I love it when the client sends out a spreadsheet asking for specific equipment and wants us to fill it out with pricing. All because he wants to compare “Apples to Apples”. I get it. The client wants to know what things actually cost.
How hard is it to compare apples to apples? Really hard!
And here’s why: each AV provider has different equipment.
If he owns the gear, he can be more competitive. If he has to cross-rent it from another AV vendor then it's more expensive. So he’s going to offer what he has in his warehouse so he can give you the best possible pricing.
Keeping that in mind, here are some basics to help you see if your estimates are in line with market value.
1. Projector Lumens
A 5K projector isn’t as bright as a 10K. A 10K isn’t as bright as a 20K. What do you need? In a breakout room, 5K is fine. In the great hall of some convention center, a 5K is like a flashlight with shadow puppets, you need at least a 20K.
2. Screen size/ type
A pop-up screen is cheap. A fast fold is “cheap and cheerful” but needs a dress kit. A custom borderless screen is more money but looks sweet floating in front of a cyc or hard set.
3. Line Array Audio
You need a line array for "real audio." (Ex. Custom Video or Entertainment) If you’re in a small room or there’s no real need for "real audio" (Ex. Presenter talking with PPT) then you can probably get away with a more cost-effective solution: “Speakers on stands”.
4. Intelligent Lighting
(It does your kid’s homework- no not really…) They are moving lights that allow for color, patterns, and movement on cue. Conventional instruments are static and can give you an even stage wash. You NEED conventional instruments. You WANT intelligents especially if you don't have the budget for scenic. Intelligents can dress up your pipe and drape or cyc. They can also add pizzazz to your awards night by providing ballyhoo excitement when the winner's name is called.
5. Online backups
You want a backup to everything, especially projectors, video playback, and graphics machines. You don’t want to pay full price for the backup projectors. Let me clarify, I don’t want to pay full price for the backup projectors. But I DO want them set, fired up, and converged with the primary projectors.
6. Comm (or Communications)
I like to have both wired and wireless. Wireless for the A2, the Account Manager, one “just in case,” and one for me so I can talk to the Executives and the Stage Manager at the same time. Wired comm sounds better and is better for the rest of the crew.
7. Crew
a. Project Manager/ TD - he should have some pre-show time in there.
b. Traveling positions
Depending on the market (Orlando, Atlanta, New York, Chicago, LA) and the amount of lead time, you should be able to source most all of the talent locally. BUT if you have a short lead-time or not in one of the above markets, you may need to travel some talent in. Beware if there is no line item for travel. The provider is hiding it somewhere. There is no free lunch.
c. Travel day
Sometimes you can negotiate a half-day rate for travel days only. If you are expecting the crew to travel and work the same day? Fuggedaboutit.
You can tell a lot about an AV provider by what he’s offering in his estimate. If you really only need a 10K projector and he’s offering a 20K at around the same price point, that means he has a lot of those. And that’s good for you. You get a better projector at a lower rate. Conversely, if he’s offering a 7700 Projector and you asked for a 10K, it’s because he doesn’t have the 10K. The 7700 would work ok but if it’s me, I’m going to spend a little more and use the guy with the better inventory. See? It’s not always about comparing “apples to apples” it’s about looking at the overall solution that the provider is offering.
Don’t be penny-wise and pound-foolish.
Look for the value. And then pass that value onto your client. That’s what being a good producer is all about.
Have a good show everyone.
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