Is the Price Right?

In today’s world, audio, video and lighting seem to fall into the category of “necessary evil.” They are elements that you must have, but you don’t necessarily know exactly what you should be paying, and it doesn’t make it any easier that prices vary from city to city. With some basic knowledge and understanding of how an audio, video or lighting vendor operates, however, you can navigate your way to a reasonable price for a high-quality event.

Negotiate Negotiation Carefully

My first word of advice is to realize that the service you will receive is just as important as the glittery effects you or your client desires. Choose your vendor carefully. A good, dependable and knowledgeable crew will be your biggest ally and will make you a shining star to your client.

Proper negotiation with your vendors is key to a successful event. How can you do this without compromising the quality of your event? Asking them to work with you on better pricing can place you on a slippery slope — negotiating to a rock bottom price can compromise the integrity of the show. Sure, you’re receiving a great quote — but remember, sometimes you get for you pay for! Of course, there are events for which the budgets are extremely low; in these cases, hard negotiation tactics required and there must be room for give and take. However, there are many simple ways you can ensure your audio, video and lighting dollar is utilized to its fullest potential.

Quality versus Quantity

Asking for comparable substitutions can give you an option for lowering a quote. Additionally, if an item is on-shelf and available, you may get a better price then if the company has to cross-rent from another company. Cross-renting equipment costs your vendor and will eventually and understandably cost the end-client. Ask your vendor representative if the company is subrenting equipment, and if so, why? The answer may lead to a solution that would benefit the both of you. If your vendor must cross-rent equipment, ask if there is another item on-shelf that will perform the same function.

Making sure the quality of your event does not suffer should always be your number-one priority, so be very careful when using this tactic!

More Work, More Perks

Having more than one event to bid shows your production company that you have future work available and thus strengthens your negotiating position. If a production company can build a working relationship with you and your clients, it is more apt to give comps to increase the wow factor of your show. Many times, these upgrades come in the form of those hard-to-sell but great-to-have items such as free lighting fixtures, upgraded projectors or backup projectors for your video screens.

The prospect of working on multiple events may encourage these vendors to give better pricing because they know that more will follow. Additionally, the more you use a company, the more it will understand you and your needs. Creating a dependable and honest synergy with a production company can help you when you are in a tight spot with a difficult client.

One-Stop Shopping

Producers today seem to be looking for an easy solution for all audio, video and lighting needs, and many production companies offer a one-stop solution. It’s important to approach these companies with caution, however. Take some time to examine its “one-stop” claims before you go with the company. If the bulk of its business is in floral, then most than likely what it does best is flowers.

Find out what your production company’s main focus is. Any company today can claim to be a one-stop shop, but what it really means is that it can up-charge anything you want. Making a visit to the company’s offices can reveal a world of information. It will either have everything or nothing. If the company truly has everything, then look at the care it takes in the equipment’s maintenance. Ask if it has a specialist who takes care of each of the disciplines. True one-stop shops will have experts in each area to oversee the quality control.

If they don’t have equipment on hand, then chances are they have long-standing relationships with both local and national vendors. These are the kinds of companies that keep a high rate of equipment turnover from other companies and can get incredible prices for equipment due to the volume of business they do. You can take advantage of these relationships and have the benefit of a one-stop national shop.

Keep in mind that there is a time and place for a one-stop option. For example, for smaller or less A/V-dependent events, a one-stop shop may be the perfect solution. But if any failure, small or large, of audio, video and/or lighting could potentially stop your event, then a one-stop solution may not be the best option.

Does Size Really Matter?

Sending work to technical “boutiques” — small shops that specialize in one area of audio, video or lighting — can be more hassle at the beginning but can also save you money in the long run. These companies specialize in only one area of production and can provide insight into what clients may or may not need. These smaller companies usually have fewer people, and the quality of equipment is unmatched by any large company.

On the flip side, the bigger companies may give you a better price from the start, but negotiating will be harder to work out and deeper discounts are harder to come by. Either way, creating an honest and reliable relationship with a knowledgeable production house is invaluable when times are tough.

Learning Tech-Speak

The added cost of a technical director or technical design firm to your events can save you thousands of dollars and many bottles of aspirin. Allowing them to secure pricing for the equipment can reduce your cost. Many times technical directors or design firms will already have a working relationship with vendors or may know of other companies that can offer better pricing. A good technical director or technical design firm will know the rules and regulations in each city, which will lead to better budget forecasting.

Most importantly, a good technical director or design firm will know the right questions to ask your client, so last-minute add-ons and embarrassing situations can be avoided. For example, a planner orders plants, A/V and linens for an event, but the client is providing the food, tables and décor. Linens for 500 are ordered along with 100 plants and trees. Once on site, tables of eight cause the table linen count to go from 50 to 62 and the added tables allow for only 25 of the 100 plants to be placed in the space. If a technical director or design firm had been hired, even though this has nothing to do with A/V, this situation could have been avoided.

As you can see, negotiating with your A/V, lighting or special effects vendor can take many forms. For many, this area is challenging to understand and difficult to manage effectively. But, with a little knowledge of the business, you can keep your budgets under control and your shows looking better than ever.