There are SO many AV labor positions. They can be confusing when you are reading your AV quote. Technical director? Production assistant? What do they all do? Do you need them all at your event? In today’s Whiteboard Wednesday, Will Curran will be discussing the major AV Labor positions, what the positions do and how they relate to your event. This is a GREAT crash course on AV labor positions and what you need to know for your event, you must watch below! Let’s jump in.
Video Transcript – What Do All the AV Labor Positions Do
Hey, how’s it going, Endless fans? Will Curran back here with another Whiteboard Wednesday, and today we’re talking about what do all the AV labor positions do? There’s a lot of AV labor positions out there. And a lot of people you probably see in your quote, that you go, “hmm, what does that person even do?”
So my goal in today is to talk to you about all of the positions you could potentially see on a quote and how they might help you bring your vision to life. So as we go through this, the big thing is to know that you’re not going to have all of these positions at every single one of your events. You might only have one of them. You might have a handful of them. The important thing is to know what they do and if you do need them, to request them from your AV company. But a lot of times, this comes from the AV company and them saying what they need. So as we jump into this, keep that in mind that this wildly varies from event to event and what your needs are and also what the AV company needs to create what you need and produce the event. So are you guys ready? This is gonna be a long one, so strap yourself in, and we’re gonna drop a lot of knowledge bombs and a lot of information all in one video.
So let’s start off with probably the largest and most expensive role when it comes to your event, and that is the producer role. You might not see this unless you are doing a very large general session, a very theatrical event, or if you are needing someone to help you generally with the vision of what you’re trying to accomplish. The producer is very much in charge of the content and the overall vision of the event. They’re usually also managing everybody below them. Up here and below, when we start getting into these clouds, they’re high up there, so a lot of them are kind of more of a managerial role. They’re managing everything, a lot of different details. So the producer, though, is really much in charge of the vision. They’re usually the ones working with the talent. They’re working with scriptwriting. They’re working with the technical director to essentially try to figure out how can they take your complex vision or something you’re trying to do and bring it 100% to life from a creative standpoint. So you’ll see this with a lot of event production companies. You’ll see this with a lot of entertainment companies and a lot of, again, bigger general sessions, bigger theatrical events.
Next up you have the assistant producer. Essentially, this person assists the producer, also known as an AP sometimes, to essentially bring it. They might be getting their hands a little bit more dirty, getting into the weeds, really working with the technical side. Maybe they’re working on graphics. Maybe they’re working on scriptwriting, everything like that, getting a little bit more in the nitty-gritty when it comes to everything. Again, a lot of times when you see things like assistant or, you know, number two next to them or things like that, they assist the person above them. So assistant producer assists, obviously, the producer themselves. Kinda obvious, right?
All right, next up you have, related to content, is the stage manager. Another title of this might also show up on the quotes is called a show caller as well. I’m gonna probably get some flack in the comments, because it’s all, how everyone describes everything is a little bit different between AV companies, regions, countries, everything like that. But essentially, the stage manager itself is usually someone backstage that is managing what’s going on onstage. They’re the ones pushing the talent out to make sure that they get out there in time. They’re the ones working with the final, you know, how they look, how it’s all running, everything like that backstage. Now usually they’re big on timing, making sure everything runs on schedule, obviously, and that the people are in the right places at the right time.
Show caller, on the other hand, is usually a position that is put at the front of house, you know, the tech table at the front of the room. And he’s usually there with a headset on. Pretty much all of these people are usually gonna have some sort of headset on. But this person is the one calling the whole show. What does that mean, exactly? They’re the ones saying, “okay, in five minutes we’re gonna go into this. “Okay, lighting cue, lighting cue 52, go. “Okay, now send the CEO out now.” You know, they’re the ones calling all the commands. Usually, they’re, like, the boss on the headset calling the entire show and telling when things need to happen. They’re the ones making sure everything happens on schedule and happens on time, and that the right things happen at the right time. So that’s a show caller. Again, a stage manager usually backstage, show caller usually at the front of house. Sometimes they can be the same person as well.
All right, next person you have up is the technical director. This person, again, is more of a managerial position. For larger events, when you start to get a lot of technicians working down here, you need someone to overall direct the entire technical side of things. Usually, this person is working with vendors. They’re working with the actual engineers working on the show. They’re making sure everything technically goes perfect. Usually, for some shows, you’ll see a technical director for a lot of bigger general sessions. Again, you’re kinda getting the theme of it, and so on and so forth.
All right, next up you see also another position that’s kind of similar to the technical director, which is the production manager. Sometimes the technical director is also working directly with the labor to make sure that, hey, that’s all working okay, that they’re showing up on time, they’re here at the right schedule, all that sort of things. Production managers usually are coming for a lot bigger shows, where there’s especially a lot of breakout rooms or there’s a lot of external things beyond just one single room. You usually end up bringing in a production manager. The production manager’s in charge of just making sure that the equipment gets there at the right times, sets are being built. Usually, they’re working more physically with equipment than anything else out there. And they’re also usually managing lots of areas. They’re overseeing the entire production for the entire event, versus a technical director might be focusing on one single area, the technical direction of, for example, the general session.
Production Assistant (PA)
All right, when you start to get a big crew like this on hand, you know, there’s a lot of things going on that you need help with. And that’s where a production assistant comes in, also known as a PA. Another word for it also is called a runner. And you might be wondering why is it called a runner? Well, typically, a PA or personal, a production assistant is usually someone who ends up running around all the time. They’re doing things like, for example, running to grab food, coffee. Let’s say they need to go pick up something at a vendor. They might need more tape, more batteries, or there’s a request from the client at the last minute. They’re the ones running all over the place. Essentially, they’re the ones that are kinda being the glue to tie everybody together on the management side of things, usually so that person can focus on the technical direction of the event, not having to run out to go grab coffee or lunch or something like that if rehearsals go late, for example. So that’s kind of your overarching staff that manages the event. Again, this all depends on your entire event. A lot of times clients fall into this role of producer because you understand what your vision is and what you want it to look like and everything like that. So you might only have a technical director. But if your event’s so large, and you have so much to work on, or let’s say you just don’t want to have to deal with all the entertainment and everything like that, you might not have a producer role involved. So again, it all depends on what’s going on with your event. So you kinda get the overarching higher level labor.
Video AV Labor Positions
Let’s get into the weeds with your engineers, your stagehands, everything like that, the people who are actually producing your event. So this is kind of broken up into a couple different categories. First, in this blue area we have all of our video related people. Up here is your audio people, down here lighting. And then over here is kind of your general labor to build and load-in and load-out labor. So I’m gonna jump into this. One quick concept that you need to understand is the difference between an engineer and a tech, or what we will have labeled in here as V1 versus V2 or A1 versus A2 or L1 versus L2. The whole concept behind this is most of the time you will have an engineer, for example, a video engineer, and you might also have a video technician, a V2 on here. The whole idea is that usually, we’ll not have a V2 without a V1, because that person’s designed to help the other person out. So you’ll start to see this as we go along. There are some cases where companies will send over a V2 and there won’t be a V1 because they don’t need someone who’s skilled as a V1, and they can get away with paying them a little bit less, for example. So that might happen, but most of the time you can kinda, a general rule is that you won’t have a V1 without a V2, or you won’t have a V2 without a V1, I should say. So something to just kinda keep in mind when it comes to the overarching theme as we walk through all these and what they do. So let’s jump right on in when it comes to the roles and positions.
Video Engineer (V1)
So let’s start with the video side since it’s obviously one of the most complex areas. It usually has a lot of equipment, so, therefore, and a lot going on, so it needs a lot of people to work towards it. So on your quote, you might see one, a couple of these positions. First of all is a video engineer. So the video engineer is the one who is managing all the video. Something really to keep in mind, too, is usually these V1s, denoted by, like, the 1 being the manager, they’re usually also managing entire departments. So for example, if you have a V1 and you have all these positions for whatever reason, they usually will be managing all these people, and managing what we call the “department” of video. So something to kind of keep in mind. The same with, like, audio engineer. They’ll manage the audio department. L1 for the lighting engineer, manages the lighting department. You kinda get it, catching on, obviously.
So let’s jump into video engineer. They’re obviously managing the entire video department. They are overarching, looking at the entire vision when it comes directly to video. So they’re overseeing everything from the projectors, cameras, the audio being sent out of the video, the graphics. Anything that touches video, video engineer’s managing that portion. Also typically, the video engineer is the person who’s running what’s called the switcher. This is a very common element in 99% of video setups, I should say, of AV.
So for example, the switcher is where you take in things like multiple laptops, cameras, anything like that, and you need to switch between them what’s going up on the screen. The video engineer typically runs that. When we get down to the bottom, we’ll talk about a very special video engineer, but right now usually your V1 is the one that’s managing all that. Also, usually they’re also usually in charge of the overall direction of what the video is. They understand where everything’s going, what needs to happen. A lot of times, the V1s are also the ones calling the cameras. So you have all the people on cameras, operating them. They all have headsets on.
They will usually be on their own channel, saying, “all right, I’m coming to you, camera one. “Here we go, go camera one. “Okay, we’re gonna come to you, camera two. “Can you get a tighter shot on this person? “Yeah, make it look dramatic,” whatever it may be. “All right go to camera two.” And then they’ll be making all of those calls on there. Because they’re overseeing the direction of it, they know what calls have to be made. And that call is basically the same thing a show caller would do, but just for the video side.
Video Tech (V2)
All right, next you have the video technician. Similar to, you know, a video engineer, they also are usually a little bit higher up on the chain. They get paid a little bit more money. Usually, the video technician does a couple different things. Primarily, they’re usually controlling the cameras and all the settings that go with the camera. So for example, they’re doing what’s called shading, which you might see a camera shader on here, for example. And they’re usually the ones that are saying, like, “we need to bring up the brightness, the contrast,” you know, all the settings you go onto your camera and mess around with. They’re basically the ones doing that in real time, shifting it, making sure the cameras look really, really good. Typically, a video technician is the one who does that. Also, usually with the technician, the level twos, A2s, L2s, they’re also usually on wireless headsets. They need to be able to be mobile. The reason why this is important is because a lot of times you need to be able to get up and go make sure that’s something working right. Let’s say the CEO’s getting up, and he walked out his laptop onstage.
The V2 would be the one who helps him get it hooked up and hooked up into his laptop, being able to be mobile. You’ll see that with all the positions is that usually, they’re kinda like the jack of all trades, running around, helping assist the video engineer, who’s usually a little bit more settled in. They’re usually at the switcher. They can’t really move. They’re wired in and can’t really go anywhere, whereas the V2 might have a wireless headset. And because their role might be a little bit less important to the critical portion of the show, they can run around and go help where it’s needed when it comes to the video side of things. So really, really cool, again, they always assist the video engineer.
All right, let’s go down the roll. We have a couple more to go through for the video. Next is a camera operator. Obviously, this is the person running the cameras. You know, depending on how many cameras you have, you usually have a camera operator for each one as well. What you might also see sometimes, for example, is someone who is using the robotic cameras for the event as well.
So for example, if you have some robo-cameras, I’ll call ’em, up in the ceiling, or if you have one down on the stage, and you want to get these cool, unique angles, sometimes you’ll have a camera operator who’s just remotely using those joysticks backstage. Sometimes as well, the V2 will also be in charge of multiple robotic cameras and controlling them backstage as well. So something to just kinda keep in mind, but typically for every camera, you have a camera operator.
Next up is the teleprompter operator. Obviously, this is the person running those screens that you see whenever a president’s giving an address, and they have those clear pieces of glass with all the text and their speech and stuff like that. The teleprompter is actually operated by someone who decides how fast it goes, everything like that.
This person also usually helps the main presenter work with their scripting and making sure that it’s written the way they want it to be, it has spaces where they want it, everything like that. So they’re not there just for the show to run the script. They’re usually also working with them to say, “oh, you know what can you add this extra note “or put that in all caps so I add emphasis to it.” Teleprompter person will do that as well.
Graphics Operator and Playback Operator
All right, next two positions we have on here is the graphics operator and the playback operator. These are kinda similar positions and slightly different. So let’s start with the graphics operator. For almost all corporate events we have presentations, right? PowerPoint hasn’t quite died yet. Unfortunately, some people would really love it to, but not the graphics operator. That’s the person who’s running the presentations.
You might be thinking to yourself, “well, I have a clicker. “Why do I need a graphics operator?” Well, that’s a good point. But let’s say, for example, you need to make a lot changes to your presentation last-minute, or there’s a lot of slides that need to be made, or, you know, you have a lot of video content that needs to be made sure that it’s working properly.
The graphics operator’s training is in Photoshop and PowerPoint and everything like that and can make changes to slides at the last minute, which really makes your life easier because then that means that you’re not sitting backstage building PowerPoints. Also on that side is the same, playback pro operator or playback operator. This person usually is playing back the video content.
If this is an event where you have a lot of video content, you probably are gonna have a playback operator. This is someone who runs a system that just runs video content, especially for those more complex video setups where you have multiple projectors or you want to show one video on one screen and another video on another screen or, let’s say, a really big video stretched across a 30×10-foot screen.
The playback operator will help you with that as well. So again, focused more on video content playback, and this person’s more about PowerPoints, you know, slide decks, everything like that. All right, next up we have one here, is the projectionist. This person’s literally just in charge of the projectors. I’m not kidding; this is a serious job sometimes, especially when you get into these setups where you have lots of different projectors. If there are more than four or usually four projectors, usually there’s a projectionist brought in, especially when you have to do things like blending.
For example, if you’re making a 30-foot-wide by 10-foot screen, technically you should be using multiple projectors, not just shooting one projector and making it super wide. So what this means is usually you’re taking, for example, a projector and another projector, and you’re blending the middle of the section to make it look like one seamless projection. But then also a lot of high-end projections will also need back up projectors. So you’ll have projectors stacked on top of each other. So that 30-foot by 10-foot screen goes from having one projector to two. And then you need backups for that, so you have four total projectors all blended together to look really, really perfect.
So what this means is that you need a projectionist who’s there to help you blend it all together and make sure that they’re running perfectly. All it takes is every single night is it takes a little, subtle shift, and the projectors don’t look as good, so a lot of times these projectionists are sticking around every single day to make sure the projectors look good at the start of every single day. Especially when you’re spending a lot of money on projection, you want to make sure you have a projectionist.
Sometimes what you’ll see as well, though, is if, for example, you might have a projectionist just for the load-in, and then that person converts to being the graphics operator during the actual show. Or maybe they become the V2. Or sometimes maybe the V1 might act as a projectionist as well, depending on how much workload they have, how big the setup is, everything like that. Sometimes a lot of these positions, people can move around based on what they’re doing and what their expertise is.
The important thing to know, though, is that if the AV company feels like they need separate roles, and they’re gonna need it, they should communicate that with you and tell you that ahead of time. So then that way you aren’t having too many people trying to do too many things.
Spyder or Encore Operator
All right, speaking of a very hyper-specific role of something is the Spyder operator. Now I’m not talking about creepy-crawly spiders. I’m talking about Spyder with a Y. Also, this person can be known as an Encore operator. Encore and also a Spyder are two different brands of what is called video, essentially, switching systems.
Imagine those switchers I was talking about, between switching between laptops and camera, Spyders and Encores are basically very high-end versions of that. So we talked a little bit about those really ultra-wide screens, for example, that blend everything together. Well, when you get to these ultra-wide screens, you don’t want to just show one slide up on it.
Let’s say you want to put the slideshow on one half of it, the camera on another, or an audience response system right next to a slide show. Or let’s say you want to show two cameras right next to each other. All those usually, the ability to create all those layers and multiple things happening at once gets done through a Spyder system or Encore system. We can talk about that in another video. But because these systems are so complex, I consider myself pretty nerdy, and they’re really complex for me. They usually require someone who’s certified in utilizing the system, somebody who’s taken classes, that knows every little feature, how everything works, everything like that. So sometimes for those high-end video systems, you’ll see a Spyder operator or an Encore operator on there as well. And usually this person, again, manages the switching. Sometimes you might also have someone who’s in charge of switching just the cameras, and the Spyder operator’s doing just the screens. A huge mix of things, again, talk to your AV company. They should definitely help you out with this.
Audio AV Labor Positions
All right, that’s the most complicated section, because video just loves to be complicated. So let’s jump into audio. Obviously, you want to make sure everything sounds really great.
So the first thing we have on here is the audio engineer or the audio mixer, the A1. Similar to the V1, they’re in charge of all the audio stuff. They’re also the ones mixing everything. So they’re the ones, usually, at the front of house position, controlling all the audio and making sure that it sounds absolutely amazing in the room. They’re tuning the room. They’re the ones making sure that there’s no feedback. They’re the ones, you know, making sure that the audio plays at the right volumes, everything like that.
When the CEO comes out, they’re the ones bringing up the audio to make sure that sounds great. That’s the A1. They’re usually stuck at the board, making sure that it sounds great all the time. Sometimes you’ll have a secondary A1 as well, someone to the side of the stage, for example, if you have a band and you need them to mix all their in-ear systems. Totally possible.
All right, then you have an audio technician. Similar to the V2, the A2 assists the audio engineer. What this position usually typically does is not only are they mobile, just like the V1, so then that way they can handle things like, for example, making sure the guitarist that’s going up to perform has all their wires hooked up the right way. Or for example, let’s say a speaker get kicked off the stage by a band member or something like that. The A2 is usually the one running out. They have the mobile wireless headset on. They’re running around.
Typically in most corporate events, the A2 is also the person making everybody up. For example, if you have a lot of presenters, you’re gonna want an A2 who can sit back there, help make sure all the lapel mikes are sit up the right way, the headset mikes are great, good to go, explains to ’em how to hold it. They might be the one who hands ’em the clicker as well. You know, these are usually the last engineer, technician that they’ll see before they go onstage. And they make sure that it sounds incredibly awesome and fantastic. So A2 assisting the A1, they’re mobile. They can get around and help with the audio.
Lighting Designer (L1)
All right, now we’re gonna jump into the L1. The L1 is the one who is in charge of all the lighting. Again, they oversee the whole direction of all the lighting. They’re also the one usually running the board when it comes to lighting, choosing what lighting colors to choose, where the positions of the lights go, everything like that all together. This person also usually is the one in charge of where all the positions of all the lights go, again, in charge of everything lighting.
Lighting System Tech (L2)
Then you have an L2. What also is really interesting is sometimes you also have them act as this other position, which is called a master electrician. These sometimes can be interchangeable, but I’ll explain what each one does and kind of why they’re a little bit different. So the L2 obviously assisting the L1. They’re the ones making sure the lights get put in the right positions, everything like that.
However, the lighting systems technician is usually the person who is making sure that, hey, they’re in the right positions, they’re dressed the right way, everything like that. But however, the master electrician is just as you would suspect is the person in charge of all the electricity for the event. This is one of those positions that even though it’s under lighting, it actually affects everybody. They’re the ones deciding what outlets that the audio is gonna go into, what outlets the video team’s gonna go into, everything like that. I think traditionally it’s under the lighting position because typically lighting uses up the most amount of power, so it’s the one that’s most critical. But the master electrician usually will assist the lighting technician to make sure that, hey, all lights are being plugged in the right outlets, everything like that as well. So common on very, very big productions that need a lot of electricity. You’re gonna need a master electrician, which is really, really important.
Follow Spot Operator
All right, finishing up the lighting section, we have the follow spot operator. This one’s pretty easy. Obviously, you have a spotlight operator. If you have a spotlight, you need someone to operate the spotlight, point where it goes. That’s what the follow spot operator’s gonna do. So again, similar to the video positions, you might, for example, have a master electrician just for the load-in and the setup. And then, you know, it’s not quite needed during the entire show, so that person might become a follow spot operator, or they might become the assistant lighting tech or something like that. You know, people can shift roles throughout the entire show. Again, AV companies should be able to explain all this stuff to you guys really, really simply.
Other AV Labor Positions
All right, so we got our main three areas, video, audio, lighting is taken care of. Now let’s jump into the labor that kinda puts it all together. So this is where we kinda come to our more brute force labor, the people that help get it done. Also, usually this is refined, usually for people that are only here for setup and tear-down. So starting off with when you have a big crew like this, let’s say you have all these people, and also you have another 20 people coming to help set up. Those 20 people that are usually coming to help set up are usually the brute force labor, pushing cases, everything like that.
Those are usually what we call stagehands. It’s a term comes from the technical theater. That basically is the person who helps build everything, put it together, you know, brute force labor that just helps make everything happen. Usually, you have a dozen or so of these people or more, depending on how big your setup is just to help these engineers get everything set up. They are usually a little bit less knowledgeable in understanding the technical side of things. That’s why they’re not engineers or technicians, but they understand basic things like putting metal trusses together, hooking in cables, all that sort of stuff. So you usually have a lot of these people.
Well, when you have a lot of these guys who are helping set up maybe even multiple rooms, sometimes what you’ll have is a crew chief. This is really common. Sometimes you won’t even see this on your quote, because the crew chief is also another stagehand, and they just get paid just a little bit extra money. But this person essentially as a job is managing the crew.
You might be thinking to yourself, “well, what if I have a producer or technical director, “all these things like that?” Yeah, sometimes those people can act as crew chiefs. However, with the crew chief, their sole responsibility is to make sure everyone shows up on time, that they’re getting their breaks, and that their time is clocked properly. Especially when you have 30, 40, 50, 100 people working on a production, you need to have a big, a crew chief to manage all them, make sure they’re showing up on time and their hours get accounted for, because the last thing you want is someone to say, “oh, they never showed up,” and then, you know, the billing never gets corrected, all that sort of stuff. The crew chief is responsible for that sort of stuff.
All right, next up you have on here, let’s go into the rigging side of things. So we have riggers and lead riggers. Obviously, the lead rigger is the sole person in charge of everything. These people are usually educated in engineering, understanding how much weight can be hung. By the way, what is rigging? Rigging is when you hang things from the ceiling, essentially. This is the people that we trust our lives with that nothing’s gonna fall. And when things do go wrong, we definitely blame the riggers for sure. But, gosh, we definitely don’t want anything to go wrong. So these people get paid a lot of money because they understand the structure of the building, how much weight can be put on certain places, how much a certain thing weighs, this and this and that, you know, how high can we go. All that sort of stuff is done by the rigging team.
So the lead rigger is the one in charge. They’re usually the one with the most amount of knowledge. Then usually they’re assisted, again, by just normal riggers as well, again, hanging everything. These guys, again, are certified similar to we have the Spyder operators. They’re certified in understanding how to rig, and you want to make sure they definitely are, ’cause it’s definitely a dangerous world out there.
All right, next up to more brute force labor. We talked about stagehands, but we also have what are called loaders. We see this all the time on union quotes as well. And you might be thinking to yourself, “yeah, like, I see it. “I mean, what’s the purpose of this person’s job?” Well, that person’s job literally is just to load and unload trucks. So they might be the ones who actually pack up and stack and build and fit everything on the truck. They also might be someone solely responsible for pushing from the truck to where your event is happening. You might be thinking to yourself, “why would I ever do that? “We’re gonna have all these stagehands, “and we have all these technical directors. “Why can’t they push their own cases?”
Well, typically in union venues there might be a contract that requires you to pay to have people as loaders. If you want to know more about this, we did another Whiteboard Wednesday a couple weeks ago where we talked about how AV unions work. Definitely go check that out and learn a little bit more about this. But something just to be made aware of is that if that union requires loaders, they’re literally the people that push the cases from one place to the other, which, obviously, sometimes you don’t want to pay for, right?
All right, last but not least is truck drivers. And you might be thinking to yourself, “I already see on my quote I have trucking. “Why do I also have a truck driver?” Well, a lot of times related to tours, or if you have a custom scenic piece built, and you need to transport it from one point to the other in the country, you might see a quote for a truck driver on there. The reason why that’s important is especially when you’re doing big shows or large productions, the truck driver usually is a separate line item on there. They have their own rules, their own costs, everything related to that truck driver as well. But pretty simple, obviously, they drive the truck.
So that is everything all together, every position that could potentially happen. The one that you might see, have been missing is someone, for example, like an event manager or, for example, your account executive. These are a lot of the people that are gonna be on site producing your event, but you might also have is, for example, someone who is managing your entire event, your account executive that you’ve been working with since day one. Sometimes this person can also act as your technical director or producer, something like that, but you might also see that role pop up on your quote as well. It’s, you know, a billing to cover that cost or, you know, service costs related to it. So just something to always keep in mind when you’re talking about, you know, the person I’ve been talking to in the beginning. Are they gonna be there for the event? That’s the sort of question that you want to ask.
So, my gosh, what a long video. I am so happy that you stayed to the very end and learned all about labor positions. But now moving forward, when you look at your quotes, you should have a good idea of what everyone’s doing. Again, my philosophy is that at any point, if you want to get the answers that you deserve, you should be able to ask your AV company. They should be able to explain this stuff to you very, very easily. However, if not, obviously, you want to start asking questions about what all these people are doing. Why do I need it? Why do I need a graphics operator if I have only five PowerPoints in a day, that sort of stuff. You can have all those sorts of conversations.
Thank you so much for staying till the very end. I hope this was extremely helpful. I’d love to know in the comments down below, if you want to leave a comment and let me know, did I miss any positions that you’ve seen before? Or maybe have you seen a position that wasn’t on here that the AV company made up? Who knows what it could be. Leave down comments below. I’d love to see what you thought about this video. And what did I miss? What could I add to it? How can we expand it? How can we make it better? And if you did really love this video, I’d love it if you could just give it a thumbs up and just give it a like. And if it was bad, you know what to do. Give me a thumbs down and tell us in the comments how we can make these videos better. We are hoping to make these the best possible. So again, and if you really love the content, I’d love for you to subscribe. Click that bell icon and join the conversations. You know, get subscribed so you can get future Whiteboard Wednesday videos. So this video’s already far too long, so I’m gonna get out of here. We’ll see you guys next time, next week Wednesday on Whiteboard Wednesday. And we’ll catch you guys all later. Adios.
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