. Atlanta’s new standard in payroll. Now, here’s your host.

Lee Kantor: [00:00:24] Lee Kantor here, another episode of Atlanta Business Radio, and this is going to be a good one. But before we get started, it’s important to recognize our sponsor, Onpay. Without them, we couldn’t be sharing these important stories. Today on the Atlanta Business Radio, we have Peter Provost with Provost Studio. Welcome.

Peter Provost: [00:00:44] Hey. Thanks, Lee.

Lee Kantor: [00:00:45] Appreciate it. I am so excited to learn what you’re up to. Tell us about your firm. How you serving folks?

Peter Provost: [00:00:51] Good question. Uh, so we’re a design firm based here and headquartered in Atlanta, and we design and build video broadcast studios for companies, corporations, professional sports teams, you name it, commercial broadcast. Basically anything that’s that is on camera, seen through a lens. That’s what we design.

Lee Kantor: [00:01:15] So what’s your backstory? How’d you get involved in this line of work? It seems very niche insanity.

Peter Provost: [00:01:20] That is really what it is. No. My background, I’m trained as an architect and worked for a very long time in architecture, also worked in the experiential marketing world, working alongside brands and figuring out, you know, a company’s needs and goals and wants and how that all kind of translates into, you know, things like retail spaces and, you know, customer experience centers. And the company that I worked for actually was was also doing video production and broadcast studio set design. And I kind of got pulled into one of those projects. And, you know, as it, as it, as it were, you know, today we’ve got this practice, which is kind of a hybrid between interior architecture and broadcast studio set design.

Lee Kantor: [00:02:13] So now, how has broadcast studios set design evolved over the years like it first started out? I would imagine, as you know, this is where the networks or network television, you know, they all had something that looks kind of similar. And then now as media is evolving and now brands have media platforms and everybody is in the media business nowadays, it seems like now your business has expanded to their worlds as well.

Peter Provost: [00:02:41] Yeah, it’s pretty exciting. I mean, like what what I like to say is, you know, um, brands have kind of become broadcasters in a way. And, uh, a lot of that, uh, has to do with the maturity and development of the technology over the past ten years or 20 years, really, uh, although it does accelerate every 5 or 10 years. Um, but like as an example, when I first started in the kind of broadcast world, um, my, my background is, is in broadcast news. And so, uh, one of my first projects while I was in New York was kind of designing both the interior workplace as well as the production studios for CNN when they moved, um, all of their studios throughout the city, uh, into Time Warner Center and, um, you know, back in the day, uh, you know, the thing, like, you know, internet and how, uh, you know, how content is moved from point A to point B, uh, was really, uh, not internet based, um, cameras. We didn’t have the, the iPhones that we have today. But fast forward to today, really, that the proliferation of technology has really made it a lot easier to create, um, you know, valuable, um, branded content for, you know, not the commercial broadcast station or not the commercial broadcast, uh, clients that that I grew up on.

Lee Kantor: [00:04:09] So what are some of the kind of do’s and don’ts when an organization is building out a studio for their whether it’s their media property, for their brand or for their network, is there some things that they all maybe some commonality between all of them? And is there a way to distinguish one from another, or is it because some of them, I feel like in my head at least, maybe this isn’t true in reality, if I examined it closely that you can kind of cut and paste any kind of studio with any brand and you wouldn’t notice much difference.

Peter Provost: [00:04:42] Yeah, that’s the challenge. That’s that’s the design challenge, right? Lee? I mean that that the what you’re pointing out is, is correct. Um, in that if you go from one studio to the next, there really isn’t anything inherently, um, embedded, um, within that space relative to what the brand look and feel is, what the content is that they’re talking about. And so we kind of help bridge that, you know, bridge that gap. Um, but I think, uh, it doesn’t actually have to be all that complicated just by starting with, with good lighting. Right, starting with, uh, you know, a. That’s well lit. Starting with, you know, camera or quite frankly, your iPhone. Um, and and just getting the, the lighting, the space and the the the the video capture. Right. Um, I mean, these aren’t I mean, we’ve all seen. Right? The, the zoom calls where it’s the up, the up the nose cam or the, you know, down on the head cam. Um, these are all super easy fixes that when we start to look at what a brand’s video footprint looks like, that that’s kind of the low lying fruit, right? The second the second piece is how do we start to, um, raise the overall video production level of the of the content and the look and feel to match the brand? Right. So if it’s a fortune 500, we really want them to, to look and feel, um, like, like their brand, um, and have them walking and talking in video just as they are some of the other communication channels.

Lee Kantor: [00:06:28] Now, how do you in a world where, um, it seems with CGI, I can have the appearance that I’m broadcasting on the moon. Like, how do you kind of improve that production value or at least create signals that I am a higher level production or, you know, virtually? Is it possible, you know, to do this physically versus virtually? Like I recently interviewed a woman who built, um, one of the sets for the Super Bowl, like in the fountains of the Bellagio.

Peter Provost: [00:07:02] Yeah, yeah.

Lee Kantor: [00:07:03] Yeah, sure. So that obviously when you do that, you’re you’re signaling and your brand is and positioning yourself in a certain way and you’re saying a certain thing just by the fact you’ve taken the time and effort and money to build that out, as opposed to somebody else who can click a button, and all of a sudden it looks like they’re in front of the Eiffel Tower.

Peter Provost: [00:07:25] Right. Well, I think you bring up a good point, right? So when we’re talking about, um, talking about a space that you create video content in that, that could be both, you know, a physical thing, right? Where right now I’m in my space in my office. And this, this is a space that could be, you know, on camera. But then there’s also this thing called virtual production, um, which, you know, without overcomplicating it, uh, you know, every night we look at the, we look turn on the news and we watch the weather, the weather guy or girl, um, presenting their standing in front of a green screen. Right. So all of that content that happens in the green screen, in addition to them being on camera, which is this physical and virtual thing, is, is kind of called virtual production. And so we while we, uh, you know, design and build physical environments for companies, we also do, you know, virtual production and virtual environments, um, for, for companies, which, um, it’s kind of over the years, uh, evolved into now no longer a necessarily a green screen, but it’s but it’s LED technology and really video display technology, um, that, that that content happens um, uh within.

Lee Kantor: [00:08:46] So now, what kind of conversations are you having with your clients to, you know, kind of discern what outcome they desire and how best to leverage your skills and your, um, superpowers to help them achieve whatever it is that objective is.

Peter Provost: [00:09:02] I think the biggest. Uh, I think the thing that I can most say definitely, is that we don’t try to shoehorn, uh, a solution one way or the other. We really try to meet the client where they are relative to creating content. Um, you know, some some companies are already creating content, um, virtually. Right. So they already have a green screen and they’ve already established, um, a workflow for that kind of content. And so with a, with a client like that, um, I mean, to be honest, the design process and the creative process is the same. It’s just how it gets output to, um, you know, to the audience is is what is different. Um, I think that sometimes there’s a misconception that if it’s virtual, it’s, it’s it is more flexible. But at the same time, you still have to have someone producing and designing that content for, for you. Um, it’s it’s not, you know, it’s not something as easy as, you know, downloading a stock image. Well, it could be, I guess. Um, it’s not as as easy as, as finding a stock image that makes sense. Um, but we’re we’re really able to kind of help our clients, you know, in any mode of, uh, of production that they need. Does that make sense?

Lee Kantor: [00:10:29] Well, I mean, your background as an architect and you’re the lens, I would imagine, at least at one point in your career was through the lens of an architect. How does how do you kind of, you know, take the steps into this virtual world with virtual production and, you know, this, this kind of new reality we’re in, whether it’s augmented or or actual reality, um, how, you know, how are you helping them? How like, what exactly is the work to be done for that client who wants everything virtual and, and doesn’t care about a desk and all the stuff that you used to physically build for these people. And now they’re saying, look, just put an image behind me that makes it look like, you know, we’re a classy outfit. So that’s what I want today.

Peter Provost: [00:11:17] Yeah, yeah, yeah. So, uh, I think the first is our, our approach to design is, is is spatial. Right. That’s very much how, um, I was trained as a designer and kind of our approach to environments where, um, you know, when somebody says background, they think of it immediately as just kind of a flat thing, a flat plane behind the head. But in actuality, at least the way that we approach things, it’s it’s more 360 degrees. Right? So we’re really designing and building whether it’s physical or virtual, um, you know, 360 degree environments that you can turn and point the camera wherever you need to, um, and get a sense of place for that, for that client. Um.

Lee Kantor: [00:12:06] Yeah. So now this is kind of a mental shift, right? For your clients.

Peter Provost: [00:12:14] Uh, I don’t know. Sometimes I think the biggest, the biggest mental shift is getting kind of, um, an understanding that their current level of video production, in terms of what it looks like and feels like relative to the brand. Um, and then also, is that environment helping them, um, uh, get their message across? Because at the end of the day, it’s not about the scenery, it’s not about the lighting, it’s not about the AV. It’s really about the content and the messaging. Right. And so I think the first the first mental shift is kind of okay, do we is what we’re doing makes sense relative to those two things I just mentioned. And then um, and then the question then becomes, well, what about flexibility? Right. How do we, um, how do we create a level of flexibility in the studio, whether it’s physical or virtual, that allows us to do a bunch of different things, right. So as an example, well, let’s say we want to do, um, I don’t know, let’s say it’s a quarterly earnings report from the CFO or the C-suite. Um, and then it’s it’s basically a, you know, uh, stand up at a monitor that has some data and, uh, you know, a space that, that kind of, um, that they can present in at the same time, you want to be able to use that same space for a fireside chat, um, relative to, let’s say it’s, uh, I don’t know, it could be a training, a corporate training, um, corporate training meeting, an event that same space again needs to be able to accommodate those multiple use cases.

Peter Provost: [00:13:57] Um, but I think it also goes more beyond just the, um, you know. Pushing out content. But, you know, we have clients that are using XR. There’s um, uh, software company, um, that we’ve done, uh, we’ve done a project for that is actually using the studio to connect, uh, and train, uh, technicians across the world, across the globe. And they’re doing it in real time. Right. Um, so that’s kind of in the software world. I mean, we’re we just finished a studio for, uh, very large teaching, um, a teaching hospital where they’re using the studio, both physical and virtual, um, to create content for patient, um, pre-op and post-op care as well as doctor education. Um, there’s just a lot of different uses and reasons that that clients are kind of engaging video. Um, so really kind of to get them excited about the potential is kind of probably the second thing, uh, aside from understanding them, understanding or having this, uh, kind of self-awareness about what they’re doing and then getting them excited about how video content can help them.

Lee Kantor: [00:15:17] Now, are your clients typically are you building their first studio for them, or is this something that they’ve had something in there just it’s not working anymore. And now they’re kind of, uh, refreshing what they got.

Peter Provost: [00:15:31] Yeah, yeah, it’s kind of a mixed bag. Um, some, um, like some of the sports teams that we’ve worked with over the years, they, um, you know, let’s say they’re working in a smaller space and it’s a podcast studio, and they’re kind of going to leverage the next couple fiscal years to, um, to build an actual large scale or larger scale production space. Um, getting, getting them to, um, or helping them, uh, create sort of a flexible space that can help them grow in the future has been a huge, uh, a huge, not huge challenge, but a huge reward. But a client like that, they’ve already been doing video production, but in the new space, there’s just more opportunities and more flexibility to take, take advantage of. So I think, um, regardless of where the clients are, a lot of kind of I won’t say education or hand-holding, but just showing them the potential of what the medium can do is, is definitely part of it. Um, you know, we’ve got studios that are 10,000ft² and then we’re doing, you know, several studios, small studios, um, almost a, I want to say a broom closet, but it’s small where a c suite individual can sit down and attend a virtual meeting, but also, you know, do their podcast. Uh, these aren’t large studios. These aren’t big spaces, but they’re super critical for, um, you know, the executive team and their communication to, uh, to both, uh, the organization at large, but also relative to their audience and customers and clients.

Lee Kantor: [00:17:13] Now, how much of your time is spent educating your clients in this, um. Kind of getting the most out of this digital, uh, digital storytelling that’s so popular nowadays. You know, with the advent of so many streaming services, there are so many documentaries and there’s so much content out there that is showing, um, you know, a space in an interesting way and, and telling the stories of that organization in an interesting way. Um, I would think that this is kind of where an area where you can really shine by saying, look, if you invest some money and resources in this kind of, um, studio environment that’s flexible to whatever needs you have, then you’re going to be able to really tell a lot more stories, a lot more effectively and efficiently than if you were just kind of trying to wing this, you know, in the in your existing office space to the best of your ability.

Peter Provost: [00:18:13] Yeah. Um, well, I think it really comes down to talking to the client about this as an emerging communication channel, right? I mean, I would say it’s not emerging anymore. I mean, when YouTube came out, everybody was like, oh, no, it’s just, you know, again, I’ve got five kids, four kids, and, uh, all of them are on YouTube. And, you know, 4 or 5 years ago it was like, oh, well, that’s just kind of a tool for recreational purpose. But now at the end of the day, you know, these these clients have have YouTube channels that are becoming bona fide means of communication to their audience. And so I think it really becomes weighing the weighing how they’re communicating currently and how video as a communication channel can, can help amplify that. It’s not really in place of. But, you know, there’s just certain things that video does better than other things. And, um, and being able to have a very specific question or a conversation with them about what that means to them and their business is kind of where the rubber hits the road. Right. Um, and I would say nine out of the ten clients that we have, it’s a top down initiative, right? So we don’t really have to, um, educate or justify the communication channel, meaning video as the best way to, um, communicate that, that content. But really, um, differentiating how we do it versus somebody else does it. Right.

Lee Kantor: [00:19:52] Um, now what’s an example of, of some of the, the coolest ways you’ve seen people leverage this and maybe, maybe some of the, the, the places where you’ve really shined and taken somebody’s game up a level or two.

Peter Provost: [00:20:08] Uh, I can’t use names. Right?

Lee Kantor: [00:20:10] Just maybe just share the problem or the challenge they were having and how you helped them solve it.

Peter Provost: [00:20:14] Yeah, yeah, yeah, I think what’s what’s kind of, um, refreshing. And I do this with our clients, too. Um, we often do kind of like a before and after kind of thing, right? Where we go in and and assess their studio, take photos and, and this isn’t as a, as a way of, you know, we’re not design shaming anybody. But when you start to look at kind of the before and after of where clients have been versus where they where they are, once we finish with them, it’s it’s it’s pretty it’s pretty astonishing. But it’s also deeply rewarding. Um. I think some of the coolest stuff that we’re doing. I mean, I really feel like, uh, the, the stuff that’s happening in health care right now and how you start to leverage and how, um, whether it’s doctors, whether it’s hospitals, whether it’s, um, you know, health care organizations are leveraging video to actually help people. Right? Um, that’s extremely rewarding. Um, when I look at the potential of XR and creating immersive environments around health care, um, whether it’s content, whether it’s operating techniques, I mean, you can literally, you know, be immersed in, uh. A tutorial of what to do or what not to do when you come home from, you know, open heart surgery. Um, or I mean, quite frankly, the techniques that a doctor uses relative to that kind of a procedure are all much more, um, accessible visually. Uh, and quite frankly, the data, um, that, that otherwise, um, you know, whether it would be.

Peter Provost: [00:22:03] Uh.

Peter Provost: [00:22:04] Could be video. Well, it could be film. Uh, I mean, there could be other modes of exploring that, but, um, the fact that that technology can support the, the, the, the content is is pretty astonishing.

Lee Kantor: [00:22:19] So what’s next, uh, for your organization? I know you have offices around the country. Um, and now you’re here in Atlanta. Like, have you always been here in Atlanta? Did it start here or. It started somewhere else? And you just came here?

Peter Provost: [00:22:33] Yeah. Well, it it started actually in, uh, in Raleigh. Um, we’ve been there for about 20 years now and, uh, originally from Pennsylvania, uh, northeast, um, went to school, undergrad in the South and then went to grad school in the north and ended up raising a family in, um, in, in Raleigh. And, uh, I think one of the things that has excited me for a while about, um, Atlanta and Georgia, Georgia in particular, is, is the amount of creative, um, capital that’s here around virtual production. And when you look at virtual production in film and broadcast television, that’s I mean, that’s happening like gangbusters here in Atlanta, um, and in Georgia. But what what interests us about it is and we’ve already started doing this is building a virtual production team, but for corporate and, um, broadcast, uh, commercial broadcast clients. Right. And so the question then is, or the challenge is, how do we use these tools that are already here for film, um, to, to address the needs of the corporate and the professional sports and the health care and, you know, um, it goes on and on and on those kinds of clients, which is super exciting.

Lee Kantor: [00:23:56] Well, there’s quite a few of them here in all those categories, this pretty diverse economy here.

Peter Provost: [00:24:02] Yeah, it certainly is. And we’re we’re super excited to be here and super excited to to kind of venture on this new, uh, uh, you know, this new medium and see what it has in store for our clients. So.

Lee Kantor: [00:24:19] Well, if somebody wants to learn more, have a more substantive conversation with you or somebody on the team, what is the website? What’s the coordinates?

Peter Provost: [00:24:26] Uh, yeah. It’s, uh, Provo Provost Dash studio com. So you can head on over to provo-studio.com and check us out.

Lee Kantor: [00:24:37] Well, Peter, thank you so much for sharing your story today. You’re doing such important work and we appreciate you.

Peter Provost: [00:24:43] Thanks, Lee, I appreciate it. Thanks for your time.

Lee Kantor: [00:24:45] All right. This is Lee Kantor. We’ll see you all next time on Atlanta Business Radio.