Since I’m always up to learn new things, I was thrilled when Heidi said I could listen in on comm at an awards dinner Technisch was producing with their partner, Zoom.7. I got there early to meet all the players so I could put a face with a voice at showtime. Keith was manning the audio backstage and showed me the Voice of God mic that the announcer uses to let everyone know what’s coming next. He had all the lavalier mics lined up and numbered so he’d be ready to get people mic’d up at the right time before they hit the stage.

Jim was in his usual position at the main sound board, playing peppy tunes to get everyone pumped up while the team put finishing touches on the setup. He explained how he mixes in the microphone audio with music to keep the show flowing. Under the direction of producer, Scott Thompson of Zoom.7, the team got to know the players pretty well, and matched music to fit their personalities.

Nancy Hart from Zoom.7 was calling the show on this night, which means she’s the big boss. All of the tech crew have headsets on, and she leads them through the show using a run of show document, which details every moment of the plan. This role takes lots of precision and calm, and intimate knowledge of each part of the process.

I watched as the team set up lights, cameras, microphones, and the row of sparkling trophies for the awards. Once everything in the room was in perfect order, Jim cued up the party music and the hotel team drew back the curtains to welcome the excited crowd, all decked in their finest and ready to celebrate. For the first hour, the tech crew’s job was just to keep the music playing and watch the progress of dinner, to determine if the timing would coincide with the awards ceremony plan. Nancy kept everyone apprised of the plan over comm, so the team was ready to go when the show began!

Nancy smoothly orchestrated each element of the awards. Even a relatively simple show like this required so many little details and instructions, and everyone had to be on point. Nancy told Keith when to have the announcer begin speaking, when to mic people up, and when to send people out onto the stage.

The video team got their cues to keep the slides moving, and they had to stay on the ball to make sure the right names came up on the screen for each award. Jim and Nancy worked together like a well-oiled machine, having rehearsed the show several times. Jim kept the music going, switching it up when he felt the room needed a bit more energy, and fading it out when people were talking.

My biggest takeaway from my first time on comm was how many details, technical elements and instructions go into what seems like a simple awards show. It was so evident that this team enjoyed working together, and the conversation on comm was friendly, fun and professional, but always focused on getting the job done right. Usually at an awards show, I’m only thinking about what people are wearing and who wins what award, and only give thought to the tech team when something goes wrong. Now that I know more about the extraordinarily complex dance that goes on behind the scenes, I’ll never watch the Gala Awards in the same way again!

Written by Sunshine Woodyard

The post A Newbie Behind the Scenes: My First Time on Headset! appeared first on Technisch Creative.

Janet Taylor is a powerhouse Event Producer, traveling the world to put on shows for corporations, associations, and nonprofits. Here at Technisch, we’ve loved working with her on a touring show for a cosmetics company over the last five years, and we look forward to many more projects together! Let’s get to know a little bit more about Janet.

Back in the day…

How did you get started in the industry?

I have been in theatre since I was a teenager, but I promised my father that I would get a degree “to fall back on” – so I got a B.S. (how appropriate) in Journalism with an emphasis in Radio/TV/Film.  I’ve essentially outlived the radio industry and have been able to make a living in business theatre.  I tell my friends who are still in “legit” that I usually have the advantage of much bigger budgets and the challenge of much shorter rehearsal schedules.    I’m still performing, but in a different function.  My lines are “yes, let me check on that,” and “of course, I’ll update you on the budget impact as soon as possible.”

I began my life in business theatre in 1984 when I came off the road from a tour with a professional theatre for young audiences based in Boston and took a temp secretarial job to keep the bills paid at home in Chicago.  My boss for this assignment was a national Director of Corporate Programs for Arthur Andersen & Andersen Consulting (now Accenture).  When she discovered that I had been touring as a Company Stage Manager, her eyes widened, her smile got very big and she informed me, “Your temp job ends Friday.”  Before I could ask her why she continued, “If you give me first option on your time, I’ll give you 20 hours a week at $20 an hour (I was being paid $12 by the agency), a phone, a desk and a computer.”  She taught me corporate production and I never looked back.

I’ve always seen myself saving the day.

What has been your biggest challenge as a woman in technology?

My biggest personal challenge was to respond with humor and a smile when the inevitable on-site issues/muck ups/snafus occur. I was very lucky to learn those coping mechanisms early in my career.  Now, I pride myself on that skill set.  Practicing yoga helps.

How do you think women have an advantage in the technical world?

Because we are trained from childhood to be fearless, save the day and enjoy multitasking. My internal soundtrack is often the William Tell Overture or the Sabre Dance.

What is your favorite tech tool?

Either my smartphone or my netbook – I don’t know how I did my job for ten years without them in my hands at all times and I can’t really separate them – especially when the phone is my only source of wifi.

On the job!

What advice can you give to young women who would like to begin a career in production?

Keep doing it.  No matter what.  Now especially is a terrific time to join the industry and ride the upswing in business and jump in with both feet.  Find a company: an agency, a supplier of gear or services, an association, a corporate events department and begin to learn the business by doing the job.  As far as I know, the only training available is either through university theatre departments or for-profit technical schools, neither of which really teach you corporate production.  My industry-specific training was all OTJ.  I bring a great deal of added value to my projects because I have been a stagehand & technician, an event manager for a venue, and a producer/technical director/stage manager for experiential marketing agencies so I know all sides of the business.  I love mentoring with new PA’s.  My number one goal with them is the same as any show I take on — work to foster collaboration for the best show product.

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Stephanie Jayko is a passionate creative and an accomplished event operations/production manager who is well known for her leadership of theatrical productions and live events. She specializes in corporate event management and high-profile productions.

How did you get started in the industry?

I actually came to the events industry from having worked in theater. I went to school for, and later worked in, production technologies and management for theater. I was mostly working as a Stage and Production Manager for different companies. While I was working as the Production Coordinator for a regional theater company, I was given the task of handling the production for their annual fundraising Gala. I got to be a part of the process all the way through from design to execution. It dawned on me after my second year doing this event, that of all the productions I was working on every year, the Gala was the one I enjoyed working on the most…and it wasn’t actually a theater production, it was an EVENT. I soon after decided to leave the theater world, and have been working in the events industry ever since.

What has been your biggest challenge as a woman in technology?

I’ve found the biggest challenge is getting people to take me seriously. Not only am I a woman, but I am also on the younger side. These two things put together make the uphill climb even steeper. Despite my education and extensive experience (which can be proven by my resume and portfolio at any time) getting the people around me to recognize my expertise is not as easy a task as it should be. I constantly get second-guessed, fact-checked, taught how “how things work”, or completely cut out of technical conversations altogether. It’s frustrating because I’ve spent so much time and energy learning and perfecting my craft, it would be great to be able to do the job without such hurdles.

How do you think women have an advantage in the technical world?

Women are (generally) better at multitasking and handling stress. And this is the ultimate advantage in the technical world, especially where events are concerned. There’s no telling when something might go wrong or change mid-show or any number of “oh crap” moments might happen. Being able to keep your cool, think on your feet and track changes through, all in the same breath makes you an invaluable asset to a tech team!

What is your favorite tech tool?

I’m a BIG fan of Show Flow! It’s a production software that keeps changes in event documents in one place and accessible to your entire team in real time. No more having to print 30 copies of the Run of Show or wondering if you have the most current version. Can you say lifesaver?!

What advice can you give to young women who would like to begin a career in production?

My biggest advice would be to get out there and DO! No matter what discipline you’re looking to get into, whether it’s specific like Audio, Lighting or Projection, or more broad like Production Management, get your hands dirty in every department. The more you know about all the different equipment, needs and uses for it all and how things work, the more valuable you will be to any tech team. Also, remember that any experience is good experience! Whether it’s a paying job or you’re volunteering, your resume lists where you’ve worked, not what you got paid.

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How did you get started in the industry?

I’ve been playing music my whole life, since I was a little kid. At 17 I taught myself the guitar and started writing songs. It was a natural progression to move into production when I decided to attend Full Sail to become a producer. While in my recording arts degree I met Gregg Mandigo. He took me under his wing in live sound reinforcement and I caught a bug for live events. I’d spend Friday and Saturday nights downtown on Wall Street with him, and Sunday mornings at a church where he was the audio director. My first professionally paid gig while still in college was as a stagehand for Beyoncé with Black Onyx Event Services. Now I specialize in both audio and video disciplines as I’ve expanded my career and knowledge base.

What has been your biggest challenge as a woman in production?

The obvious stigmas. I’ll still get the “hey honey can I help you lift that?” Mostly it’s a factor of men not taking me seriously. I also look pretty young so people assume I don’t know what I’m doing, but I usually win them over by asking the right questions. Eventually I get the respect I deserve for my experience level. I don’t let those stigmas affect me. When I was starting out, I messaged Sylvia Massey, a well-known audio engineer and asked her advice. She said “Just ignore the stigma and do your job and show that you know what you’re doing.”

How do you think women have an advantage in the technical world?

The fact that we don’t have that typical male bravado. We don’t come in there straight out with an ego like a lot of men do. As women we help each other a lot. We counteract our physical weaknesses in comparison to men by sticking together and working as a team. We see more details than men do sometimes, that comes from a woman’s psyche in general. We tend to clean up those little details, the minute things that most people seem to overlook. We’re more able to talk to clients and convey what they’re trying to do through our technical skills.

What is your favorite tech tool?

For video, measuring tapes, laser distance measuring tools, and a multi-tool are my ultimate go-to’s.  I also rely on vector scopes and waveform monitors. We don’t always get chroma charts on show site, but it’s a treat when we do. And for audio, I like to use Tweaker, Q-box, adapters, and headphones.

What advice can you give to young women who would like to begin a career in production?

Ignore the stigmas, put your pants on one leg at a time like everyone else and do your job to the best of your ability. Know what you’re worth. Ask questions when you’re unsure of something you’re doing. Work safely. Walk with purpose, and hustle! Don’t try to lift anything more than you’re capable of just to prove something to the men around you, and always lift with your legs!

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It’s a little known secret in the meetings and conventions industry: meeting planners don’t have to use the hotel’s in-house provider for their audiovisual needs when holding an event. Major convention hotels have in-house providers, outside companies who keep equipment at the hotel for use during meetings, and many think these companies have a monopoly on A/V for hotel events. But that’s just not true. As a meeting planner, you have the choice of your own A/V provider and can select one of your own for equipment rental, A/V production, and stage management. When you work with Technisch Creative, we help you determine your requirements so you can decide whether the in house A/V or an outside company is the best option for you.

Reason 1: Modern Technology.

Many in-house systems are dated and well-worn, with uncertain reliability. Just because a microphone and PA or projector is convenient for the A/V company to set up, doesn’t mean it’s the best choice for your event. Often times the maintenance schedule of the in house equipment is not as current as an outside company with quality control processes in place. At Technisch Creative, we invest in the latest technology for our clients, so we can bring in the best equipment to execute the job with the highest standards.

Reason 2: Service. 

Generally speaking, in house A/V companies exist for the meeting planner’s convenience. Their model is to provide easy access to the most commonly used pieces of equipment. The model of an outside A/V company is to provide the equipment you need to do the job right. At Technisch Creative, we take the time to understand the goals and objectives of the event and we plan accordingly. We become part of your team. When something glitches, we’ve got your back!

Reason 3: Value.

It’s hard to make a decision on numbers alone. Often times, the in house company has a higher retail price of the equipment rentals, but can offer added benefits like free wifi or rigging fees. An outside A/V company can offer added benefits, as well, that may not appear as a line item. Include services can vary from creative design work, stage management, and directing the show. When you are evaluating supplier contracts, consider the value of piece of mind and working with a team you trust.

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By Christy Lamagna, CMP, CMM, CTSM, and James S. Rota

From the Beauty:

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Can you plan your own events? Probably so. Then why do you need the services of a professional meeting planner? You don’t. That being said, please accept my challenge:

I guarantee what you’ll find will be of interest to you every time you need to make a business decision requiring your commitment of a large block of time. You need a calculator and a pencil. Stop here and return when you’re ready to churn some numbers.

Ok, first off, take YOUR yearly gross salary, then multiply it by 30% and add the two numbers. (For example if you earn $100,000 multiply it by 30%) $30,000) then add the two numbers = $130,000)

Now, divide the total number reached above by 2000. The number you see here is YOUR approximate hourly wage ($65)

Now, this is an interesting number but the equation isn’t over yet. Part two is a bit more subjective.

Ask yourself:

• What am I presently working on?
• How much revenue do I derive yearly for my firm or organization?
• What major projects take up most of my focus?
• Am I working on a highly visible tangible project such as a new contract, the move of a building or headquarters, the purchase of another company or perhaps an IPO?

If so, ask yourself: “what is the real cost of diluting my focus on these issues?”

Now, in order to complete the equation let’s turn to your event. The one common denominator that transcends the planning of every event or meeting is time. There is of course, the time between today’s date and the actual date of your event. There is the time you must invest in order to produce a world-class event. The two are without a doubt interrelated yet very different. The primary focus of this article is on you and the amount of time you’re able to commit to the planning and execution of an event. There is no getting around it –proper planning takes time and always more than meets the eye.

My argument here, respectfully submitted for your understanding, is that more than likely you can’t afford not to use a professional planner and the numbers truly tell the story. A simplistic comparison: taking one’s clothes to the cleaners. Can I wash and iron them myself? Sure can! But the cost per shirt is nominal for professional laundering when I consider the time I’d have to invest in order to accomplish the same task myself.

Time is money. We’ve heard this over and over again throughout our careers. Why do you think corporations spend millions maintaining fleets of private aircraft? They are not executive perks; they carry busy professionals who don’t have time to waste, men and women whose contribution to the bottom line of their company far exceeds the cost of maintaining executive aircraft.

From another perspective – if you’ve ever had the opportunity to put together a toy or kitchen gadget on a holiday morning, I am sure you can relate to the following point: People who do something over and over again, do it more quickly and efficiently!

In my opinion, that is the best case for using professional planners for your event. In addition to having their ear to the ground about venues, industry issues, etc., they know what “not to do.” They know the risks involved in certain decisions and can clearly see danger well ahead of others who plan meetings from “time to time.”

Returning to my original statement, you are more than likely capable of planning your own event and most probably could do it well, but unless you do it all the time, you’re not going to have access to the information and knowledge base of someone who lives the craft professionally and in most cases, socially as well.

Using our equation model, what is the real cost of your total involvement for countless hours on end? I believe, significantly higher than of a professional planner.

Numbers do tell the story and the model I’ve suggested here today can be used in other areas of your business and personal life as well.

Copyright 2000. Avery Russell, Alexandria, VA, USA. Reproduction permitted.

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