Sarah Fejfar 0:00
I tell you those stories because first, you won't be the first and you won't be the last that encounters tech estimates that are high. Secondly, I tell you that because usually one of the largest sections of spend on the budget is for tech, it's not there for us to put blame and shame on it's there for us to be able to get our message out into the world, I want you to put a different lens on that big chunk of money. It's so that people can hear and see. And that is so important.
Sarah Fejfar 0:33
How are entrepreneurs like us daring bravely to build a stage? Ditch the sweat pants, and step up to the mic? How do we create our own transformative events? So we can get our message out into the world in a bigger way? It's not only profitable, but it's actually something we can be proud of.
Sarah Fejfar 0:54
That's the question. And the answers are inside this podcast. My name is Sarah Fejfar. Welcome to greenroom Central.
Sarah Fejfar 1:02
The panic that ensues when a high tech estimate comes in for an event is next level. So what I'm gonna do for you right now is give you two questions to ask yourself, when? Not if, because it's going to happen when you get a high tech estimate. And I think this is going to help not only lower the amount that you have to spend, but also lower your anxiety. I am here for that. All right. So I got three estimates for a recent event, from different production companies to do the exact same thing. I always recommend comparing. And for fun, I shared them with a friend who's in the production business. And they started laughing, which I was a little taken aback because I consider myself fairly savvy when it comes to event tech.
Sarah Fejfar 2:05
I've been around the block. And I've actually had my curiosity pay off. I asked a lot of questions. And so I kind of know the lingo. And you know, what's nice to have stuff and what's have to have stuff. I consider myself a fairly savvy consumer when it comes to event tech. And so they're laughing at me, or with me at at this one particular. So they're laughing at this one particular bit. And so they were laughing at this one particular estimate. And it made me want to know what is going on here? And they said, Well, it's kind of like if the company that you hired decided to send a helicopter to take you to school instead of a school bus or having you walk since it's only a few blocks away. I was like, oh, okay, so it's over engineered. Yeah. Way over engineered.
Sarah Fejfar 3:23
And I tell you that story, because I think it's really easy to get conveniently confused when event tech estimates come in, because there's equipment names, or line items that just are out of our normal realm of vernacular lingo. And so it feels hard. And then it also feels and then kind of fear sets in because we don't know what to do next. I think it's easy for that to happen. And then it's also easy for an event tech estimate to come in for something super simple, like a screen and some internet and a microphone and have it be so high. And you're at a fancy hotel, because and that's why it's high. And you know, there's nothing to do about it and just freaking out again.
Sarah Fejfar 4:36
And so I tell you those stories, because first you won't be the first and you won't be the last that encounters tech estimates that are high. Secondly, I tell you that because usually one of the largest sections of spend on the budget is for tech. It's not there for us to put blame and shame on it's there for us to be able To get our message out into the world, I want you to put a different lens on that big chunk of money, it's so that people can hear and see. And that is so important, I can't underline enough how important it is for people to see and hear. And when they can't, or when it's challenged. Because the right equipment isn't in the room, or there isn't enough support to dial in the equipment that you do have, I'll tell you, it drops engagement in a hurry. And you don't want to put yourself in that position at all. It's a big deal to ensure that people can see and hear your stuff.
Sarah Fejfar 5:45
Transformation can't kick off, if they're not engaged, because they can't hear well, or they can't see, see the board is what I'm trying to say was what's in my mind, which is kind of like back at, you know, in school, and you're like the teachers writing on the chalkboard, and you can't see the chalkboard ball enough, because maybe you're sitting in the back of the room and they're writing too small. And then you're like I'm out a lot I was probably out before I even walked in the room. I digress. So I want to give you two questions to ask. So that you can feel empowered, and in good energy when event tech estimates come in high. And again, I said when not if it will happen.
Sarah Fejfar 6:41
So the first question I want you to ask yourself is do I need it? Write that down? Do I need it? And the base? The underlying question behind that is have you done a thorough needs assessment of not only your own needs, but of those of your guests. Now I outline this in detail like exactly what you have to ask, inside of live event Academy. And I don't think we have enough time together today. And I think it'd be a little boring if I like read it to you right now. But I'll give you the high level, which is asking yourself and your guest speakers, what's in your team, what to have to have, and what's nice to have, and in the in the categories of internet power, equipment, labor, and even duration, even number of hours that the stuff is needed.
Sarah Fejfar 7:41
And when you have that information, it makes it so much easier to then go to the second question, which is, what's it for? So now that you've gotten this event, tech estimate from the hotel or from your production company? The question that you should be asking is, what's it for? Write that down? Number two, what's it for? I want you to get curious, I want you to have curious not only in the space of getting multiple estimates, I think that's so important. And yes, you have options. Even if you're at a hotel, you do not have to use their in house, AV you can bring in your own. And yes, sometimes, often, it may even be a lower cost and a better experience for you.
Sarah Fejfar 8:43
So it's worth exploring getting multiple estimates, I always recommend doing that until you find a vendor, you know, love and trust. And then feel free to use them forever. And not have to go through the effort of putting your event tech out to bid. But until that happens, I want you to get multiple quotes. And then I want you to be curious and ask questions about what's on there.
Sarah Fejfar 9:14
Because you're going to see, again, like we I mentioned earlier, at the top of this episode, you're going to see line items for equipment or even labor roles that you don't understand. You may see hours labor hours or even equipment rental hours or days on there that you're not understanding. So ask the questions and not from a place of you're attacking them because it's on there.
Sarah Fejfar 9:46
And you're really like you're pushing back but just as a way of understanding like helped me understand Okay, so we've got this thing what's that for or help me understand why do we need this a to this audio to roll, and I got into that, that quest, that line of questioning with a production company wants it was super helpful for me because it's like, okay, so we have an audio engineer one, why do I need an audio engineer two, they said, Well, okay, audio engineer, one is going to be sitting in that front of house, but booth and they're going to be like, turning the dials for, like making sure the volume and the right mic is on and off it at any given time, when running, maybe even running the music, I forget all the things but like they have a job that's like, a sitting there at the control at the controls, right?
Sarah Fejfar 10:43
They said a to the audio engineer to is going to be standing backstage. Because you have like 20 guest speakers parading on and off the stage. And we're not getting 20 mics, we're getting maybe like five mics. And we're gonna like be rotating them through the guest speakers and all the speakers as they come in, on and off the stage. And someone needs to be there to like, put it on properly and make sure it's like turned on and not going to be like bumping into pieces of clothing or into their face, and, and to be there to troubleshoot if you need to go on stage and fix a mic. If there's a problem.
Sarah Fejfar 11:28
It, it helped me realize, well, there's two separate audio roles, and they can't be filled by one person I can't have. I mean, I could I could have my guest speakers come up to the audio engineer one every time that they were about to speak and like have their mic put on. But that would totally take the attention away from what the audio engineer number one is supposed to do, which is like paying attention to the soundboard to make sure that the person onstage currently speaking, can be heard well, right, and that no problems come up and arise. And if a problem does arise, they're available immediately to resolve it. So that was so helpful for me.
Sarah Fejfar 12:17
Because I did the math of it. Wow. If I took this audio engineer off, gosh, it would be so much less expensive if I didn't have this particular role, but then once they explained it to me, I was like, oh, gosh, of course. Yeah. That's it's a must we have to do that. So that's the type of questions that I want you to be asking, I want you to be curious. And because you did question number one was answering, do I need it? What's my have to have? And what's my nice to have? Then you could have those conversations?
Sarah Fejfar 12:53
And if you know, a helicopter got slipped in where a school bus was totally okay, then you'd be able to understand if it was something that could just be removed, right? Because you're you're asking better questions, right? So we're on the second question, which is what it's for. And I want you to go through all the things I want you to go through labor, I want you to go through like that example I gave you of audio engineer one versus audio engineer two, I want you to be asking questions about equipment to make sure you're not over engineered, but you do have what it's what it takes, like, do we have to have all of those moving lights or? Or not? Like could we do without them?
Sarah Fejfar 13:43
Because obviously those aren't there to make sure that the person on stage is seen? Well, it's more for fun. So is that a place where you could save money? And then also hours? Are they clear? And are you clear on what your agenda is so that you have all of the labor and equipment you need for the right hours and not any superfluous time or Gosh forbid, you're surprised at the end with huge overtime bills because you didn't give them upfront the the most realistic agenda that will be probably one of your highest areas of spend that that can be a total surprise at the end which is is overtime labor and I don't ever want you to get into that space. So being upfront and super realistic with what you need.
Sarah Fejfar 14:44
So that at the beginning when the estimate is being put together for you will help you so so much and also be having a conversation with them about okay in order to reduce some overtime labor what adjustments could I be making to my agenda to help us out here? And then the last thing, as you're being curious and asking questions, again about internet and power and equipment, and labor and duration, about hours, is knowing that you don't get what you don't ask for. And you can be asking for a discount, usually 10 to 15% is customary.
Sarah Fejfar 15:32
If you ask, it's nice to, if you know that, you're just going to push the easy button and use the venue's AV than when you're signing the contract months in advance, be asking for a concession of an AV discount to be written into the contract. So that you can take advantage of that if you just know, it's, it's going to be something that you use, then then ask upfront for that, because I'd hate for you to have to accept concessions in the contract negotiation phase for things that you're don't care about are not going to use like gift baskets and VIPs rooms or a fancy suite, but you are going to be taking advantage of a VM, you could be getting a discount of 15%.
Sarah Fejfar 16:29
So that's important. I also would ask you to have a heart to heart with yourself and and think, Do I really need to have all of this AV? Could I put this on the nice to have for the next event? If money is tight? Do you have to put slides up? Or could you print them? I know FedEx and Kinkos. And is wildly expensive for making copies, color copies. But what if you kill a tree? Also? But what if you printed your presentation and had it at everyone's place? Instead of renting a screen and a projector? or renting a TV or? or even any any expenses along that line for projection?
Sarah Fejfar 17:27
You could save more than it would cost to print. So be open to other ways around? Could you bring in a good Bluetooth speaker and connect it to your laptop to play music as people come in? Could you get away without any sort of projection? The Internet can be wildly expensive, like $1,500 a day for one hard line? Well, hardwired line, but do you need it? Could you do whatever? Could you take whatever demo you were going to do live and make screenshots and do it that way instead?
Sarah Fejfar 18:17
So ask yourself the hard questions of like, really? What is this for that I'm renting? And do I really have to have it? So I'm hoping that's helpful. I'm hoping that you're feeling like you can be curious. I'm hoping that you're feeling like you can be patient with yourself. Because it's not, you know, it might be your first rodeo. And I think patience is going to pay off and allow you to ask those better questions and be curious. And not only be patient with yourself as you learn, but be patient with yourself to say not this event.
Sarah Fejfar 19:08
Okay, we'll add that fancy piece of technology, the next step. And the last thing I would leave you with is, don't be don't try to be cheap with labor. Because the last thing you want to do is dump all this money into all of this fancy equipment that you and your team don't know how to use. And then skimp on the labor because because it's it's pricey. I know. And try to save money there and then not be able to really use what you've rented, paid to rent. So be curious. Be patient with yourself as you learn.
Sarah Fejfar 19:54
Be patient with yourself that maybe it's not this event that you have moving lights but maybe gets the next one. And know that you've got this. You have a question that has bubbled up as a result of hanging out here today with me then drop it into my DMs on Instagram. I would love to help you brainstorm. Make it an outstanding rest of the day. Take care. Thank you for listening to the greenroom central podcast. If you love this episode, then please take a screenshot on your phone and post it to Instagram.
Sarah Fejfar 20:27
And be sure to tag at Sarah Fejfar and let me know why you liked it. And what you'd like to hear, or who you'd like to hear from in the future. That'll help me know what to create for you. Also, if scaling events in your business sounds like something you want to tackle this year and you need a coach, let's connect to see if one on one coaching is for you.
Sarah Fejfar 20:46
Just go to greenroom central.com You and I can work together one on one throughout the course of the year and dive deep into the inner workings of events in business will receive mentorship, personalized feedback, and customized guidance to define your goals and achieve your next level of success. Just go to green room central.com right now to apply.
Sarah Fejfar 21:07
I appreciate your commitment to leveling up and learning the mindset and strategy of live events. Keep going, keep learning. If you want more, head over to green room central.com For show notes and all the links from today's episode.
