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How to turn a physical event into a hybrid event – Selected

That said, it’s not the same to move a physical class online than to turn South Summit, one of the largest European tech events, into a hybrid event.

Ben Costantini at South Summit 2019
Ben Costantini at South Summit 2019

The trials

Spain Startup, the company behind South Summit, began moving its activity online in early March. The goal was to move their small scale vertical events to a virtual environment and see how it worked. As with any first test, some were executed better than others, but it was a great testing ground to figure out how specific components could, would, and should perform online.

There are many pieces of an event that require a particular adaptation. These multiply when you’re also running startup pitches. And this was what the small scale events were all about.

  • Do you allow live pitching?
  • Do you allow live Q & A?
  • If you prerecord part of it, how do you scale it so that every startup delivers the same video quality? Etc.

All of these pieces had to be figured out.

One component I remember vividly was the format for startup pitches.

The team realized that, while they’re watching the pitch on a screen, the audience still takes specific visual cues from the presenter. The “usual” way to do an online pitch is to have the startup share their screen (and slides) and their face is relegated to a small corner.

This format wasn’t cutting it for the team. They decided to modify the layout so that the slides covered two-thirds of the screen and allow the reminding space for the presenter.

Oh, what a significant change that was. This modification, though, introduced a new challenge. We had to be careful and insist on larger-than-usual fonts and visuals to account for loss of screen space in the slidedeck.

Lessons Learned

Startup pitches are just one of the myriad of examples you have when producing a conference. From abrupt disconnection of speakers, to how to enhance the now-infamous videowall with all the connected people (you don’t want a wall of black squares behind you). From problems with lighting my face to how to handle and deliver live questions.

There are plenty of situations that the team had to figure out on the job. While some group members had done television broadcasting, the reality is that their tools and procedures are well known and tested.

It’s not the case with online broadcasting.

Half of the tools are immature. They offer plenty of potential, sure, but they are untested, crash under stress, or aren’t flexible enough for the range of situations you end up managing. And trust me, no two conferences are exactly alike.

Alex Barrera hosting South Summit 2020
Alex Barrera hosting South Summit 2020

It wasn’t just the tools; the team had to improvise contingency plans for different risk scenarios. Suddenly, it wasn’t enough to just have speakers.

Going virual meant that it was more accessible than ever to have incredible speakers from all over the world. But with this ease of accessibility also comes the ease of cancellations. Sometimes with only two hours’ notice.

And with a global speaker lineup, a host of new challenges are involved: timezones, connectivity issues, and, perhaps most importantly, the pandemic’s situation in each city you connected to.

For example, if one of the pitching startups was at a potential epicenter of a new outbreak, you had to plan for a possible bailout.

And all of this planning and testing takes time. I see far too many conferences winging it. You shouldn’t do it. If you’re moving something online, make sure you execute some dry runs before. I’m not talking about a rehearsal, but some small scale events ahead of time so that everyone, team and speakers alike, know how things work. And maybe, more importantly, what is prone to break and how to recover from it if it does happen.

The Big Day

Everyone in the team believed we would delay the conference, especially after being in lockdown in Spain for several months. In late July, the call came in; we were keeping the original October date. That meant we had two months to go from zero to hybrid event.

I have nothing but praise for the incredible effort the whole team put into making South Summit happen.

And happen it did.

The production was a hybrid approach of live recordings and live broadcasts. It wasn’t easy. It required drastic changes from the content perspective and, of course, an outstanding production so that all the pieces worked together without a hitch.

I hosted three tracks over two days, and I must say, it was fun. I always wanted to do live TV, and here it was, my chance. It was fun indeed but also required some on-the-fly adaptations I hadn’t expected.

The first significant change was that we went from one stage to three. So within the same space, I had to move across three different areas. I must confess that all those years watching live television came in handy. Transitions between stage areas needed to feel natural, but mindful of the cameras that were following me.

Alex Barrera and "The Hat" onstage at South Summit 2019
Alex Barrera and “The Hat” onstage at South Summit 2019

The first challenge became lighting. I wear a hat on stage, so they had to modify the lighting angles, even adding some floor lighting to get the right effect—all these changes in quasi-real-time.

The second challenge was, ironically, the cameras. On a real stage, you have an audience. You watch faces laugh, yawn. People busy, people talking, and people gasping.

On a TV stage, you have the cold stare of a lens just inches from your face. It’s unnatural and a bit unnerving. It took me a while to get used to looking and talking to the camera. This situation was even more demanding when I had physical guests on stage.

The third challenge was about guests, indeed. In a typical environment, you mostly have physical guests. Under the new standard, I had up to five different types of guests I had to accommodate. Each one required a slightly different treatment or a separate stage area. Remembering when, where, and at what you had to talk, was a struggle. I enjoyed it plenty, and after the first few hours it becomes second  nature, but it’s not for everyone, that’s for sure.

Last but not least, I realized I had to change some of my own specific behavioral patterns for them to carry during the broadcast. For example, a go-to of mine to get the audience energized is asking them to clap, applaud, yell, or even dance. It was frustrating because that part of the show has always been my thing. Instead, I had to rely on the capable production team for all the special effects. It’s weird.

It gives you a sense of vertigo, of lack of control over the show.

This emptiness is why it’s critical to have a great production team. People I can blindly trust for guidance and direction while I’m on the stage.

Another behavioral quirk I had to adapt to was the earpiece monitoring, and the “second voice” of my producer. While we didn’t expect too many live changes, we had several live hiccups. These were nothing too extreme, but stuff you had to take in stride and integrate somehow into your good-for-nothing plan you had for the next segment.

Quick thinking, trust in your camera people, and simple and clear instructions from your producer are essential.

The team has always been vital at any conference. What happens backstage and the weeks before the event is way more important than what happens on stage.

With virtual events, this is truth is exponential. As a host, I get praise for the way ths show comes off; but it’s the work of the entire team that makes all of this possible.

Improvements

Most conferences are transposing their physical parts to online substitutes.

What they’re failing to realize/recognize is that the existing procedures, schemes, structures, and limitations are VERY different.

Most things we do in a traditional conference are due to physical limitations. When moving online, these restrictions are lifted.

Many conference producers need to think long and hard if they want to produce virtual conferences in the same way. Some resources might be useful, but the linear structure, length, consumption patterns, and the interplay between live and recorded content must change.

As our digital tools improve rapidly (which they are), we’ll see some of these new behaviors become the norm. Some teams will abandon physical production altogether, while others will stick to their comforting ways.

There is nothing wrong with either approach. However, I expect we will produce new formats and novel media products (see Yvan’s article about Virtual Conferences and Concerts) due to the pandemic.

Some will go away, but others will stick around. Some of those that stick around will probably unleash a new wave of remote content for businesses.

They’ll resemble something akin to Netflix for businesses. Production costs will be cut. Formats will change, and distribution and consumption will take on novel forms. Just ask Paul Papadimitriou!

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A startup event strategy needs the same discipline. Spend enough time around (deep-tech) startups and you start noticing a familiar pattern. The same founders appear at event after event: a composites conference this week, a startup competition the next, followed by an investor summit, a sustainability conference and another pitching session. The logic is understandable. Young companies need visibility, customers and investors, and there is always the hope that the next event will provide the breakthrough introduction. The problem is that events can very quickly become an activity rather than a strategy. Teams return with business cards, LinkedIn connections and a sense of having had many interesting conversations, yet surprisingly little changes in the months that follow. For startups, where both cash and management attention are scarce resources, this is an expensive habit. I prefer to think about events through the lens of sport. A serious athlete does not try to peak every weekend. A season is built around a small number of A-events: the competitions where performance really matters. Everything around them is preparation. Startups should approach their event calendars in much the same way: select a limited number of events, understand exactly why they matter, prepare for them months in advance and then execute with intensity. Building your brand versus going where your customers are There are, in my view, two main reasons for a startup to attend events. The first is to build a brand, which for a young industrial company is largely about building trust. An established supplier enters the market with years or decades of history, references and relationships behind its name. A startup has none of that. Particularly in composites, where qualification cycles are long and customers are understandably cautious about introducing new materials and manufacturing technologies, familiarity matters. For a startup, brand building is ultimately trust building. This is why a composites startup should establish itself visibly within the composites ecosystem. JEC World in Paris is the reference. This is where I experimented a lot to master the game when I was leading the marketing and business development activities at 9T Labs – see picture above. Depending on geographic priorities, CAMX may play a similar role in North America, alongside relevant events in China and regional events in markets such as DACH, India or Southeast Asia. At these industry events, I would encourage startups to be relatively broad. Speak with suppliers, potential customers, competitors, investors and people from applications you may not yet have considered. Explain the technology in depth. The objective is not only to generate immediate leads, but to anchor the company in people’s minds as a serious part of the composites industry. This is also where I believe having your own booth matters. If brand building is one of the objectives, visibility cannot be an afterthought. Many manufacturing and materials companies still take a fairly conservative approach to exhibition design, which actually creates an opportunity for startups. Make the company visible from a distance. Bring parts, samples and, where practical, machinery. Demonstrate the technology rather than covering the walls with paragraphs explaining it. Give visitors something they want to touch, discuss or photograph. You are a startup. You do not have to look like everybody else. And at the events where you are building your brand, you probably should not. The second reason for attending events is much more targeted: meeting the people who can move the business forward. Once a startup has selected its beachhead markets, its event strategy should follow those customers. If aerospace is a priority, composite events alone are not sufficient; you should also consider events such as the Paris Air Show or Farnborough. If aircraft interiors are specifically relevant, Aircraft Interiors Expo in Hamburg may be far more valuable than another general innovation conference. Find the reference events in the markets you have decided to win. And go where your customers go. The physical presence can be different there. You are not necessarily trying to build a major aerospace brand; you are trying to become a trusted supplier to aerospace companies. A smaller booth, a national pavilion, a startup zone or an association stand may therefore be entirely sufficient as a base for demonstrations and meetings. As customer relationships mature, an even stronger form of presence becomes possible: being represented on the booth of a customer or partner. If an established customer displays a component incorporating your technology and identifies you as the supplier, the credibility effect is difficult to replicate with your own marketing. 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Picture this. A strategy director at a major exhibition calls with six weeks to go before the show. The brand new startup area has sold exactly one booth. The show runs on a multi-year cycle, so a failed launch means the whole concept probably gets cancelled before it gets a second chance. This is a composite of several conversations I’ve had this year, and the pattern is always the same. The organizer builds a startup area, assigns it to the existing sales team, waits, panics, then calls for help when the calendar has already decided the outcome. The diagnosis is simple: startup acquisition is a different business than exhibitor sales. Most organizers discover this too late. Here are the five reasons why. 1. They sell square meters to companies that buy outcomes A corporate exhibitor renews a booth the way it renews an insurance policy. There’s a budget line, a history, a floor plan discussion. The sales conversation is about location and dimensions. Startups have none of that. 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They confuse margin kept with money made This one stings, because I’ve watched it happen twice this year. An organizer works with a partner on startup acquisition, hits targets, then decides to insource the next edition to keep the full margin. On a spreadsheet, it’s savings. In reality, the target gets missed, the area sits half-empty, and the organizer comes back mid-campaign asking for rescue. Some results are still possible at that point. The results a proper campaign would have delivered are gone. The full cost of insourcing shows up later: lost booth revenue, a weaker visitor experience in that zone, and a startup program that gets cancelled for “lack of demand.” Against that, the partner commission was the cheapest line on the P&L. 5. They run a program where they need a pipeline Startup acquisition compounds. Alumni come back. Competition applicants become exhibitors. Founders talk to each other, and a good experience at one edition sells the next one. None of that happens inside a one-off project. It requires a multi-year cadence: scouting, competitions, curated programs, follow-up between editions. Shows on two or four year cycles feel this the hardest, because a standalone approach means restarting from zero every single time, with a new team and no institutional memory. What compounding looks like JEC World, the composites industry show in Paris, is the counter-example, and yes, they’re our client, which is exactly the point. The startup work there is a bundle, built over multiple editions: a startup competition that lowers the barrier for first-time startup exhibitors, an Investor Day that brings capital to the floor and gives founders a concrete ROI reason to attend, and a startup village that gives them a curated home inside a very large show. Each piece feeds the others. Startups apply because clients & investors are there. Investors come because the startups are curated. And the ones that grow don’t disappear: they graduate into regular exhibitors. That’s the part most organizers miss. A startup exhibitor is just a first-time exhibitor. Treated well, they’re the cheapest exhibitor acquisition channel you’ll ever have. Treated as filler for a leftover corner of the floor plan, they don’t come back, and neither do the ones watching. The question for organizers If you run a show with a startup area, ask yourself one thing: is it a strategy or a floor plan decision? If the honest answer is the second one, here’s my prediction. The area launches late, gets staffed by a team hired to sell something else, underperforms, and quietly disappears from the next edition. The internal conclusion will be “startups don’t work for our show.” The real conclusion is that the approach didn’t. Startups work fine. They’re just customers who need to be sold to like startups. Disclosure: Sesamers sells startup acquisition and curation services to event organizers. JEC World is a client. Read accordingly.

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