Election studio sets

Election studios are specialized television sets made by media networks to analyze the results.

Many televised election studio sets include a newsroom/bullpen, which serves as an office workspace being packed with computers, analysts and experts, all processing the results.

Plus, election studios use the anchor desk overlooking, next to, or above the newsroom/bullpen.

Studios 41 and 42 in Grand Central Terminal were unified for CBS Television's 3 election nights, both being held in the 1950's, and lastly in 1960, with the wall being taken down.

The CBS Broadcast Centre was the venue for CBS Television's subsequent presidential election nights from the mid-1960's to the mid-2010's.

Paying homage/tribute to GCT, Studios 41 and 42 were named for the CBS Broadcast Centre.

Conversely, Studio 3A or 3B, which were based at 30 Rockefeller Plaza, served as the main venue for NBC's nationally-televised coverage of the early-1950's US presidential election.

In addition, Studio 8H, which has housed Saturday Night Live (SNL) since its 1975 inception, was the venue for NBC's US presidential election coverage from the early-1950's to the early-1990's

Democracy Plaza, the temporary election venue being based at the iconic 30 Rockefeller Plaza, houses NBC's televised presidential elections and has an ice rink, doubling as electoral map.

Complementing the ice rink's map, NBC hoists vertical red and blue banners up 30 Rockefeller Plaza's facade to visually track each nominee's climb toward the necessary electoral votes.

The Chicago School of Television is a creative television philosophy being rooted in its namesake; its purpose is to counter New York's theatrical/radio grandeur and Hollywood's cinematic glamour.

Such noted techniques involving television's Chicago School include walking personalities, addresses directly to viewers, fluid/moving camerawork and studio sets as three-dimensional/3D canvases.

When regular commercial television operations began in New York, many programs have incorporated theatrical proscenium or radio layouts, separating the stage from the audience area.

In other words, the early studio set designs used by many programs coming from the New York-centric television scene were like a cardboard box, but also two-dimensional/2D canvases.

Besides, New York-centric television also used fixed/static shots, together with loud talkers.

However, the Chicago School circumvented the traditions of the New York-centric television scene.

During the early years of the era after the Second World War, some television programs emanated from Chicago, where Dave Garroway was a radio disc jockey on WMAQ-AM.

Using his laid-back and soft-spoken delivery, radio was Dave Garroway's early passion.

Television came calling for the radio-friendly Dave Garroway in 1949; his eponymous program called Garroway at Large was a key component of the Chicago School.

April 1949 is when Dave Garroway's Garroway at Large program started its run as a local program on WNBQ, before airing on a national basis on NBC, starting in June 1949.

For his eponymous Garroway at Large program, Dave Garroway broke television's old traditions for a more casual approach, in which the reality of the studio was acknowledged.

Using one camera, Dave Garroway walked around large studios and simple abstract sets as he directly talked to guests and television viewers for his eponymous Garroway at Large program.

Just over 2 years after NBC started Dave Garroway's eponymous Garroway at Large program, its rival CBS responded by launching See It Now with Edward R. Murrow in November.

Hear It Now, which served as a former weekly radio adaptation of the I Can Hear It Now spoken-word album series, is, in turn, the basis for Edward R. Murrow's See It Now (CBS).

The CBS Television control room at Studio 41 in Grand Central Terminal houses Edward R. Murrow's innovative and groundbreaking See It Now television program.

Dave Garroway's Garroway at Large (NBC) used moving cameras and unpainted studio walls, whereas Edward R. Murrow's See It Now (CBS) featured a control room with monitors.

Plus, whereas programs from New York-centric TV were like a cardboard box, the See It Now program being helmed by Edward R. Murrow had a control room.

Both Dave Garroway's Garroway at Large (NBC) and Edward R. Murrow's See It Now (CBS) rejected cardboard box-like sets and exposed real technical television production.

NBC also pioneered a new formula of television: early-morning television, which is being offered via Today (NBC), initially coming from the RCA Exhibition Hall.

Situated in the Rockefeller Centre complex, the RCA Exhibition Hall is based directly across from the iconic and famous headquarters of the Associated Press at 50 Rockefeller Plaza.

Contrasting to the iconic headquarters of the Associated Press, which represented print journalism, the RCA Exhibition Hall represented electronic media's fluid and transparent future.

Inside the RCA Exhibition Hall, parts of which were converted into the first Today (NBC) studio, was a newsroom/bullpen being adapted from the Associated Press at 50 Rockefeller Plaza.

Juxtaposing print journalism's industrial past, via the AP at 50 Rock, with electronic media's transparent future, via the RCA Exhibition Hall, the Today (NBC) bullpen was a television innovation.

Next to the Today (NBC) bullpen at the RCA Exhibition Hall was a desk, based behind a backdrop with clocks and television monitors.

Besides, Today (NBC) featured pedestrians on the street looking through the glass windows of the RCA Exhibition Hall to watch this program.

Plus, teletypes that came from the Associated Press (AP), United Press (UP) and the International News Service (INS) were used inside the Today (NBC) newsroom/bullpen at the RCA Exhibition Hall.

The on-screen ticker being adapted from the wire services in the Today (NBC) newsroom/bullpen at the RCA Exhibition Hall, featuring a clock display being adapted from clocks, was used.

Due to technical difficulties and having lacked viewer traction, this on-screen ticker being adapted from wire feeds for Today (NBC) was dropped after just a few months.

Undoing the past, Today (NBC) under Dave Garroway births modern broadcast design elements.

Some of the innovations surrounding the RCA Exhibition Hall for Today (NBC) under Dave Garroway include a newsroom/bullpen, a street-side studio, a news ticker and a clock display.

This borderless room, located at the RCA Exhibition Hall for Today (NBC) under Dave Garroway, was made in-house by NBC's engineering units and RCA's corporate exhibition teams.

With the RCA Exhibition Hall as its first base, Today (NBC) doubled down on the Chicago Style being honed at Dave Garroway's eponymous Garroway at Large program.

Likewise, with Dave Garroway at the helm for Today (NBC), the RCA Exhibition Hall bridged the gap between the Chicago Style, the AP newsroom/bullpen and the See It Now control room.

For Today (NBC), under Dave Garroway, the RCA Exhibition Hall mixed Chicago's creativity with the industrial newsroom/bullpen (AP) and the technical network news nerve centre (CBS).

The early-1950's US presidential election, the second one being held during the Cold War period, was likewise the first to offer television coverage on a massive and multi-faceted level.

For the early-1950's US presidential election, the newly-completed microwave/coaxial system via the American Telephone & Telegraph Company solved the issues of the past televised ones.

Chicago, in which Dave Garroway pioneered a casual television style being brought to New York, also hosted the political conventions in the early-1950's at the International Amphitheatre.

For the Republican National Convention in this early-1950's era, it was the first to be presented live on television on a national level.

Whereas past conventions, including the 1948 gatherings, were simply being televised all over the East Coast, Chicago's political conventions in the early-1950's were televised nationwide.

Using the air conditioning process being installed at the International Amphitheatre, Chicago's political conventions, held in the early-1950's, were the first to do so.

Just before Chicago's major political conventions in the early-1950's era, summer political conventions notoriously suffered heat in venues without A/C, making citizens sweaty.

However, the addition of the A/C process and the American Telephone & Telegraph Company's coaxial television uplink for Chicago's early-1950's political conventions helped modernize these rituals.

For these early-1950's political rituals, held at the International Amphitheatre in Chicago, the major US television networks erected makeshift broadcast booths inside the convention halls.

The television service with the most notice to cover Chicago's political conventions in this early-1950's period was CBS, which brought Walter Cronkite to national prominence.

Echoing Dave Garroway taking Chicago's techniques with him to New York for Today (NBC) upon its launch in the early-1950's, the Chicago political conventions led to the New York election nights.

Similar to the newsroom/bullpen being adapted from the print field by Today (NBC) for television, the major US television networks used this print-style trend for their early-1950's elections.

Due to Walter Cronkite at the desk, CBS' nationally-televised coverage of these early-1950's American political events had a print-style newsroom/bullpen, which he adapted from the UP wire service.

For Walter Cronkite, he worked with producer Don Hewitt to put the newsroom/bullpen on television's political map, but also on the traditional windowless television studio map, via CBS.

Plus, this nationally-televised coverage of the early-1950's US presidential election was the first to be driven by computers.

One of the computers being utilized for this nationally-televised early-1950's US presidential election coverage was the UNIVAC I.

Standing for the Universal Automatic Computer I, the UNIVAC I was innovative in that it was the first American-made general-purpose commercial electronic digital computer.

Magnetic tape was for mass storage and mercury delay lines for memory, both for the UNIVAC I.

The Eckert-Mauchly Computer Corporation (EMCC), founded by its namesakes J. Presper Eckert and John Mauchly and based in Philadelphia, built the UNIVAC I.

Remington Rand purchased EMCC in 1950, under which the UNIVAC I was completed.

Having used the UNIVAC I for its televised early-1950's US presidential election coverage was CBS.

With the real UNIVAC 1 iteration being deemed too heavy to carry from Philadelphia to New York, its mock-up prop was installed at CBS' unified Studios 41/42 in New York's Grand Central Terminal.

For this mock-up UNIVAC I prop, it featured blinking Christmas tree lights to create a futuristic visual effect for CBS' nationally-televised early-1950's US presidential election coverage.

At half past 8 p.m., this UNIVAC I computer from the Remington Rand hub in Philadelphia accurately predicted that Dwight D. Eisenhower could win the US presidency; this was via CBS Television.

NBC adapted the newsroom/bullpen from the print scene for television under Dave Garroway.

CBS adapted this newsroom/bullpen element from NBC as a studio set feature being placed in a usual windowless room for television journalism under Walter Cronkite and Don Hewitt.

In the early-1950's, CBS Television innovated the newsroom/bullpen trend for televised election night coverage, in the mid-1960's with an evening news twist, and in March 1973 with a local twist.

Search (1972-1973) is a sci-fi television series produced by Warner Bros. Television for NBC, with its basis being a 2-hour television film Probe (1972).

For Search/Probe (1972-1973), the Probe Control Centre is a fictional room based on NASA's Mission Control Centre.

What describes the Probe Control Centre for Search/Probe (1972-1973) is the fact that it uses a similar monitor matrix to the real-life NASA Mission Control Centre.

Designing the Probe Control Centre for Search/Probe (1972-1973) is Fred Harpman.

Besides, the Probe Control Centre, which Fred Harpman made for Search/Probe (1972-1973), directly inspires his television studio design called the NewsCentre.

Using architectural geometry, angled desks and glass partitions, Fred Harpman's NewsCentre set design contrasts with traditional ones whose framing was flat, shallow and two-dimensional.

Besides, the NewsCentre design by Fred Harpman features NASA-like banks of active video feeds/data monitors.

In addition, mezzanine/stairs also add to Fred Harpman's NewsCentre design.

Rooted in Hollywood's science fiction genre, Fred Harpman's high-tech and cinematic NewsCentre set design was made to have a working newsroom feel.

Plus, Fred Harpman's high-tech and cinematic NewsCentre studio design mirrored the boundless room inside the RCA Exhibition Hall for Today (NBC) under Dave Garroway.

Fred Harpman's NewsCentre is also based on Edward R. Murrow's See It Now (CBS) control room.

Chicago, in which Dave Garroway pioneered a casual television style being brought to New York, also housed WCIU-TV, which pioneered financial news on television.

In the West Coast, KWHY-TV pioneered financial news on television like WCIU-TV.

Both KWHY-TV and WCIU-TV are pioneers in offering financial and business news to television.

November 14, 1966 is when KWHY-TV was the first television station in both the US and the world to deliver financial and business news, with WCIU-TV following suit later.

The Financial News Network (FNN) started in November 1981, with the Consumer News and Business Channel (CNBC) in April 1989, both merging in the early-1990's.

Quotron, a financial device being made in 1960 by John Scantlin and his eponymous company Scantlin Electronics, is the first to directly stream real-time stock market data to an electronic screen.

Scantlin's Quotron system replaced traditional, slow and mechanical ticker tape machines.

NASDAQ is the world's first fully electronic stock market, which evolved from Quotron.

The 1977 Trinity and the 1981 IBM Personal Computer are the blueprints for personal computers being included in the newsroom/bullpen for television in the modern era.

For the Financial News Network (FNN), some of its original personnel were from KWHY-TV, such as Rodney Buscher and Eugene Inger.

Both the Financial News Network (FNN) and KWHY-TV originated in Los Angeles.

Upon its 1981 launch, the Financial News Network (FNN) pioneered the scrolling digital stock market ticker being based across the lower third of the television screen.

In general, the FNN ticker had the top white band for stocks and the bottom blue band for index.

Mirroring the short-lived ticker being adapted from teletypes in the Today (NBC) bullpen under Dave Garroway, FNN's digital ticker is the first continuous on-screen ticker for cable television.

Locally, this on-screen stock market ticker being created for both KWHY-TV and WCIU-TV featured scrolling text from bottom to top (vertical).

FNN's ticker featured scrolling text moving from right to left (horizontal).

Conversely, upon its mid-April 1989 launch, CNBC used a different ticker from FNN.

With the young and upstart CNBC merging with the iconic and famous, yet scandal-ridden FNN in the early-1990's, CNBC adopted/modernized FNN's scrolling 2-band digital stock market ticker.

Just prior to the Financial News Network (FNN), continuous financial and business tickers were being restricted to local TV stations for several hours.

However, FNN's true breakthrough was to make the stock market ticker a 24-hour standard

Just before both Dave Garroway and Edward R. Murrow, television news studio sets were divided into three separate formulas:

• News anchors sitting at one desk in a studio with a cardboard box feel behind blank walls

• Journalists working in a newsroom/bullpen being filled with teletype machines and noises

• Technical staff operating in a dark and windowless control room, featuring monitor banks

However, both Dave Garroway and Edward R. Murrow broke down the cardboard box-like television studio set walls, turning television news studio sets into three-dimensional/3D canvases.

By the mid-1950's period, the Chicago School of Television had started to fade, as television network production had become a centralized duopoly between New York and Los Angeles.

The East Coast (New York) houses American television's corporate/news operations.

Due to its proximity to Wall Street, plus its political corridors, the East Coast (New York) houses live broadcast journalism, morning news and late-night satire involving current events.

Incidentally, New York is American broadcasting's main financial and executive command centre.

As for the West Coast (Los Angeles), it uses the television industry's entertainment, variety and filmed sectors, capitalizing on.Hollywood's infrastructure and cinematic pool.

Still, the DNA of the Chicago School has had an impact on television.

The casual delivery and open-plan studio sets being rooted in television's Chicago School lead to those being used by national newscasts, nationally-televised elections and 24-hour cable news channels.

Plus, the Chicago School DNA is in sports, and most notably, social media, like YouTube and TikTok.

Expanded formats beyond the quarter-hour serve as modern blueprints for global television news.

For the nationally-televised early-1950's US presidential election, it serves as the modern blueprint for nationally-televised election broadcasts from democracies around the world.

Mirroring the host city of the early-1950's political conventions (coupled with its innovative television philosophy), the box-like election studio sets were torn down for the newsroom/bullpen trend.

21st-century television news studio set designs endure a pivot away from the newsroom/bullpen trend being driven by computers (inspired by print and the UNIVAC I), but others bring it back.

Juxtaposed with the newsroom/bullpen being adapted from print for television by Today (NBC) under Dave Garroway, the UNIVAC I also changed election nights on television.

Whereas 21st-century television election studio designs pivot away from this newsroom/bullpen trend being driven by computers (inspired by print and the UNIVAC I), others bring it back.

Modern 21st-century news studio designs cannot leave behind Dave Garroway's television traits; they instead use digital technology to merge and evolve them into flexible ecosystems.

Some of the innovative Dave Garroway traits that modern 21st-century news studio designs can never leave behind include a newsroom/bullpen, a street-side studio and a news ticker/clock display.

In addition, modern 21st-century televised election studio set designs could not also leave behind these similar Dave Garroway traits to those being used in the television news business.

Likewise, modern 21st-century business/financial news studio set designs cannot also leave the similar Dave Garroway traits behind to those being used in television news.