EXHIBIT LIGHTING
 I’m clueless when it comes to lighting, but I’ve just been tasked with managing our new exhibit-lighting strategy. What are some of the most common mistakes exhibitors make, and how can I avoid them my first time out of the gate?
 When it comes to planning and executing your lighting design, understanding what not to do is just as important as understanding what you should do. Here are 10 of the most common mistakes exhibitors make with their lighting strategies.
1. Exhibitors often underestimate the cost of show services necessary to install, operate, and dismantle the lighting system. When selecting a lighting vendor, make sure all price quotes include estimates for items such as electrical, rigging, stage-hand labor, drayage, and additional equipment or machinery, such as condors/scissor lifts, and any additional rigging requirements such as spanner truss. Also allow sufficient time during installation and dismantle for lighting/rigging installation.
2. Lighting systems often require expensive, heat-generating dimming and control systems. While most exhibitors rent rather than purchase these systems, they often forget to consider their space and ventilation requirements in exhibit designs. Before you select a lighting system, set up a consultation between your exhibit builder and lighting provider to make sure all of your lighting-system requirements can be met with your exhibit design.
3. Many exhibitors waste time and money by not establishing a clear hierarchy for lighting-design approval. With too many cooks in the kitchen and no single chef signing off on designs, budgets, equipment, etc., exhibitors not only lose valuable resources, they often muddy their lighting design’s effectiveness. Before you start the lighting-design process, identify one person from your company that will have pre-show and on-site authority to make changes or approve lighting as required.
4. Exhibit lighting doesn’t exist in a vacuum; it works in conjunction with exhibit graphics, audiovisual, furniture, etc. However, many exhibitors fail to inform their lighting suppliers of key details, such as the type and color of graphics, last-minute relocation of towering exhibit structures, changes in the location of AV equipment, and alterations in exhibit materials or surfaces likely to affect lighting elements. Plus, the lighting staff is often left in the dark concerning badges and critical booth-schedule information, such as pre-show press briefings, late-night VIP events, and booth-photography plans. So make sure all team members work together from design to execution and beyond, and that your lighting crew receives the necessary access, credentials, and information to set up and operate the lighting system at the appropriate times.
5. Along those same lines, keep in mind that when you alter your exhibit elements or booth layout within your space, your lighting doesn’t remain stationary, it moves along with these components. Even small changes in lighting typically require additional costs, such as those associated with running new cables, adding or changing fixtures, etc. So before you make any such changes, ask your lighting supplier for a quick cost estimate to accommodate them.
6. Countless exhibitors have ruined their carpeting by stripping its Visqueen protectant before the lighting suppliers — who are often the last vendors involved in the installation process — have finished their work. The results are dirty or damaged carpet and little or no time to remedy the situation before the show opens.
7. Many theatrical lighting systems include significant structural elements, such as overhead truss and rigging. However, exhibitors often forget to include these lighting elements in exhibit diagrams that are submitted to show management. Once they reach the show floor, these overlooked items can cause extensive delays, as you might need to wait for show-management approval or make significant adaptations to meet show-management regulations. Make sure all truss layouts and apparatus are included in any designs or floor plans submitted to management to avoid this snafu.
8. Some exhibitors ask show management to shut off overhead lighting to better manage the existing ambient light in the hall and to create more effective theatrical lighting effects. However, they often overlook the added cost of this labor and equipment. Request an estimate for this service from several exhibit halls and include the average cost in your budget for each show.
9. Theatrical lighting effects can wreak havoc with electronic screens, such as plasma monitors, televisions, and cell-phone screens, which often reflect light and create a distracting glare. Often, however, exhibitors’ first sign of trouble comes when they arrive on the show floor and find themselves blinded by their own electronics. If you plan to include any of these items in your exhibit, make sure your lighting designers know where each of these items are located in your booth before they develop your lighting design.
10. When some exhibitors flip the switch on their new lighting systems, they suddenly discover their exhibit components are damaged or dirty. While lighting adds drama and draws attention to key areas, it can also accentuate wrinkles in graphics, mismatched laminates, shop dust, etc. So make sure all of your graphics are in good condition and that all exhibit surfaces have been thoroughly cleaned before the show so that your lighting accentuates the positive attributes of your booth vs. illuminating messes and flaws.
— Paul M. Fine, president/principal designer, Fine Design Associates Inc., Doylestown, PA
PRE-SHOW PROMOTION
When it comes to pre-show communications, is direct mail or e-mail best? And how far in advance do I need to send my mailers to maximize their impact on attendees?
While there are several promotion strategies to choose from, one of the best options uses a succession of direct mail, e-mail, and telephone communications.
Once you’ve identified your promotional objectives and messages, simply follow these three steps.
First, mail prospects a print piece, such as a personalized letter or postcard, 45 to 60 days before the show. This piece should create interest in your company, product, or service, so make sure it presents a compelling reason why prospects should visit your exhibit. Timing is critical, as you want the piece to arrive early enough to get on recipients’ show agendas before they fill up.
Second, e-mail prospects 15 to 25 days before the show. Repeating your message in a second communication demonstrates that you are serious about seeing recipients. The e-mail should reinforce the main message from the mailer, but it should also build upon the message by offering another product benefit or reason to visit your booth.
Third, call your hottest prospects five to 10 days before the show to set or confirm appointments or personally invite them to stop by your exhibit. Keep the conversation short, and give them a solid reason to visit you. The phone call adds a personal touch, which communicates to attendees that they are truly important to you.
— Jefferson Davis, president, Competitive Edge, Charlotte, NC
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