Sarah Fejfar 0:00
So if you've got a client who's like, I know, I want to make my event more creative, but I have no idea even where to start, what do you do
Adim Coleman 0:09
we have a conversation about what is the purpose of the event? What are you trying to accomplish? Sometimes it's just a book launch, right? Or sometimes it's they may do this event once a year, and they're bringing people into their funnel, right. So we creatively we may not have a lot to go on. So then if we don't have a lot to go on, then we just look at existing branding, we always want these consistent through lines. So when the first contact with your attendee has probably some email marketing, it might have some color branding to it, right? You may have a style guide. So we try to carry that through. So then, when you know, we don't get an email marketing partner when they land and they're looking at this, either live or on Crowdcast. Whatever platform, it looks familiar,
Sarah Fejfar 0:56
how are entrepreneurs like us daring bravely to build a stage? Ditch the sweat pants, and step up to the mic? How do we create our own transformative events? So we can get our message out into the world in a bigger way. It's not only profitable, but it's actually something we can be proud of. That's the question. And the answers are inside this podcast. My name is Sarah Fejfar. Welcome to greenroom Central. Today, I brought into greenroom central studios, Adam Coleman. He's the founder and creative director of proxy AV. Acree creative agency that produces amazing live event experiences. They bring art to life in the live environment. Hey, Adam, welcome to Green Room, central studios.
Adim Coleman 1:44
How you doing? Sir, getting ready for an event here and wanted to duck into the office and say hello to my friend, you know, we go way back.
Sarah Fejfar 1:53
Yay. I'm so glad that we could spend some time together and talk about your superpower with events, which is, is that the tie between creativity and really, really caring about the outcome? And so how about we start there? Why do you care so much?
Adim Coleman 2:18
Because you do because it is the Steven Pressfield refers to it The War of Art right? Not not the art of war, but The War of Art, which is a great book to have anybody who's looking for good recommendations. Yeah, The War of Art by Steven Pressfield. Have you read it? Or have you? Oh, Joe Polish recommended that book years ago, and it's one of the few it's the only book I've read more than twice to great books. But why do I care so much? Because this is my craft. And this is my art, you know, so my artwork requires a lot of help from other people, right? And I always take it very seriously. So caring, I've, I've realized that nothing happens of significance until you care first, right? You care about the outcome. It's the glue that ties all this stuff together, you know, Stan a couple hours past the production when everybody's gone. It brings you into the ballroom two hours before a call time. And I don't like that, that those elevated cortisol anxiety levels. So you start with caring No, those levels go down during production. So
Sarah Fejfar 3:31
yeah, your clients are lucky to have you because you do care so much. And I, I see that every time we work together. And I think your your clients are so lucky to have you, I want to talk about how you bring art into the live environment, because I think that's what makes you special as a creative agency that that businesses hired to put on the technical part of events to talk to us about I know you love to go to art museums every time you're in a new city, and talk to me about how you think about art. And being at
Adim Coleman 4:16
a live art in general is like one of the few things that makes you know life. Exciting, right? To me anyway, you know, obviously raising kids is keeps like really exciting. But most of my kids now are adults. And art is just that. It's just has an allure to it. And it's one of the things that that keeps me excited and what we try to do what basically we go to art museums to steal ideas to be quite blunt about it, right. I think Picasso said that, you know, all artists theft, right? It's all just trying to put yourself in an environment. That's creative. And for the last event, we have an event coming up in Austin, Texas next month, and I went to him museum to just sat down in their cafeteria to get some ideas and Steve Unimas or Alexander McQueen, I keep seeing Steve McQueen. But Alexander McQueen was doing a, a, he has his clothes or his artwork on display. So art is like that last frontier, right? Technology always makes the tools easier to use. But art is the thing that never gets any easier to, to kind of tackle, easier to manage. And it's a breath of fresh air, when you can bring art into a live event and just see people react to it. Now, suppose, you know, the goal is to maybe boost engagement, and that's important to the client. But but for me, it's just the last frontier, you know, everything else is kind of mundane, the quotes, the travel plans, you know, profit and loss statements. If running a business, you can kind of Drown yourself in that, you know, and the art helps pick you up and helps you remember why you got involved to begin with, if that makes any sense.
Sarah Fejfar 6:07
I think one thing people think about when they think about bringing art into a live conference is the set design. And of course, that's one element of it. But I think, also there's an art, and a science to the lighting and to the sound. And talk to me about just an example of what you think about and bring to the table. Yeah,
Adim Coleman 6:34
that's a great question, too. When we started the company back in 2016, I noticed that most production companies, the creative was an afterthought, right? So they'd have a giant, 90 foot LED wall and they thought, Look, we got our LED wall is 30 feet longer than yours, we won the game. But what they put on it was kind of not very thought out. So our value proposition our kind of wedge into this bloody red ocean, if you will you read blue ocean strategies, right, we're in a highly competitive market. So our wedge in that market was creativity. And not only that, we don't do things just to be creative, we always trying to find a point that supports the message. For instance, we we have a client who's a vocal coach. And for his LED wall, we decided to shape it as a almost like an S, right? And that s represents a sine wave. Now, when you're watching the program, do you know it's a sine wave? No, you don't. But the reason why we look for these is it informs further creative decisions, right. So all these little things that we did to kind of subconsciously and consciously support what this person is doing. We had another client that and a lot of times they don't give you a lot of things to really latch Hold on. But when you have a creative staff, and we only have creatives full time, we've got two full time creative people, and an artist and residents. So you can see everything in our DNA is geared towards creativity, right? Even when you come into our shop, there are no manuals, but you'll see a lot of our books. So we had a client that went on a one year sabbatical. And it was the first time that we produced the show for this client. So what we did was we made the stage round, right? I'm not a huge fan of a round stage, unless I'm doing something after cool or maybe like a textile thing. But we made it round for this client for two reasons. The circle is emblematic of a return or a journey or a revolution, right? The physical revolution not the social revolution. So the circular stage represented this person's return to center stage. And what I liked about it his he had three major points it was connection, community and creativity. So when we had the round stage, we brought the the audience in a semi circle around the stage in order to foster connection. So those are some of the things that we really dig deep now than anybody know why we use a circular stage no the client did when we told them in the in the in the design brief, but you will be surprised when you lead the conversations like that. They they really understand like, wow, we've got a different production. We have to we've got we're not using a production company. We're using a creative agency. So there's so many little things that inform our decisions and when you have creative people, you have to give them something right I think John Stewart said there's nothing more frightening than a blank page with no rules artists need artists needs rules. In order to be really creative, so I try to my job as a creative director is to kind of set these boundaries, and then let these young creative guys go to work, guys and gals go to work, you know, it's a beautiful thing when it all comes together, when it comes together, you know,
Sarah Fejfar 10:15
so if you've got a client who's like, I know, I want to make my event more creative, but I have no idea even where to start. What do you do to start?
Adim Coleman 10:26
We have a conversation about what is the purpose of the event? What are you trying to accomplish? Things of that nature, sometimes, it's just a book launch, right? Or sometimes it's, they may do this event once a year, and they're bringing people into their funnel, right. So we creatively we may not have a lot to go on. So then if we don't have a lot to go on, like they're not coming back from when your sabbatical or they're not a vocal coach, then we just look at existing existing branding, right? We always want these consistent through lines. So when the first contact with your attendee is probably some email marketing, it might have some color branding to it, right, you may have a style guide. So we try to carry that through. So then, when we don't get an email marketing partner, when they land, and they're looking at this, either live or on Crowdcast, zoom, whatever platform, it looks familiar. Yeah, right. And we're trying to give that creative familiarity. And we don't want our productions to look like everyone else. For instance, I am surprised that people are still doing the grid view on the LED wall and keeping it there. So what we do is we use it like paprika, right? We put it there when it makes sense. But then we also add movement to it, right? We use Unreal Engine and things like that, too. We use Unreal Engine in order to animate those people in the gallery. So they don't just look static. I'm glad that other people are still just you guys keep continue to put the grid view up there. And proxy will come and we will, you know, kind of break the mold there, you know.
Sarah Fejfar 12:13
And what and what he's talking about is how, you know, Zoom has a gallery view, right? Where you can see like, 50 people at a time? Well, it is popular, it became popular during the pandemic, to put it behind the presenter on a big LED wall, during throughout the entire event. But that gets kind of exhausting and boring for the eye. And so you've you've just decided, I'm just not going to do what everyone else does. And we'll just be a little bit more creative about it.
Adim Coleman 12:46
Yeah. Because when you think about it, when you go to an event and see an audience behind the speaker, right. So when it was first done, it was brilliant. It was visually distinctive, and it broke the pattern that everybody else was doing. But once you break a pattern, and then you establish a pattern, and now we're looking for that pattern interrupt, you know.
Sarah Fejfar 13:04
That's so good. Yeah. Because your job is to keep the audience engaged, right. And so I love that you're constantly looking for pattern pattern interrupts in the way that you showcase the content? And on that note, how are you using? How are you using production, the lights, the stage, the scenic, the sound to facilitate the learning experience? Because I know you've got some tricks up your sleeve. And and your clients may not even know that you're doing it, what are some things you think about?
Adim Coleman 13:45
I think about the wow factor, right? So if it's a new client, we will look at what they've already done. You know, and it's a lot of it is just subtle things. And so you can use light to draw attention to certain areas on stage. Sometimes we have clients that like very high key environment. So the influence of some of the stays, lights just doesn't, you know, work work out as well. But when we can get a dark environment, and we have, like, we had a show, and we had a lighting designer, you know, it's always a good thing when production can afford a lighting designer. And this presenter came to us and she wanted to do something different. It was a multi speaker event. So we're like, hell yeah, we're, you know, I'm saying we're here for that. So we worked with her to create a dramatic effect where she came in from the back of the room instead of coming in from stage and then we had the lights focus on her and follow the spotlight on her, thus narrowing you know, people's attention to just what she was saying. So that's one way you can do it. The other way is is set design, but we try not to just do set design for set design, right And you see this a lot with wafer walls, right? I don't know if you've made wafer walls where they have the repeating. Yeah, it's a design shortcut. So I know why people do it. But you can almost tell that there's just a sales rep, typing away at his computer, and just saying, I slap some wafer walls on there. And let's go for it. Well, if you're going to use wave for walls, at least make them asymmetric. Right, but But don't just put this repeating pattern, you know, break it up with a logo, do something. For other production companies, I'm happy to have you guys continue to do that, you know, saying so because you guys create the pattern and we then break. One of the things that we can do, we do also says we add a client that has a slogan, and it's three, three words. So we know from our study of design, the human beings are drawn to things that are on a scale, right? So human beings love if it's a giant building, that you shrink it to the size of a Lego, or if it's something small, like letters, we're used to seeing letters very small, we blow up the letters. So they're like nine feet high, right? And what that like a moth to a flame, people are attracted to that thing that's out of scale. And they will take pictures and boost engagement, you throw a hashtag on there, and you've got something going even we've got a client that wants stage letters on the stage, which is which has been done before. But I'm like, Okay, how can we not do it the same way everybody does days letters that are the same color, they're all just white phone letters, I'm like, let's make a dual tone, like, you know, just something to to, you know, to break that interrupt, right, it's already hard to get people's attention. So when they come to a performance, you can grab their attention by the level of lighting, design, stage design. But then you also want to tie it back to something that's on brand we're always talking about on brand, you know, and you and I worked with a big athletic company where we were, and it's interesting, too, because remember, when we worked with that company, what we did were all light touches, right? I like very clean, minimalistic light touch designs. Because when you when when I when we when we shoot video, you always have to consider that you have a foreground and a background, and you don't want your background being so busy that it competes with the foreground, right. And so the thing that we did for this major athletic company, the design was just very subtle. You know, we weren't trying to prove them that oh, you know, we're so we're so creative, because they have creative people, they've been doing it, you know, for 40 years, you know, I'm saying, you know, and you and I was at a light touch and and, you know, by the feedback that I think their term was, we changed the game for them. You know, it was
Sarah Fejfar 17:49
I love the way you talk about branding and how it being I always like to talk about how it's a string of continuity that goes throughout everything within your event from like, you touched on the email marketing to what it looks like, when they check in at registration to what the set looks like, on stage. I really think it's so important. And to remember that we need to have present a cohesive look so that guess it just, it feels their excitement, it feels the fear of missing out on social media, because then everything that people are looking at looks like it's part of that thing, that thing that you're perhaps possibly missing out on. And I know you think about that, I know you think about okay, how is this going to look on social media, when we take cuts from the recordings, and the client goes and puts them up afterwards. And I love that you obsess over that. In fact, you even think about where you're talking about the foreground and the background even think about where the logo is on the background on the stage scenic so that it frames within the Yes, talent, right. How do you tell me about how you think
Adim Coleman 19:09
obsessively, you know, less sleep cycles than I need? But But yeah, so every everything now needs social proof. And everything is on a video now. Right? So and that's difficult, because you have to play to the video audience, the people that are consuming it on this guy here. But then you also have to play it for the people that are in the event. Right? So and from a design standpoint, that's not very easy to do. And we you know, we had a show last time where I focused more on what the end video look like because I knew that that video will be consumed by 1000s to millions versus the inroom being consumed by third or I'm sorry, four to 500 people. And so what Sarah's talking about when we lower the logo them Make sure that it's fit a couple of inches above the shoulder, what what I was not happy with was how low the logo was in person, client was happy. But, you know, it's the thing that makes it into my journal on how to fix and what it is, is you almost have to design two designs, right. But then when you take two designs and make them into one, they have to Gestalt to be a whole, you know, straight up design. So that's the War of Art, you know, that we're constantly battling. And another thing that I do is any production that we that we are a part of, after the event, I look at his many social media posts of that event to see what it looks like from different angles, and have changed the set to correct for better angles, meaning that people take a lot of selfies looking back this way. And sometimes they say, it looks good on the front end, but doesn't look good at the side stage left or stage, right. So we take that into consideration. But it's only after an exhaustive search of social media to kind of figure out, okay, this is where we can approve better even down to like, if you overhang letters, instead of the letters being you know, facing the audience, what you would want to do is tilt the letters down a little bit as they hang over the stage. So when people are taking a selfie, the letters show up, like that. And then when you change the angle from flat to the to this, that's a little bit of that, that oh, okay, these letters are at an angle, you know, and that's, that might just catch their attention and or make them want to take a selfie and actually get the letters in there correctly. So psychologically, there's a lot of things that we're trying to do to, to impress people, too. So, you know, but But it's, we also keep what we call a swipe file, and I'm sure I'm sure that your audience is aware of that. Yeah, I'm real big on the swipe file. And basically, for those who don't know what that is, is you just keep a file of anything that you like, you just keep it in a big giant files as you can refer to it. Another good recommendation is Steal Like an Artist. There's a great book, and it basically gives artists permission to steal because all artists steal, and it's a three book series and you can read it in an afternoon. It's really you know, it's a small book. And if you're in a creative space, it's a must
Sarah Fejfar 22:30
steal like an artist. Alright, now we've got to
Adim Coleman 22:33
forget his last name, but it's Austin. Kay,
Sarah Fejfar 22:36
you talk about two things that you think about as you're designing each event. And you talked about experience versus environment. And tell me tell me what you how you see those as two separate but also, conjoined topics as you design? It conference? That's a
Adim Coleman 23:01
great question. Because the environment can be the same, but the experience can be different, right? So the experience is what you're aiming for. But you get that experience by creating an environment. Does that? Does that make sense? So two people can can react differently to the same stimuli? Or I guess that's the way to make that word, single stimulus stimuli? I didn't I'm not an English major, any stretch of imagination. Thank God for spellcheck. But But yeah, so it, the environment is very important in order to influence what people take away from him. And one part, you have control of the other You don't, right. So I'm always trying to get feedback on how people were influenced by the environment. So I'll focus more on the experience. I'm sorry, the environment part of it. But we have a client whose number one concern is audience experience. And I met this person early on in my career. And I remember asking them, Hey, do you want this size screen or this size format? Or do you want to do a three to 116 to nine? And Jenny said to me, we care more about the experience, and we care about the particular details or specs, right? And that that aid with me? Yep. And when clients give you those kind of nuggets, sometimes they don't realize how important that is for you to help them. Get that environment. As far as the environment. One of the things that we love to do is to coach our clients on what we call the sacred space of the ballroom. And I know you're a fan of this to Sarah, where you don't let your audience just kind of haphazardly walk into the ballroom at any given time. Yeah, what you do is you hold the doors and what that does is two things right? We've all been young and been to a nightclub and we see that line well, when you have a live event and you you hold the doors, you're forcing people to do the very thing that they get the most value out of events, which is to meet other people. Right. The second is content, right. But most a lot of people say we come for content, but it's the people that you meet at a events that are really where people get a lot of value from. So when you when you when you hold people at the doors, you naturally build up an excitement, right? And anticipation and people are smelling good, they're looking good. They've got their logos, their brands on, you know, they've got, excuse me, there's joking going wrong. So you're forcing these interactions, that would not happen if everybody was lined up facing in the same direction in theater style, seating, right, or classroom, but whatever. So it's very important that that you build that anticipation. And then a couple of maybe less, depending on how large the crowd is. But if you got like two or 3000, people, you're gonna want to open that door about a half hour, 45 minutes early. So then you make a grand opening, obviously, VIPs are letting first that's another part of that, that that FOMO. And then we need VIP people, right, because this is a very expensive art that we're involved in. So the VIPs help with that. And the VIPs, get the priority seating. And when you open the doors in this grand fashion, and you have your event staff greeting people and you've got the music, just one decibel louder than it should be right then then you've got that anticipation. People know that something's about to go down, right. And obviously, music selection is very important. Obviously, it's high energy, even now, even the music is thought about a lot a lot more than people realize. So you open them in I call it like the sacred space. So people come in, and the anticipation is there. And we have to tell people, you know, stop running, because they're just running and excitement. When somebody else sees that person. Why What are they running for? And, and it's that is a part of creating the environment, right. And then when it's over, you let a cup, one or two songs play, but then you usher the people out letting them know that when you're here, this this is a teaching environment. This is a moment it's sacred. But when we're done, we'll give you time to chat. But then we force everybody out of the ballroom lock the ballroom, and then another force interaction, right. So that's one of many ways that we try to control the environment to influence people, I guess, is what I'm trying to say.
Sarah Fejfar 27:38
Yeah, no, you're using all these little bits of the environment to create the experience. It's there. It's there's so many of these like micro moments that you've thought through at nauseam that all play together to create this, the experience that the client is going for?
Adim Coleman 28:02
Yeah. It all Yeah, when it all works together, and then, you know, normally, it's after a day they on day to day one is always like, okay, is the airplane gonna get, you know, lift and fly. But once day one is done it kind of you know, the anxiety gets back to normal, it doesn't go away, it gets back to normal.
Sarah Fejfar 28:23
I love that you talked about the level of the music and you're we're on the exact same page about the decibel level, I love the music to be just slightly louder than is comfortable. Because it just is a signal to the body. Like at the core that there is something that's about to happen that I should be getting excited for. And I there, there's something that's going to require my attention. And it's, it's such a, an important tool. And I can't underscore enough that that clients don't pay enough attention to music selection, and volume and placement of where mute songs should go as they should. It's almost always like this afterthought, because you figure that the most important piece of the environment is is what the stage looks like. But there's just so many other things that go into it and you just rattled off like dozen news music being one of the ones that you know that I'm latching on to here but that it's it's it's such a critical piece of I mean, have you ever walked into a dinner party and they didn't have music playing and it's like you felt this sense of awkwardness He or it was the wrong music. And it just was jarring. And it didn't jive with what was supposed to be happening. And I, I think I think that's, I always talk about how your event is the live embodiment of your brand. And I like to compare it to walking into a mall and going into a store. And perhaps like it's a clothing store, and the aesthetic and the music and the smell. It's all been thought about, right.
Adim Coleman 30:32
I'm glad you said smell too, because we just for the show in Austin, we have an infuser. And, you know, for the four years where there is the store, where we sell swag. But when you think about the you hit on it, you know, the humans music is the is the most effective way to encode a feeling or a lesson, right? When we learned our ABCs it was through rhythm, right? Not through rote memory. So the content that comes from stage is not going to land like music. Well, now, obviously, then they can't sing the content to you. But music and smell are the the deepest parts of ways to encode a feeling and a human being. And then what you say to him, right. And that's only after what Maya Angelou teaches is how I made you feel. So first is music sound how it made you feel. And only then will you remember what I told you. So as Sarah mentioned, the the music is to get them in a state of excitement. And when one person sees another person's excited, you know, and the music can't be too loud. There's, there's levels to it. But let's be clear, you don't want to just write, I went out to Aladdin with it, you know, I'm saying you want to go to 10.3. And then, and then with smell, we just started to dip our toe in the net. But that's just in a very confined area, I'm not going to try to, you know, influence 2000 people because somebody is going to have a, I got an allergy to anything that smells like, you know, like the hotel, the one hotel, but but for the store. Because of what's like psychology teaches us, I was able to convince the client and very easily to get infuser for that space. And then also, you know, I'm not going to run data to see did the sales go up or down? That's That's odd. But we are now experimenting with scent. Yeah,
Sarah Fejfar 32:35
yeah. What's your feeling on a live plants and floral, either on the stage or in the prefunction? area?
Adim Coleman 32:48
Floral. It's like the 90s are calling and they want their fika tree back, right? We don't do floral on the stage, unless we're in Miami, and it's a living wall. And then so in the event in for the event in Austin, Texas, we were able to get a living wall approved because of the brand, if you if the brand is called growth, right? So when I hear growth, I instantly thought oh, let's get a eight foot by eight foot wall, a living wall. And they were like, What do you want real plants are fake plants. You already know what the answer was right? They've got to be real, right? I've never seen anybody do a floral wall with the logo in the wall, you know, spelling out the logo and the client like that so much. He said ordered two of them. And then you design one and have the floral company design the other one. And we got lucky we found a place in Austin that did it you know, they're about $70,000 per wall, you know, for the three or four days so but but if you're gonna do it, then do it. You know reclaimed wood, with floral, maybe spelled out but don't just put a tree or a plant on the stage. And if you're in an interview, let's say we're doing a sit down interview always like orchids, because they don't need all this other stuff to go along with it. And it's elegant and simple. And I love the orchid but that's just me being biased, to be quite honest. But But no, no, no, no trees on stage unless, unless it makes sense because of what the brand is about it is the arborist society that you should probably figure out but don't just put a tree B do something creative, right, you know, put half of a treatment and then CNC the logo into the tree. Don't just put a tree just because it's the arbor society. You know,
Sarah Fejfar 34:50
what's your what's your favorite moment at events that you produce?
Adim Coleman 34:56
There's two moments right the first moment is showing filling up with a plan. That's as detailed as possible. And when the truck is loaded, and we're done. Right, and I say that because one is is, you know, super important. The other one is like a very, I don't have a lot of fun throughout the production, right? Because I'm confident, we can work. But I'm constantly scanning and trying to figure out what next. I feel like if I'm relaxing, I'm missing something. And there's some things that I do. Like, the most dangerous moment for a crew is about 45 to 30 minutes before show starts on the first day. Because what happens is, you should be all done, right? So what the crew does is they relax, and they start talking about how many points of the bronze scored. You know what happened on on snowfall Breaking Bad? Yeah. So when I see that I instantly break up the pattern by saying, Okay, what did we miss? And are we all straight and we test the clicker. I am obsessive about as many details, right? So if you take care of the smaller details, I've trained my guys to take care of the smaller details. So when you train people to take care of the smaller details, the bigger details have a likelihood that they will go met, right. But if people aren't thinking about what could happen, or what's about to happen, they're going to miss what's going to happen. So that's why I don't have much fun because I'm always thinking about what's next. I'm not thinking about what's going on now. So my favorite moment is coming with a solid plan, getting there three hours before the rigors listening to classical music and laying my plans out. And just just know that we're about to change is empty. And remember, it was in our like we did in Orlando to you know, this, this is an empty canvas, and we are blessed to be able to paint a picture on it. And away we go. And then you know, four days later, when the van is packed, then it's like, cool. Let's go have some tacos. And let's talk and those are my two favorite book ended moments.
Sarah Fejfar 37:09
What are you reading right now
Adim Coleman 37:10
I am reading two books. One is the 50th law with Curtis Jackson 50 cent and Robert Greene. You know, he's the 48 Laws of Power guy. And the 50th law is a fearlessness if you know 50 cent story that became the 58 laws, it's a book that they wrote together. And the 50th law is fearlessness, and then T Harv Eker millionaire mindset that my dear friend Sarah recommend, it was very apropos right on time. So those are the two books aren't reading. And oftentimes, I'll read two books at the same time to get that collision of ideas. And remember, as creatives, we try to take ideas from two different domains and bring them in together where they may not, you know, you're always looking for influences from different domains to bring them into another domain. Me Hi, Chick sent me I talked about that and the great book flow, which is another great, don't get me started on books too. Because you know
Sarah Fejfar 38:16
Adam, it's been so fun to have you here on the podcast today. I want to know, where can linchpin nation find you? If we've got somebody who wants to host a conference, and they know that they need an A team, creative agency and production company? Where should they
Adim Coleman 38:36
Instagram page, we have a website proxy av.com. But Instagram is where we post things on, you know, three or four times a week. So it's proxy AV at you know, on Instagram proxy AV or reach out to Sarah. Right, so, so Sarah and I work together as on an ad hoc basis. And yeah, so our Instagram is at proxy AV or proxy av.com.
Sarah Fejfar 39:05
Thank you so much, Adam. It's awesome.
Adim Coleman 39:07
Thank you for having me.
Sarah Fejfar 39:08
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