Inside Experiential Events: Preeya Patel on Bridging Creativity and Organization for Major Brands

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Welcome to the Event Pro show. Your ultimate guide to the world of corporate

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events. Whether you're a corporate event planner, experiential marketing

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pro, producer, technician or anyone involved in creating exceptional

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events, this podcast is your go to resource for valuable insights,

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expert tips and inspiring stories from the industry's leading professionals.

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Well, welcome to the Event Pro Show. I'm your host Seth Macchi. I'm the

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CEO of lemg. We're an event production company based on based in

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Charlotte, North Carolina. And today's guest I'm very excited about.

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I've known Preeya for quite a while. We've worked together before. But

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I know a lot of people that are highly creative and I know a lot

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of people that are very organized. But there's

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a way smaller pool of people that put that those

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superpowers together and Preeya is one of those people. And Preeya,

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if you don't mind, I'm going to read your bio to give people a background

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of who you are. So our guest today comes

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from pre production events and event production consultancy

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connecting large scale brands communities through immersive,

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ambitious experiences. Preeya is one of two children

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of Gujarati immigrants from India. Her roots

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in South Asian dance and performance uncover an undeniable knack,

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coordinating large teams and complex budgets with ease and precision.

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She thrives in the unknown, solving impossible challenges, being

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infinitely resourceful and doing it all with a smile, which I can attest to.

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Preeya's 14 plus years of experiential production experience speaks

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volumes. Working with budgets upwards of $7 million,

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Preeya has led the development of countless experiential campaign

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strategies, reaching thousands of event goers. She's

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delivered unforgettable guest experiences for leading brands like Xbox,

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Disney, Red Bull, the LA Lakers, DreamWorks, Harley Davidson,

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Alaska Airlines. You guys get the idea? Her mission really

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resonates with me. To kindle excitement, stoke wonder and ignite joy

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for every curious heart. Please welcome to the show. Preeya

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Patel. Welcome. Thank you. So excited to be

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here. Yeah, I'm, I'm very glad that you said yes.

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You're a person that I really respect and you have so much good stuff to

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say. So I'm glad you, you joined our show. Oh, appreciate it.

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No, it's been great. I love that we had met years ago and I'm

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excited to be on this podcast now. Where are you talking to

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me from right now? I'm in Glendale, California. Okay.

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Close to Los Angeles. For those who don't know the LA suburbs.

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Okay, cool, cool. Yeah. So you're on the, on the West Coast.

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I like to start with my guests with

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just the same question. And I think it's super interesting to

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hear people's experiences, but what's the first event

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that you can remember attending? So this would be. It could be an

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entertainment event. Some people, it's like a church event or of

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some kind or whatever. But in your, in your mind as a. Is thinking back

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when you were a kid, what's the first event that you can remember attending?

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Yeah, that is a fun question. Taking us really,

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really far back. I have a great one.

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And, you know, you. You brought it up in my background, so great job with

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the pronunciation there. I have a fun story from kind

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of my roots, my South Asian roots, growing up. There is

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a time of year in November in the Gujarati community of a

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religious spiritual festival called Navratri. I don't need to know

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the pronunciations here, but in that time period, there's this

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folk dance kind of festival that happens. It's called Garba.

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And. And across the globe, obviously in

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India, but everywhere, people will come together in November, small groups, like

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in a church or in a gymnasium and do like little folk

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dance get togethers. And you're just kind of dancing as a group.

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And as a kid, I actually remember my uncle

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threw one of the biggest ones here in Southern California at the

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Anaheim Convention Center. I think it was like probably

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10,000 people from Southern California

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coming together to do this huge folk dance. Imagine, like people dancing

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in circles, vibrant Indian clothes. And

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we did that every year, every, every November. So as a kid, I'm

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definitely like, challenge. Like that is the event that I think

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about so unorthodox. But that's just Garba is in my

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blood. Love dancing, love doing it. And it was just

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really fun being part of. Part of it because my uncle produced it. So

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it was definitely something that I got to do more than just the dancing part

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of it. But actually see him put together something so cool out of a

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sheer passion just to do it. Oh, see, so that's

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unique. It's so funny. I think it's. It's like a common

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thing with a lot of event people. There's always this experience that we had as

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a child, child that really, it was impressed on us. And,

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you know, it. It created some sort of emotion. But you're the first one that

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had like an actual family member that was producing it. So you were like

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seeing the other side of it before a lot of us weren't. Didn't even know

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there was another side of the curtain. But you were Seeing that right away,

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totally. It wasn't even until later in life that I looked back at that and

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realized exactly what you just mentioned. Because, you know, my uncle wasn't in the

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events industry. It's not what he did for a living. He had a, you know,

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a quite a corporate job in a government sector. But this was just something he

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did as a passion project. And so to me, producing

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events was a passion project until later in life. I looked back and I said,

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hey, I was, I was really seated into this world of large scale events

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and production early on and. And didn't even realize it. Right.

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You're watching somebody doing it for the joy of it, like from the, from

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the beginning of your life. That's really cool. Yeah. Okay. So

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then at some point you started getting paid for doing things in event.

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What was, what was your first paid experience with events? You know,

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now it's a job. Yeah, I sure did. Yeah.

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I didn't know I was gonna go into events as a career that was not

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kind of planned out. Even going into college, not,

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not the trajectory, but somewhere within

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college, I kind of got. I dabbled into some volunteer work. I started

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producing a stage show through a student organization. It was

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like a collegiate dance competition. Dance is very much in my blood, as you

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can now hear. But I started doing that and

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it became my calling. I kind of said, hey,

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I'm really good at this. I really thrive in the chaos.

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Fun fact. I was on a pre med track, so I was in the

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ochem biology classes, but on the side.

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Loving working with people and loving working in the stage world and

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calling the show and bringing teams from all these colleges across

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the US together. And it was really cool. So kind of

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airing from there. I stepped away from pre med. I said, I do want to

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explore this as a career. And my first paid job was an

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unpaid job. I came into the experience. I did one of those

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too. I was a

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production intern at an agency called

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ATTCK Marketing. At the time they were a brand

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ambassador agency for those familiar with the experiential world. We go

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to agencies that have amazing brand personalities that come out

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and represent us. And that's what they did as a corps. But they

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wanted to be more. They wanted to produce. And. And so I came in

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as an intern on a team of four people, I think, and

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that was my first job. I was like, my first memory of that

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job is being asked to curate uniforms

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and costumes for a four loco float at the

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Chicago Pride Parade. Oh, cool. Quite the

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ask, quite the brand to be Working for. Right? Yeah,

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my first job. Yeah. Yeah. You had a big ask right out the gate.

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Sounds like events. Hey, so you,

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you work and have worked a lot in the experiential event

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space. And why do you, why do you enjoy that, that space?

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And I'm asking you from the context of I spend a lot of time in

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corporate events and there is a distinction. There's a difference

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and a different discipline that goes in those two, those

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two things. So why do you enjoy working in that space? Yeah,

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no, I'm glad you called that out. There is such a distinction. I think there

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is foundational elements to all events, corporate events,

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experiential events, even personal private events. But with

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experiential, I, I'm always

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drawn to the guest emotion side of, of what

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experiential does. I think we, you know, we work in

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a space where we're looking to create an experience that emotes

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a feeling of joy or curiosity or surprise

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in our guests. And it's, it's often something that's unexpected. They're not looking

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for this experience there. Maybe they are, maybe they're not. But for

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the most part it's a kind of a surprise and a delight. And so I

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really love working in a space where we're designing these

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moments and these experiences that people are getting to just

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go feel something. Feel like a kid that's like wandering into a

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playground and just, whoa, what is this? I'm so surprised. This is so

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cool. This is so exciting and, and just creating that, that engagement

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with people, it's what drives me 100%

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not to say there aren't other cool things. I'm like, I love the

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immersive design of experiential. I love the

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scenic installations and the builds that you don't typically do in your

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corporate events. You get really far fetched in, in

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architectural design. But if you asked me why I'm in it, I'm in

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it because I'm creating just this surprise and delight for people

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that they just weren't expecting to, to do that day. Yeah.

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And I think that if you could always tie that

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to both sides. So corporate events. And I think you could probably

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say the same for, for experiential as well. But a traditional

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planner, meeting planner are thinking, I was just talking to a friend

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about this like yesterday, but they're thinking of checkboxes. So

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they're getting everybody there safe and getting everybody home safe. They're getting them fed, they're

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getting them registered, they're, they're making sure everybody knows where to go, but who's

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thinking about exactly what you said. The, the surprise and

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delight in the sessions themselves or whatever, whatever

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they came there for is somebody thinking about that journey

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within that event. You know, and I think sometimes events can fall flat

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because they did everything right and everybody sits down and

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it's like, this is going to be four hours. So yeah.

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And it's just slide, slide, slide, instead of thinking how can

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we engage people once they're here for the thing? And I think that's so

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important. That skill set is you can use that anywhere with events, any

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type of events. Absolutely. I think that's you, you nailed it. I think

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that's an ethos coming from the world of production. And yes, experiential has

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been my background. I think that's the ethos that needs to go into every event.

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And that's why I'll use as simple as a wedding or a baby shower

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to a corporate, you know, convention to an experiential. It's,

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it's. How do we get everyone coming to this event to feel good,

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to feel excited and walk away being glad that they

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were a part of that experience as opposed to feeling like, okay,

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checkbox did that. Going home now and moving on with my day to day.

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Right. They get there and they're thinking about when they got to leave. I did

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my thing. Yeah, we want to, we want people to change in some way.

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We want, we want them to take something that changes them in a positive way.

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So I love that. I love the creative a part of all events and

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that's why it's so important to have people like you involved.

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Otherwise it's just another thing. I mean, why are, why are we doing this thing?

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I love it. So speaking of experience,

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if you were trying to share with someone like when you're, when you're

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planning a large scale event, how do you start designing the guest

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experience? You know, when you're, when you're thinking about that, these things we

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were just talking about, you're working with a new client, you've worked with many new

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clients in your career. How do you start thinking about, about that, how

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do you start designing that? Absolutely. You know, in the

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experiential world and all events, everything's so different,

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everything's so nuanced. So there's no template. Templated

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way to produce, there's no templated way to design. But you kind

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of nailed on it right now when you talked about the corporate events. My go

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to is putting myself in the guest shoes. I always start

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from that Perspective. So if someone comes to me with an

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idea, this is something we're going to create or this is, is an experience, I

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immediately put myself into that guest, that

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attendee, and I say, okay, let me, let me walk through this, let me

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hypothetically journey through this experience and,

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and see where I would be looking and going to as

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a guest. And it's such an interesting way that I like to challenge

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my mind every time that I'm producing an event is, okay, I

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arrive, this is the first thing I see and hear and

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feel. I walk into, let's say it's physical room, I walk into the space, space.

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This is what happens next, here's what's around me. And putting

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myself at that eye level and putting myself in the guest shoes allows me to

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think about the little details that are going to make that guest walk

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away remembering those things. You know, and if I, and if you work

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any other way from my experience, if you work backwards and you try to bring

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a guest into something you've created and you're focusing on,

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you know, just the brand or just the design or just the layout without

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thinking about the guest, it could land really flat.

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So for me it has always that little trick of, okay, just take a moment,

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close your eyes, walk through the experience from the guest point of view

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and then start from there. It's really gonna, it's gonna create more magic

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than most people expect. I love that kind of

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reverse engineering from what the guest's experiencing. And I, I, I

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had this, this was apparent to me. I, I rarely

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attend events, like multi day events as a guest.

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I've been to tons as a production person,

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right. By the time we see guests show up, sometimes you're three, four days

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in, you know, and you're, you're kind of tired. They're seeing it fresh.

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And so the experience of walking into a multi day event that

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I was a guest was so eye opening

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because the journey, you know, from

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the hotel into registration and then from registration

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to where I'm going different places, I'm going to completely different

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experience. And it makes you think about how things

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are laid out totally differently than maybe what a production person

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might want, maybe that might be more convenient. But from the

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guest experience, it would be better to do it like this and like, it would

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be way more impactful. I think it, it would be like a cool

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exercise if you don't often get to just attend events,

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right, do it, do it once a quarter just to like keep that idea

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fresh in your head 100%. And I might like A lot of

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my success in production is driven from that. If I didn't go to

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the events and experiences that I got to witness, both

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good and bad. Right. I want to see. Right, right. What makes me upset when

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I leave an event, but what makes me really excited. I. That is something I

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draw inspiration on quite a bit is how am I, as a guest

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experiencing this and how, you know, what are the things I want to take from

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that into the events that we're doing? Even if, like you said, it doesn't

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make sense from the sheer production

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logistics, convenience, efficiency angle. I'm all for

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efficiency, but you're right, there are times where that might not be

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the most efficient way to do it, but it is the way the guest is

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going to experience it. Way better than we. We would imagine.

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Yeah, yeah. And I think that your idea of like this guiding principle, if

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it's the guest, then your decisions are made off of

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that, you know, and if it's shifted to production, you know,

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production people, there's always like 10 ways to do it and it's their way that's

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the best. Right. Well, our guiding principle isn't you, it's the guest. And it

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helps shape the whole event into something that's way more

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palatable for a guest. You've

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produced events for some of the biggest brands. I

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mean, I just, I just read them. You know, people are

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familiar with these brands, brands. How do you make

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sure they're creative vision actually translates into something that

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works in the real world? And I say this because

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I've actually been in meetings with you and your end client and watching how

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you work with clients, and you have a skill for that.

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And so sometimes it takes a bit of discernment of in the

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moment. Here's your creative vision client, and how am

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I going to translate that and do it in a way that we're all

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I've got. All my bridges are still built at the end of this conversation, you

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know. So how do you approach that? How do you approach taking their

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creative vision? That sometimes might be unreasonable, but hearing what they're

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actually saying, yeah, yeah, you nailed it. It's this. We

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live in this world where, you know, you, you don't want to say no. You

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want to be able to say yes. You want to create these beautiful creative

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visions in real life. But there's production realities to a lot of

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things that we're doing. So I absolutely,

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when it comes to clients have dreaming big. I'm prepared for the biggest

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ideas, I'm prepared for the Grandius and I Wel that I kind of,

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I work with a lot of creative directors in my experiential world

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and one of my things is, hey creatives, do what you do

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best and don't let production limit your original ideas.

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So where I come in into this picture is like you said, reading between

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the lines. Once I get the creative vision, once I understand what the client's

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looking for, try to understand again where their, what their end goal is

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with the guests, with the experience, with their brand objective, like what are they

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looking to create and make sure you don't lose that in any, in any sense.

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No matter how hyper realistic realistic we need to get, don't lose the

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magic that they're trying to create. And ultimately for

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me, when it comes to creative ideas, I think it's bringing

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the right people to the table. That has worked for me.

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Production and you know, you're doing the show and you're talking to all these people.

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I think we'd all agree, we're. It's not a single

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person sport, it's not a single person game or as you will, it's a

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team sport. And you know, I pride myself in being an

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executive producer, consulting and pulling an event together. But

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I succeed by bringing all the right people to the mix. And so

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bringing creative to reality is all about figuring out

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which players need to be in the game. You know, the skill sets

301
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of audio, visual and lighting. As I've worked with LEMG in the past, you know,

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yeah, I can speak a little bit to that, but I want to bring in

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the experts. When there's incredible ideas about holograms

304
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and holographics and special effects fabrication, you want

305
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to bring in amazing design teams. If you're starting to create, create

306
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immersive large scale installations. And so it's

307
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really about creating that, a team, if you will. That's what's worked for

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me. It's not saying no, but it's bringing in the experts. It's

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hey, what have we done in the past that has worked or hasn't

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worked? What do you know from your industry? What do I know from our industry?

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And aren't we all excited to try to do something that's never been done

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before? And that's where the magic happens. It's like get people

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bought in, get the experts at the table and then figure

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out the way to bring that to life? Yes, I, as you're

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saying that I'm like, you know what, that, that actually it literally makes me

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happy introducing clients to people that I know that

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are experts. Like getting the right people at the table. I want to, I don't

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want to be the smartest person at the table. I want to be the least

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smart person at the table and just be smiling that I'm like, hey, I

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brought. This is the right team. I love that. I love seeing that happen and

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play out and seeing like a dream happen that a client had. You

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know, that when you bring the right people there, that does bring these like, certain

323
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level of joy, you know? Yeah. So I love that.

324
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What do you think? Just as far as, like, okay, so you've got

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your creative going and we've been talking about the guest experience, but

326
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what do you think? Some behind the scenes factors

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that could make or break the guest experience. So just a little bit on the

328
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negative side. Yeah, there's so many things behind

329
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the scenes. Right. Our guests shouldn't always know all the

330
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little intricacies and details that are, that are going into an

331
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event that makes it amazing for them. We've got your people

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calling the show in the back of house. You've got all of the run of

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shows and the details, make or break. I mean, let's go back to talking

334
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about feelings, right? If we're talking about wanting to get

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people excited, get people happy, get people laughing, those are the things that make an

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event great. Those emotions can go wrong really, really quickly too.

337
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People can get really angry, people can get frustrated, people can get

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bored. You mentioned that earlier, sitting for four hours, I'm over

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this. And so again, making sure you steer

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away from bad experiences. One of, one of the things that

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I think is very behind the scenes or maybe underrated at

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times, is the people that are guest facing at your

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events. You know, as a producer, I'm behind the scenes. I'm in

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show black. I'm on a radio, I'm. I'm in the back making sure everything's running

345
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smoothly. But you've got people out there welcoming

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guests, ushering guests from point A to point B, taking them through

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in the experiential world, taking them through a photo experience or a

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customization station, those people are the ones that can make or break

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an event. And I always say, really think about

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how you are training your ambassadors, how you're getting

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them bought into the same ethos and magic that

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you're trying to create for the guests. Because any one,

353
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you know, disgruntled brand ambassador

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interaction with the consumer that goes wrong, a person's walking away having a

355
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horrible experience. And, you know, you see that all the time. And Yelp

356
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reviews from a restaurant or A hospital. It's like, hey, it's one

357
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engagement, one person makes your entire experience go south. And

358
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that's what everyone's talking about. So I, you know, that's one area

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where I'm always saying, hey, remember when you get to show day,

360
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you might have been in this for six months thinking about every little detail,

361
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but there's people on the show floor that are just being trained today

362
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and get them bought in, get them to be part of your team and make

363
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sure that they are giving your guests an incredible experience.

364
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Because no matter how beautiful your event looks, these people can

365
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make or break it. So that frontline team, making sure that they're

366
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aligned with the spirit of what's going on.

367
00:22:35,620 --> 00:22:39,380
Absolutely. That's a good one.

368
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I appreciate that. I think that's true. I think in our world

369
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where we deal with it just as an AV company, I'm just trying to think

370
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of parallels is there are certain technicians that

371
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are just really engineers and they don't do well

372
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talking to people. They're just brilliant engineers. But if there's a position

373
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where they're going to be interacting with the executives or whatever, just making sure

374
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those positions are staffed with people that have good personalities

375
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and are aware, have situational awareness. So I

376
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think that's a good rule of thumb. Anytime you're interacting with your

377
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end client and like you're saying an experiential, your incline is the

378
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guest. If the guest isn't happy, they're not buying the tickets for next year and

379
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you don't have an event turns out. Absolutely. What do you think?

380
00:23:25,200 --> 00:23:28,760
Just thinking. I'm just so fascinated by the events, the

381
00:23:28,760 --> 00:23:32,550
experiential world, because I, I, I, I love

382
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it. I just don't get a chance to play in that world that often. But

383
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what's your favorite event you've ever done? Like you,

384
00:23:39,390 --> 00:23:42,990
you've or, or a favorite where you sat down with a client and

385
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you heard what they were saying and then you were super satisfied with how it

386
00:23:46,870 --> 00:23:49,950
turned out like that. That's a good one. That's a good one for, you know,

387
00:23:49,950 --> 00:23:52,390
I'll remember that one for the rest of my life. For the rest of my

388
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life. There are, there's so many,

389
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there's so many in the experiential world. I love it. There is

390
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one that, you know, lasts several years, continues to

391
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be at the forefront of my mind, and I think it just hits everything

392
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that I believe experiential to be, plus everything that drives

393
00:24:10,760 --> 00:24:14,560
me as an individual in experiential and production. I had

394
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the opportunity to partner with Feld Entertainment

395
00:24:18,200 --> 00:24:21,000
and they had got the rights to the trolls

396
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IP from DreamWorks and they were going to create

397
00:24:25,670 --> 00:24:29,510
an experiential pop up. So semi permanent if you will. In New

398
00:24:29,510 --> 00:24:33,110
York. We created the Trolls experience and I got to be part of the

399
00:24:33,110 --> 00:24:36,510
pre production design side of things. Valid

400
00:24:36,510 --> 00:24:39,990
Entertainment handled kind of the operations for 18 months I believe

401
00:24:40,230 --> 00:24:43,990
is how long it was open. And so what it was, it

402
00:24:43,990 --> 00:24:47,510
was an entire building in New York, three floors.

403
00:24:47,830 --> 00:24:51,510
And we, you know, take the Disney approach if you will. We

404
00:24:51,590 --> 00:24:54,370
immersed every little square of that building,

405
00:24:54,930 --> 00:24:58,410
vinyl wrapped every wall and every pillar, carpeted the

406
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floors, built, you know, 10 foot tall troll structures that

407
00:25:02,090 --> 00:25:05,810
felt like, felt had all these little like zones and

408
00:25:05,810 --> 00:25:09,010
experiences that kids could go through. Yeah, I love

409
00:25:09,489 --> 00:25:13,010
experience because it was completely designed from scratch.

410
00:25:13,250 --> 00:25:16,610
It was complete. The creative vision was watch the movie

411
00:25:16,930 --> 00:25:20,180
and now let's figure out how to create these little rooms for kids to play

412
00:25:20,410 --> 00:25:24,010
play in, for parents to engage with their kids in. And for

413
00:25:24,010 --> 00:25:27,850
me we got to integrate technology. We did a lot of really cool

414
00:25:28,010 --> 00:25:30,890
touchscreen audio, visual projection type technology.

415
00:25:31,610 --> 00:25:34,730
We integrated a lot of fabrication techniques.

416
00:25:35,370 --> 00:25:38,890
I got to play in the world of where I nerd out logistics. We had

417
00:25:38,890 --> 00:25:42,610
to think about child safety. Things can be built too

418
00:25:42,610 --> 00:25:46,210
hard. Think kids if they fall and hit their heads, you know. So that

419
00:25:46,210 --> 00:25:49,890
project was incredible and first time in my career that our

420
00:25:49,890 --> 00:25:53,410
installation was a 45 day long installation. Whoa.

421
00:25:54,370 --> 00:25:57,730
Really, really enjoyed just being in New York and bunkering down and

422
00:25:57,890 --> 00:26:01,650
building this thing that then lasted for 18 months thereafter. Super,

423
00:26:01,730 --> 00:26:05,450
super fun to watch. I love it. And that's unique. You know,

424
00:26:05,450 --> 00:26:09,290
you do a corporate event and it's a few days build maybe for

425
00:26:09,290 --> 00:26:12,570
a larger one. That one. You have to have a lot of faith in your

426
00:26:12,570 --> 00:26:15,350
team and know that you're going to execute and you have to stay, you have

427
00:26:15,350 --> 00:26:18,950
to have patience. Like it's going to be over a month before we see that

428
00:26:18,950 --> 00:26:22,790
this is exactly what we designed. Was that did it turn out how you

429
00:26:22,790 --> 00:26:26,070
had in your head when you had initial conversations? Was it

430
00:26:26,070 --> 00:26:29,430
satisfying? It was very satisfying. I think the,

431
00:26:29,750 --> 00:26:33,390
the amount of pain points in a 45 day long load was probably

432
00:26:33,390 --> 00:26:37,230
the unexpected part. You know you just nailed on something where when

433
00:26:37,230 --> 00:26:40,950
you know it's hyper focused 2 day, 1 day, 3 days, your

434
00:26:41,030 --> 00:26:44,840
team is go to keep, to keep the crew moving

435
00:26:44,840 --> 00:26:48,600
for 45 days. The momentum motivated. I think that was the part that was

436
00:26:48,600 --> 00:26:52,320
like wow, we're, we're going slower because we have more time and we,

437
00:26:52,320 --> 00:26:56,080
we don't have that room. But, yeah, I'm thinking I. I don't have the patience

438
00:26:56,080 --> 00:26:59,200
for that. Like, I want to. Come on, come on, let's get this done. Let's

439
00:26:59,200 --> 00:27:02,560
get it done. But the end result was beautiful. I think

440
00:27:03,040 --> 00:27:06,760
exactly how we wanted the kids to feel. I think from render to reality,

441
00:27:06,760 --> 00:27:10,590
everything looked exactly. Exactly like we had kind of built the walkthrough videos.

442
00:27:10,590 --> 00:27:13,550
And so seeing that magic come to life was incredible.

443
00:27:14,190 --> 00:27:17,870
Yeah. I think I look back more at the. The moments of

444
00:27:17,950 --> 00:27:21,150
what it took to get it to be reality. The. The amount of

445
00:27:21,150 --> 00:27:24,750
reprinting our vinyls to color match. And I don't think I've ever

446
00:27:25,230 --> 00:27:29,070
done that much vinyling on walls. Like 15,000

447
00:27:29,070 --> 00:27:32,910
square feet. And so, you know, you're matching colors all. All,

448
00:27:32,910 --> 00:27:36,570
you know, two days rep. Reprint come back. But the end result looked

449
00:27:36,570 --> 00:27:40,210
exactly like our renderings. And I still watch those

450
00:27:40,210 --> 00:27:43,490
videos, those sizzle reels today because the kids laughing and playing and

451
00:27:43,650 --> 00:27:47,010
engaging with each of the rooms was exactly how we had envisioned it.

452
00:27:47,170 --> 00:27:50,650
That's so cool. That's so cool. I love that feeling. I love that feeling where

453
00:27:50,650 --> 00:27:53,090
it's like, yeah, we hit it out of the park. We did it. We did

454
00:27:53,090 --> 00:27:56,050
it. The whole team did it. And that's a. It sounds like that was a

455
00:27:56,050 --> 00:27:59,770
really big team that made that happen. Yeah. Okay, so you have an

456
00:27:59,770 --> 00:28:03,490
event like that that seems. I think sometimes guests

457
00:28:03,490 --> 00:28:07,290
come to things and they. They think a lot of things are spontaneous that,

458
00:28:07,290 --> 00:28:10,570
you know, that just. Oh, wow. That they must have just, you know, just did

459
00:28:10,570 --> 00:28:14,250
that and it happened, you know? But what's something guests don't realize

460
00:28:14,330 --> 00:28:17,610
is carefully planned but actually makes a huge difference?

461
00:28:18,330 --> 00:28:21,970
Yeah. I think this one has parallels across. Right.

462
00:28:21,970 --> 00:28:25,770
Experiential and corporate. There's all these little things

463
00:28:25,770 --> 00:28:29,510
we talked about, again, behind the scenes that people don't know. I think the

464
00:28:29,510 --> 00:28:33,270
one I'll zero in on here is spatial planning.

465
00:28:33,270 --> 00:28:37,110
And I think this applies to both corporate and experiential. But the level

466
00:28:37,110 --> 00:28:40,710
of detail that we all in the production world put to

467
00:28:41,190 --> 00:28:44,710
where things are going, how much space there is between

468
00:28:45,830 --> 00:28:49,030
pathways wide enough, walkways for people to move around,

469
00:28:49,510 --> 00:28:53,030
but it still feels packed and it feels energized and exciting.

470
00:28:53,510 --> 00:28:56,390
Are we putting things in a place where if there's a huge line

471
00:28:57,230 --> 00:29:00,750
that builds up, is that line gonna go the right way? Are we gonna get

472
00:29:00,750 --> 00:29:04,550
in people's ways? And it's just that level of detail that. That I don't think

473
00:29:04,550 --> 00:29:08,230
guests naturally realize like that go. A lot of time goes into

474
00:29:08,230 --> 00:29:11,990
thinking about why this was placed here. Why that was placed there,

475
00:29:11,990 --> 00:29:15,710
why These things are 10ft apart versus, you know, 5ft apart.

476
00:29:15,710 --> 00:29:19,390
Like, just all that spatial planning and flow and egress,

477
00:29:19,710 --> 00:29:23,470
all little producer buzzwords that people hear and say, yeah,

478
00:29:23,470 --> 00:29:27,310
those are things that people aren't thinking about. But we are. And we think about

479
00:29:27,310 --> 00:29:30,910
it early on because again, it make. That's a make or break,

480
00:29:30,910 --> 00:29:34,070
too. It's. I don't want to feel crowded. I don't want to feel like this

481
00:29:34,070 --> 00:29:37,910
line is unorganized. I don't want to. But it takes. It takes time and planning

482
00:29:37,910 --> 00:29:41,110
and laying out to make sure everything is in its right place

483
00:29:41,750 --> 00:29:45,510
for the guest. So that's a lot like being

484
00:29:45,510 --> 00:29:48,910
an architect, where if something's

485
00:29:48,910 --> 00:29:52,610
designed well by a really talented architect,

486
00:29:52,840 --> 00:29:56,440
you walk in and. And you're not a trained architect, I'm

487
00:29:56,440 --> 00:30:00,120
assuming you're not. But you're like, yeah, this is right. This feels

488
00:30:00,120 --> 00:30:03,640
right. But you walk into another space that maybe wasn't. They're like, I

489
00:30:03,640 --> 00:30:06,600
designed my own house. And you're like, well, probably should have hired an architect.

490
00:30:07,560 --> 00:30:11,160
And it just feels off. Like, the dimensions are off. And I think, like,

491
00:30:11,240 --> 00:30:14,840
I can imagine the experience that you. Someone like you brings to the table.

492
00:30:14,840 --> 00:30:18,520
There's so many intangible things like that where just from doing

493
00:30:18,520 --> 00:30:22,020
it for years and years and years, I'm going to design this so it

494
00:30:22,020 --> 00:30:25,740
feels right. And you'll know, because when you walk in, it will feel

495
00:30:25,740 --> 00:30:29,020
right. And you'll know if you don't do it right, because it'll feel weird.

496
00:30:29,340 --> 00:30:32,980
You won't know. Put your finger on it. There's something off about the spacing and

497
00:30:32,980 --> 00:30:36,820
how things are. Yeah. And you do you. In the production world, you come with

498
00:30:36,820 --> 00:30:40,300
this experience. You walk into a room sometimes, or you're laying out and you don't

499
00:30:40,300 --> 00:30:44,020
realize, oh, when did I acquire that knowledge of just knowing? Yeah,

500
00:30:44,020 --> 00:30:46,780
this is how many tables are gonna go in here. This is. This is how

501
00:30:46,780 --> 00:30:50,300
many chairs need to go around that table. Like, that's just. It starts to become

502
00:30:50,380 --> 00:30:54,160
instinct of just understanding, you know, how many people will

503
00:30:54,160 --> 00:30:58,000
fit in this room after we've put all these things in here. And there's

504
00:30:58,000 --> 00:31:01,720
numbers and there's magic, you know, behind the numbers that you're crunching there. But it

505
00:31:01,720 --> 00:31:05,560
starts to just become instinct for you. But something you should be

506
00:31:05,560 --> 00:31:09,240
thinking about very early on in the process, you know, got to make sure

507
00:31:09,240 --> 00:31:12,040
the space is right for everyone. Yeah. Yeah.

508
00:31:13,400 --> 00:31:16,840
Okay. I've been. I could talk about this all day. I've been learning

509
00:31:17,080 --> 00:31:20,460
about experiential marketing. Today and experiential events.

510
00:31:21,970 --> 00:31:25,250
But I really appreciate you taking your time with us today. It's been a great

511
00:31:25,250 --> 00:31:29,050
conversation and I've learned a lot. Thank you, Seth. No, it has

512
00:31:29,050 --> 00:31:32,890
been such a great conversation. Incredibly love just chatting with you. Like

513
00:31:32,890 --> 00:31:36,530
you said, I could talk all day about the minutiae of events and production. And

514
00:31:36,770 --> 00:31:40,450
as fun and exciting as experiential may seem,

515
00:31:40,450 --> 00:31:44,250
ultimately all events are just so fun and so exciting to

516
00:31:44,250 --> 00:31:47,600
talk about because we all nerd out on it for sure. Absolutely.

517
00:31:47,600 --> 00:31:50,800
Absolutely. And I know right now there are some super

518
00:31:51,520 --> 00:31:54,920
organized planners that really need creative help with their

519
00:31:54,920 --> 00:31:58,560
events. So if somebody needed to reach

520
00:31:58,560 --> 00:32:01,400
out to you, where could they get a hold you get a hold of you?

521
00:32:01,400 --> 00:32:05,240
Where could they find out more about you and your company? Yeah, well,

522
00:32:05,240 --> 00:32:08,200
I would love to connect with all those out there. So the best place to

523
00:32:08,200 --> 00:32:11,730
reach me is going to be my website, Pre production events.

524
00:32:12,520 --> 00:32:15,000
That's pre with two E's, like my name

525
00:32:15,640 --> 00:32:19,480
preproduction events.com and also I'm on LinkedIn for anyone who

526
00:32:19,480 --> 00:32:22,880
just wants to pop in and say hi. All right. And we'll have that listed

527
00:32:22,880 --> 00:32:26,640
in the description of the podcast wherever you're listening to it, either YouTube or

528
00:32:26,640 --> 00:32:30,400
Spotify or wherever. So people can link to that as well. But thank you

529
00:32:30,400 --> 00:32:33,680
again for being part of the show and we'll have to have you back at

530
00:32:33,680 --> 00:32:36,600
some point. I would love to set. Thank you so much for having me on.

531
00:32:36,760 --> 00:32:40,610
Absolutely. And thank you for joining us on the Event Pro Show. We put

532
00:32:40,610 --> 00:32:44,370
out a podcast once a week. Every other week is a

533
00:32:44,370 --> 00:32:48,050
episode with a friend like Preeya, and then the other

534
00:32:48,050 --> 00:32:51,490
week is something more AV related. So please follow along.

535
00:32:51,890 --> 00:32:55,530
Thank you for listening and I hope you have a great day. The Event Pro

536
00:32:55,530 --> 00:32:59,130
show is a production of LEMG video by Nick

537
00:32:59,130 --> 00:33:02,290
Barrett, audio and post production by Prince

538
00:33:02,290 --> 00:33:05,430
Thompson. You can learn more about us at LEMG

539
00:33:05,910 --> 00:33:06,310
Live.