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Snapshot

An AV/Lighting Producer is the technical showrunner for live events product launches, conferences, galas, concerts, award shows, brand activations, and high-end weddings. You translate creative goals into sound, light, video, and power plans, then lead vendors and crew to deliver a crisp, safe, on-time show. On smaller programs you’re hands-on (building plots, advancing gear, focusing fixtures, tuning PA). On larger shows you orchestrate discipline leads (audio A1, lighting LD, video engineer, projectionist/LED, show caller/TD, rigger, power tech) and keep the triangle of budget, quality, and schedule in harmony.

If you like technical puzzle-solving, wearing a headset under pressure, and turning blank ballrooms into immersive theaters, this path offers clear advancement to Technical Director, Production Manager, Executive Producer, or Venue/AV House leadership and portable skills across cities and sectors.

Fit check: Validate your motivational alignment with the free MAPP Career Assessment at www.assessment.com.

What You Actually Do (End-to-End)

1) Discovery & Technical Translation

• Intake: Objectives (education, entertainment, fundraising, press), audience size, room geometry, run of show (ROS), content sources, streaming/record needs, and accessibility standards (sightlines, captions, assistive listening).
• Constraints: Load-in windows, union house rules, rigging points and capacities, ceiling height, freight elevator and dock access, noise ordinances, generator/house power limits.
• Tech brief: Convert creative into systems: “One keynote stage with IMAG, two breakout tracks, live band after awards, scenic wall with LED tape, brand color looks.”

2) System Design

• Audio: Coverage model (L/R mains, center fills, front fills, delays), mic plan (RF handhelds, lavs, DIs), monitor plan (wedges/IEMs), console I/O and scenes, DSP, recording/streaming feed.
• Lighting: Plot for key light (presenter face), color washes, gobos, effects, audience light, dimmer/relay maps; fixture counts/types; control at FOH with networked nodes.
• Video: LED wall or projection (throw, lensing, brightness vs. ambient light), switcher program/preview, media servers, recorders, confidence monitors, teleprompter, camera positions for IMAG/stream.
• Rigging & Power: Point loads and truss, lifts vs. motors, distro (cams, feeder, tie-ins), generator sizing, redundancy for critical paths.
• Drawings: CAD line set with truss, fixture symbols, power one-line, seating with sightline studies, cable paths, and safety clearances.

3) Budgeting & Procurement

• Build the kit: Quote rental houses for fixtures (moving heads, wash/profile), consoles (lighting, audio), LED tiles/processors, cameras, lenses, switchers, mics, rigging, cable, comms, and distro.
• Labor plan: Riggers, loaders, electricians, A1/A2, LD/L2, V1/V2, projectionist, LED techs, camera ops, stagehands, stage manager, show caller, graphics op; note union jurisdictions.
• Alternates: A/B/C options e.g., replace LED wall with dual-stack laser projectors + drape; swap premium mics for robust mid-tier to save cost; fewer movers + better key light to protect faces.
• Vendor selection: Balance reliability, crew quality, service level, and geography; capture COIs and rental terms (damage, overtime, delivery).

4) Pre-Production & Content

• Advancing: Confirm patch lists, channel names, DMX universe maps, IP schemes, RF coordination (frequencies, intermod plan), ground plans with house.
• Show files: Pre-build console scenes and looks; media server timelines; PowerPoint/Keynote ingest standards; lower-third templates; graphic safe areas; LUTs for cameras/LED.
• Run of show: Cue-accurate with exact timecode or verbal cues; who calls what (show caller vs. TD vs. LD); contingency cues for late VIPs or over-length speeches.
• Rehearsal scheduling: Band/vocal soundcheck, presenter rehearsals, graphics “page through,” VT (video tape) roll rehearsals, camera shot lists.

5) Load-In, Focus, Tech & Show

• Load-in & rig: Truss up, motors checked, safety lines; power distro/tie-ins with lockout/tagout; cable looms labeled.
• Focus & tuning: Aim/focus fixtures; color correction; PA tuning with measurement mic and SMAART or similar; RF walk test; camera white balance and exposure; projection alignment or LED tile calibration.
• Tech rehearsal: Full ROS with holds; graphics timings; VT rolls; mic swaps; teleprompter speed; show caller cadence.
• Show: Headset discipline; clean language; strict cueing; quick recovery for missed cues; real-time level management (speech intelligibility over music).
• Strike: Reverse-order pack; cable testing/coiling; crate counts; truck pack; damage notes; venue returned immaculate.

6) Post-Event

• Settlement: Approve hours, verify rentals/fuel, adjust for overages; return reports and damages; archive show files.
• Debrief: What failed/succeeded; better routing; gear we’ll pre-stage next time; add to SOP.
• Asset delivery: Recordings, stills, captions/subtitles if promised; client-ready archive of cues.

Core Skills (and How to Build Them)

Audio Fundamentals

• Speech intelligibility first: mic choice (lavalier vs. headset), placement, gain structure (preamp → bus → master), EQ for room modes, feedback rejection, limiters on broadcast feeds.
• Music reinforcement: Sub alignment, crossover points, stereo vs. mono, stage wash control, monitor mixes, backline integration.
• Practice: mix sermons and small concerts; shadow A1s; tune rooms with mentors.

Lighting Literacy

• Key light at flattering angles; CRI/TM-30 (accurate skin tones); color temps (match cameras); gobos for texture; audience light for cameras and energy.
• Networking (sACN/Art-Net), universe planning, RDM; console programming with palettes and cue lists.
• Practice: plot for a 60’ ballroom; run a cue stack; shoot photos of faces under different key/fill ratios.

Video/IMAG & LED

• Pixel pitch vs. viewing distance; brightness vs. ambient; color management (LED panels and cameras); routing (SDI/HDMI/Dante AV), frame sync, backup switchers.
• Multi-camera directing basics: shot discipline, white balance, exposure matching, tally, and comms.
• Practice: build a two-camera switch with graphics and record; solve ground loop noise.

Rigging/Power Safety

• Read load charts; point capacity; dynamic vs. static loads; motor control; shackle and slinging best practices.
• Power math: three-phase vs. single, 120/208V, balancing legs, cabling, feeder safety; never hot-tie without a qualified electrician.
• Courses: ETCP-adjacent education, SR-Rigging seminars, OSHA-10/30.

Show Management

• Cueing & comms: Brevity on headset, standard call language, escalation protocol.
• Risk judgment: When to hold doors; when to drop to backup; when to cut VT.
• Documentation: CADs, one-lines, patch lists, RF plans, and ROS that any sub can follow.

Soft Skills

• Calm leadership, vendor diplomacy, non-defensive feedback, client education (“why we need two projectors”), and budget storytelling (“what each upgrade buys you”).

Tools & Software

• CAD: Vectorworks Spotlight or AutoCAD (plots/rigging), SketchUp (scenic visualization).
• Audio: SMAART/TEF (tuning), Dante Controller, console editors (Avid, Yamaha, Allen & Heath, DiGiCo).
• Lighting: grandMA/ETC/Chamsys onPC; Capture/Vectorworks Vision for previz.
• Video: vMix/OBS for stream ops; Barco E2/Analog Way switchers; LED processors (Brompton, Novastar).
• RF Coordination: Shure Wireless Workbench, Sennheiser WSM; IAS for complex shows.
• Project/Docs: Google Drive, Airtable/Asana, Slack/WhatsApp; checklist apps; labelers (Brady/Brother).
• Test Gear: SPL meter, cable tester, RF scanner, network tester, laser disto, clamp meter.

Entry Requirements

Education:

• No degree required; helpful: Audio Production, Theatre Tech, Live Event Production, Electrical Technology, Film/TV.

Certifications (strong signals):

• OSHA-10/30, First Aid/CPR, ETCP (rigging/electrical gold standard but advanced), AVIXA CTS/CTS-I/CTS-D, Q-SYS or Dante certs, manufacturer console courses (Avid/Yamaha/MA).

Experience:

• House tech at venues/hotels, regional AV company, theatre electrics/audio, broadcast/stream teams, church production, student union event services. Start building plots and calling cues early.

Pricing, Compensation & Earnings Potential

Employment Models

• W-2 at hotels, convention centers, production houses, agencies, or venues salary or hourly with overtime.
• 1099/Freelance day rates as producer/TD/LD/A1/V1; higher upside and variability.
• Hybrid (staff producer who freelances off-season).

Day Rates (indicative; vary by market/scale)

• Local house tech < Lead ops < A1/V1/LD < Producer/TD < Executive Producer/PM.
• Premiums for overnights, fast turns, broadcast/union, and specialized gear (LED wall directors, RF coordination, timecode programming).

Annual Potential

• Staff producer/TD roles can reach strong mid-five to low-six figures depending on market and travel.
• Freelancers who lead multi-day shows, handle broadcast + in-room, and keep repeat clients often exceed staff comp, with travel expenses covered.

Upside Drivers

• Reputation for flawless speech intelligibility and good face light (what clients actually notice).
• Ability to handle hybrid/broadcast (clean audio mixes and graphics discipline).
• Owning or brokering scarce resources (LED inventory, high-end consoles, experienced riggers).
• Cross-discipline literacy (you can speak audio, light, video, and power to both creatives and engineers).

Growth Stages & Promotional Path

1. House Tech / Lead Op – Runs small rooms, loads in/out, begins plotting, supports larger ballrooms.
2. Department Lead (A1/LD/V1) – Owns a discipline on medium rooms; trains A2/L2/V2; manages patch and look.
3. AV/Lighting Producer / Technical Director – Owns the whole technical system, budget, and crew; calls tech; interfaces with client and planner.
4. Production Manager / Executive Producer – Multiple rooms or multi-day programs; P&L; vendor contracts; travel and team leadership.
5. Director of Production / Venue AV Director / Agency Partner – Strategic planning, capital expenditure, standards across many shows; hires producers; negotiates master service agreements.

Adjacent routes: Systems integration/design (permanent installs), broadcast engineering, touring production, theatre TD, and higher ed production leadership.

Employment Settings & What Changes

• Hotels/Convention Centers: Predictable rooms, tight turns, corporate shows, union interactions; strong volume and career ladders.
• Independent Production Houses: Variety and creativity; heavier logistics; own gear advantages.
• Theatres/Performing Arts: Lighting heavy; repertory plots; strong crew culture.
• Experiential Agencies: Brand storytelling, scenic integration, short timelines, polished deliverables.
• Weddings/Luxury Social: Beautiful finish, quick flips, small crews; prioritize camera-friendly light and unobtrusive audio.

Employment Outlook

The appetite for in-person flagship events remains robust product launches, sales kickoffs, donor galas, and high-end social functions. Hybrid and streaming remain staples for reach, raising demand for broadcast-aware audio and video. LED costs keep falling, bringing wall backdrops into mid-tier shows. AI will speed content creation and cue building, but human judgment, safety, and live recovery keep producers indispensable.

KPIs You’ll Be Measured On

• On-time milestones: in by 10:00, focus by 14:00, tech by 17:00, doors at 18:30.
• Speech intelligibility (STI proxy): subjective but real—client feedback and complaint rate.
• Look quality: flattering faces on camera; color accuracy; zero flicker/banding.
• Show reliability: zero show-stoppers, fast recoveries; clean fails to backup when needed.
• Budget variance: forecast vs. actual (labor and gear).
• Safety/compliance: incident-free rigs; clean inspections; proper lockout/tagout.
• Crew performance: turnover, training completion, morale; low reliance on last-minute calls.

Common Mistakes (and Better Habits)

• Lighting faces as an afterthought → Key the presenter before you paint the room. Cameras see faces first.
• Ignoring power early → Draw one-lines in week one; confirm tie-ins; book distro and feeder lengths; plan leg balance and redundancy.
• Too few RF channels margin → Always leave spares; coordinate frequencies and scan during load-in with doors open.
• Single-point failure → Y-split critical playback; backup laptops and switchers; dual power supplies where possible.
• No content standards → Enforce 16:9, safe areas, font sizes, and file formats (ProRes/MP4); ban last-minute embeds unless tested.
• Poor comms discipline → Headset chatter kills focus; use standard calls and keep air clear for cues.
• Over-programming movers → Less is more; tasteful looks beat distracto-beams during keynotes.

Safety, Legal & Ethics (Non-Negotiables)

• Rigging: Qualified personnel for point picks; load calculators; secondary safeties; never exceed manufacturer specs.
• Electrical: Licensed tie-ins; GFCI where required; bonding/grounding; cable ramps and ADA compliance; no taped feeder use proper camlocks.
• Fire/Life Safety: Exit sightlines; drape FR ratings; haze notification and permits; CO₂/pyro per jurisdiction.
• RF Legality: Licensed ranges where required; respect local spectrum rules.
• Hearing/Ergonomics: SPL management for crew and audience; lift with teams; ladder and lift training.
• Accessibility: Ramps, ADA seating sightlines, assistive listening, captioning/interpretation where promised.
• Privacy/Recording: Signed releases where required; secure storage of recorded content.

How to Break In (90-Day Plan)

Days 1–30: Foundations

• Volunteer or work part-time with a reputable production house or venue.
• Learn one console in depth (e.g., Yamaha QL/CL for audio or grandMA/ETC for lighting).
• Study power basics; shadow a licensed electrician on a safe tie-in; complete OSHA-10.

Days 31–60: Build a Small Show

• Produce a mock corporate general session in a ballroom CAD: audio coverage, lighting plot, video layout, power one-line.
• Assemble a gear list with A/B alternates and a crew plan; price it with two rental houses.
• Run an RF coordination exercise and a PA tune in a practice space.

Days 61–90: Operate & Lead

• Lead a breakout room end-to-end: you are the A1/V1/LD; write a ROS and call cues.
• Create checklists: load-in, power, RF, projection/LED, camera, content ingest, show caller script.
• Capture client-ready photos/video and a one-page case study; request two references.

Three Sample 3-Year Progressions

1. A) Hotel/Convention Track

• Year 1: House tech → lead A1/LD for ballrooms; CTS; builds reputation for clean shows.
• Year 2: AV/Lighting Producer; runs general sessions and two breakouts; mentors ops.
• Year 3: Technical Director across multi-day conferences; manages budget; interfaces with planners and DOEs.

1. B) Production Company Track

• Year 1: Utility → L2/V2; learns LED workflows and switchers.
• Year 2: LD/V1 on mid shows; begins producing (owning budget and crew).
• Year 3: Producer/TD on national roadshows; P&L for projects; recurring corporate clients.

1. C) Experiential Agency / Brand

• Year 1: Tech producer for pop-ups; heavy scenic + LED integration.
• Year 2: Multi-city activation with broadcast components; manages remote streaming.
• Year 3: Executive Producer; standards for safety and power; preferred vendor networks in two markets.

FAQs

Producer vs. Technical Director what’s the difference?
Titles vary. Often the Producer manages client, budget, vendors, and approvals; the TD leads engineering, drawings, and cueing. Many gigs combine them clarify scope up front.

Do I need to own gear?
No. Owning select items (RF kits, consoles, media servers) can increase margin but adds maintenance and capital risk. Start with relationships, not purchases.

What about union rules?
Respect them. Know call minimums, meal penalties, and who can touch what (electrical, rigging, camera). Budget accordingly and keep great relationships with heads and stewards.

How do I get more repeat business?
Deliver flattering face light, intelligible speech, on-time doors, and calm comms. Send a concise post-show report and assets. Remember names. Be easy to re-hire.

Will AI/automation replace me?
Automation helps programming and content prep, but risk assessment, safety, and live recovery remain human-critical. Your value is judgment and the ability to make a show bulletproof.

Is This Career a Good Fit for You? (MAPP Insight)

Pros who excel here tend to show MAPP motivations around order, responsibility, service, and technical problem-solving, with enough aesthetic sense to make light and video support the story not distract from it. You like checklists, headsets, and calm under pressure, and you’re comfortable saying “no” to risky ideas while offering safer, equally beautiful alternatives. If your MAPP profile prefers solitary research without time pressure, consider adjacent roles like systems design/integration, broadcast engineering, or content creation that feed the same ecosystem with different tempo.

Not sure? Take the free MAPP Career Assessment at www.assessment.com to compare your motivational profile with AV/Lighting production versus neighboring roles like Technical Director, Systems Designer, or Production Manager.

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