Seven questions, and about a minute.
Three are required — your name, an email address and what you need. Answer the other four if you have them and send it if you do not; an inquiry with a date and a venue in it gets a sharper answer, and one without still reaches the producers.
Call instead when the question is really about a room. Whether the ballroom you are holding has certified points where the wall has to hang, whether your back row is too far from a screen that size, whether a tent needs a permit package in Miami-Dade — those take a few minutes out loud and a long exchange in writing. The number is at the top of this page and the person who answers it produces events.
Email instead when you have documents. You can paste an agenda into an email, attach a floor plan or a rigging plot, and forward the venue's reply without retyping it. All three routes land with the same people; use whichever suits what you are holding.
Four things, and a scope comes back within 24 hours.
The minimum set, for the last box on the form or for an email. Each one changes what the production actually is, which is why an estimate written without them has to carry a pad — and the pad is always bigger than the conversation would have been.
- The date, or the window
And whether it is the date that is fixed or the program. Peak season across South Florida runs November through April: in those months the room, the crew and the night-before hold are all the scarce items, and knowing which of your two constraints can move changes what we can offer you.
- The venue, or the room by name
Name the property and the room and we work from the building's own published dimensions, rigging plot and power — then tell you what that room will not do. Not chosen yet? Send the shortlist, or just the city and the headcount, and we will tell you which rooms hold the show you are describing.
- Headcount, and how they sit
Rounds or rows, and which end of the room they face. The same crowd sits deeper into a room on banquet rounds than in theater seating, and depth is what sets screen width under the standard rule of a foot of screen for every eight feet to the furthest seat. A capacity figure on its own sets none of that.
- What has to happen in the room
Keynote, panel, company meeting, awards, launch, runway, ribbon cutting, band — in draft is fine. How many presenters, whether anything is on camera or streamed, whether there is a reveal. The shape of the program is what sets the control package, the lighting states, the crew size and the rehearsal demand, and none of those follow from the guest count.
Two more are worth adding if you have them: the load-in window, including whether you have the room the night before, and whether anyone has walked the space yet. How we scope a project lists all six and explains what each one moves — and if nobody has walked the room, say so. We will walk it.
South Florida, and a long way past it.
The inventory, the trucks and the permanent crew are all ours, and all three go to the job wherever in Florida the job is.
Most of what we do is close to home, which is what makes a site survey a matter of days rather than a logistics exercise: a load-in in Miami Beach, downtown Fort Lauderdale or Boca Raton is a drive rather than a travel day, and the producer who walks the room is the one standing in it on show day.
Past that it is the same crew and the same inventory on a longer drive — Orlando, Tampa, Jacksonville and the rest of the state. If your date is somewhere up there, say where. It is a one-minute answer on the phone, and the answer does not depend on how big the job is.
- Phone
- (561) 750-4070
- Shop
- 500 NE 28th Ct, Pompano Beach, FL 33064
- Started in
- Miami · Fort Lauderdale · Palm Beach
- Also working
- Orlando · Tampa · Jacksonville · statewide in Florida
- Producing since
- 2004
What we are going to ask, written down.
Worth a look first if you would rather arrive at the call already knowing the questions.