May 13, 2026 · 34 min · 14 segments
In this episode, Logan and guest co-host Peggy Katz, a veteran producer with seven Olympics under her belt, dig into what it really means to scale an event based on budget, from scrappy under-$10K…
We're gonna talk about the just, just the differences that come with working different, like, scales of events.
Um, and both Peggy and I have worked several Olympics, as well as corporate events, and some of them have budgets that are in the multi-million.
Um, but also all the way down to events that just have about a $10,000 budget or even less than that for their production.
Um, and we've also worked in different countries which have different standards of living.
And so, um, we've really kind of seen that the difference in location can really change your event resources, not necessarily the quality of the event, but maybe what you're asked, the tools you're given to execute.
So we're gonna chat about it, but as always, we like to start broad on the podcast.
So, um, Peggy, I'd love to hear your definition of, like, when we're talking about events at different scales, what do we mean?
I mean, it's, it's the, the amount of staff you have, the amount of time you have to prepare, um, rehearsal schedules, everything, everything like that.
I mean, uh, sometimes you have to s- have to stay lean, and it's nice to be able to take on several roles.
But there's also a comfort in if, you know, if you do have the budget, and you can just focus on one little piece of it.
I think one thing that shows up a lot with corporate events is [clears throat]The larger the, the budget, the more rehearsal time you have.
You can do full tech rehearsals and client rehearsals and get everybody comfortable ahead of time.
I'm gonna give you all the tools that I have." But it really, if you have the budget to do, to walk through everything ahead of time and get people really comfortable and, um, take that time with each presenter, I think it really does make a difference.
And I, I feel like another angle of that scale can sometimes be, like, the reach or your audience size with an event.
But to your point, though, I have worked events that are like, "Oh, we're trying to entertain 3,000 people," but the budget's very different.
[laughs] You know, I have somebody who's got millions of dollars to spend and another that's like, "We had to cut stuff, but we still want it to look like it's million dollars, so how do we bridge that gap?" And so that's also different of, like, if I'm doing a 3,000-person event versus 100 do- 100-person event, that can look a little different, too, of, like, scaling what we do.
We're gonna talk about the just, just the differences that come with working different, like, scales of events.
Um, and both Peggy and I have worked several Olympics, as well as corporate events, and some of them have budgets that are in the multi-million.
Um, but also all the way down to events that just have about a $10,000 budget or even less than that for their production.
Um, and we've also worked in different countries which have different standards of living.
And so, um, we've really kind of seen that the difference in location can really change your event resources, not necessarily the quality of the event, but maybe what you're asked, the tools you're given to execute.
So we're gonna chat about it, but as always, we like to start broad on the podcast.
So, um, Peggy, I'd love to hear your definition of, like, when we're talking about events at different scales, what do we mean?
I mean, it's, it's the, the amount of staff you have, the amount of time you have to prepare, um, rehearsal schedules, everything, everything like that.
I mean, uh, sometimes you have to s- have to stay lean, and it's nice to be able to take on several roles.
But there's also a comfort in if, you know, if you do have the budget, and you can just focus on one little piece of it.
I think one thing that shows up a lot with corporate events is [clears throat]The larger the, the budget, the more rehearsal time you have.
You can do full tech rehearsals and client rehearsals and get everybody comfortable ahead of time.
I'm gonna give you all the tools that I have." But it really, if you have the budget to do, to walk through everything ahead of time and get people really comfortable and, um, take that time with each presenter, I think it really does make a difference.
And I, I feel like another angle of that scale can sometimes be, like, the reach or your audience size with an event.
But to your point, though, I have worked events that are like, "Oh, we're trying to entertain 3,000 people," but the budget's very different.
[laughs] You know, I have somebody who's got millions of dollars to spend and another that's like, "We had to cut stuff, but we still want it to look like it's million dollars, so how do we bridge that gap?" And so that's also different of, like, if I'm doing a 3,000-person event versus 100 do- 100-person event, that can look a little different, too, of, like, scaling what we do.
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3 of 7
Rehearsing With A Dead Screen
When the big screen suddenly goes dark
The $8,000 Overtime Minute
What fifteen extra minutes really costs
Telling CEOs The Real Cost
How to redirect overrunning presenters
+4 more clips · 4 min 51 sec of audio in all
7 of 23
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