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AV Crew Roles: Who Do You Need for Your Event?

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A professional production crew can range from one experienced technician running a straightforward meeting to a large team of engineers, operators, camera crews, riggers, stagehands, and production specialists working a complex event.

The right crew size is not determined by audience count alone.

A 1,000-person lecture with one presenter may require fewer show operators than a 200-person executive event with multiple cameras, graphics, remote presenters, frequent microphone changes, and tightly timed cues.

The better questions are:

Understanding the different production departments and roles makes it easier to see why some events can run with a small team while others require specialized personnel.

Setup Labor and Show Labor Are Different

One of the most important distinctions in production staffing is the difference between the crew required to build the event and the crew required to operate it.

During load-in and setup, labor may be concentrated on:

During the actual program, staffing may instead focus on:

Audio, lighting, staging, and rigging can require substantial setup labor that decreases dramatically once the show begins.

Video may do the opposite and add operators once the program starts.

This is why production quotes often separate setup/strike labor from show-call labor.

Production Management & General Support

These roles either coordinate multiple production departments or provide general production support rather than belonging exclusively to audio, video, lighting, or rigging.

Production Manager

The Production Manager oversees the production as a whole.

Depending on the event, responsibilities may include:

The Production Manager generally should not be expected to actively operate an audio console, camera, or lighting board throughout the program.

Their value is keeping the departments, venue requirements, schedule, and client needs aligned.

On smaller events, these responsibilities may be combined with another senior production role.

Show Caller

The Show Caller coordinates the timing of the overall production.

Depending on the program, the Show Caller may cue:

The Show Caller works from the run of show and helps ensure that multiple departments execute the same moment together.

For example, a video playback cue might require:

Someone needs to coordinate those actions.

On a smaller show, the producer, Stage Manager, or another experienced crew member may handle this coordination.

A dedicated Show Caller becomes increasingly valuable as the number of departments and tightly timed cues increases.

Stage Manager

The Stage Manager manages activity around the stage and presenter entrance areas.

Responsibilities may include:

The Stage Manager is particularly valuable when many people need to move on and off stage throughout the program.

This role often works closely with the A2 when presenters need wireless microphones before going onstage.

Stagehand / Production Labor

Stagehands provide physical labor required to load, build, and strike an event.

Typical responsibilities may include:

Stagehands are extremely valuable on equipment-heavy events.

However, stagehand does not automatically mean qualified AV operator, technician, electrician, or rigger.

A person who can efficiently build staging or move hundreds of feet of cable is filling a different role from the engineer mixing a live show or the rigger responsible for an overhead production load.

AV Tech I / General AV Technician

An AV Tech I is a general production technician capable of supporting multiple departments during setup and basic operation.

Typical work may include:

An AV Tech I is more technically capable than general production labor but is still primarily a generalist support position.

AV Tech II / Skilled Technician

An AV Tech II is a more experienced skilled technician or operator who can take responsibility for more complex systems and show-critical tasks.

Depending on specialty, an AV Tech II may:

An A2 is a good example of an AV Tech II-level audio role.

Rigging Department

Rigging is the specialized work involved in safely suspending, supporting, positioning, and sometimes moving production equipment.

Depending on the event, rigging may support:

Rigging is a safety-critical discipline.

A general stagehand or AV technician should not be assumed to be qualified to make rigging decisions simply because they are experienced with event equipment.

The exact rigging crew depends on the venue, equipment, production design, applicable engineering, access conditions, and venue or local labor requirements.

Head Rigger / Rigging Supervisor

The Head Rigger or Rigging Supervisor leads the rigging department.

Responsibilities may include:

The Head Rigger turns the production requirements into a practical onsite rigging operation.

That does not mean the rigger independently determines what a building or temporary structure can structurally support.

Where engineering is required, those decisions belong with the appropriate qualified engineer and approved documentation.

Up Rigger / High Rigger

An Up Rigger, sometimes called a High Rigger, works at the overhead rigging points.

Depending on the venue, that may mean working:

The Up Rigger may:

This work requires appropriate training, fall protection, equipment, and entertainment-rigging knowledge.

It is not simply an AV technician working from a lift.

Down Rigger / Ground Rigger

The Down Rigger or Ground Rigger works at floor level in coordination with the Up Riggers.

Responsibilities may include:

Ground rigging is also skilled rigging work.

Remaining on the floor does not make the position equivalent to general stagehand labor.

Motor / Hoist Technician

Larger productions may have a technician specifically responsible for the electric chain-hoist system and motor control.

Responsibilities may include:

On many events, these responsibilities are handled by members of the rigging crew rather than a separately staffed position.

The role becomes more distinct as motor count and control-system complexity increase.

Theatre Rigger / Fly-System Operator

Traditional theaters introduce another type of rigging system.

Instead of—or in addition to—temporary chain motors and truss, a venue may use:

A qualified Theatre Rigger understands those systems and their operating procedures.

During a performance, a Fly-System Operator may operate line sets or motorized scenery according to show cues.

That can make rigging an active show department rather than only a load-in and strike function.

Rigging Supports Multiple Departments

One reason rigging needs its own coordination is that the same overhead system may serve several production departments.

For example, one ballroom may need to fly:

Each department may know what it wants to hang, but the rigging department has to look at the complete system.

That can affect:

Changing one department's design can therefore affect several others.

Moving an LED wall, for example, may affect lighting positions, loudspeaker sightlines, rigging points, motor locations, and structural loading.

Rigging coordination should happen during production planning rather than after equipment arrives at the venue.

Flown Audio Requires Coordination Between Rigging and System Engineering

Large audio systems are a good example of where departments overlap.

The System Engineer may determine:

The Rigging Department determines how the approved system is safely supported and deployed.

Neither role replaces the other.

A line-array design may perform perfectly in prediction software but still need to fit within:

Likewise, placing an array where it is easiest to rig may not provide the required audience coverage.

Good production design requires the System Engineer and Head Rigger to resolve these requirements together.

Rigging Labor Often Peaks During Setup and Strike

Rigging often has almost the opposite staffing profile from video.

A multi-camera video department may be relatively small during setup and become much larger once the program begins.

Rigging often requires its largest crew during load-in and strike.

During setup, several riggers may work simultaneously to:

Once everything is safely in position, many events require little or no active rigging work during the program.

Those riggers may therefore leave after setup and return for strike.

For example, a ballroom production could require:

during load-in while requiring no dedicated rigging crew during the actual meeting.

That does not mean the rigging labor was excessive.

It reflects when the work occurs.

When Rigging Personnel Remain During the Show

Some productions do require rigging personnel during the program.

Examples include:

Those applications require additional planning and appropriately qualified personnel.

For a conventional corporate event where everything is flown to a fixed trim before doors open, dedicated rigging show-call labor may not be necessary.

Outdoor Rigging Adds Weather Considerations

Outdoor temporary structures introduce another major variable: weather.

Wind loads on stages, roofs, LED/video walls, banners, scenic elements, loudspeakers, and other structures can become a safety issue long before conditions appear extreme to someone standing at ground level.

The production safety plan may therefore include:

The Head Rigger, Structural Engineer, Production Manager, weather specialist, venue, and other responsible parties may all have defined roles within that plan.

A meteorologist does not determine whether a structure may safely operate beyond its engineered limits.

A rigger should not be expected to forecast approaching weather.

Those disciplines need to work together.

Rigging Planning Starts Before Load-In

Good rigging planning typically requires information well before the truck arrives.

Depending on the event, the production team may need:

Discovering during load-in that the requested point does not exist—or cannot support the intended load—can affect the entire production design.

Larger events therefore benefit from involving the rigging department during advance planning.

Rigging Qualifications

Entertainment rigging is a specialized safety discipline.

Qualifications should be appropriate to the:

Recognized industry credentials such as ETCP Arena Rigger and ETCP Theatre Rigger certification may be relevant depending on the work.

Certification is not the only factor in determining whether someone is qualified for a particular task.

The practical distinction for an event planner is:

Rigging should be performed and supervised by personnel qualified for the rigging system and work being performed—not assigned to general AV labor simply because someone is available.

Audio Department

System Engineer

The System Engineer is responsible for the performance of the sound system itself rather than primarily mixing individual presenters or performers.

On a small audio system, the A1 may handle both responsibilities.

On larger systems—particularly line arrays, distributed loudspeaker systems, outdoor concerts, festivals, and systems using delay towers—the System Engineer may be a separate position.

Responsibilities can include:

Why the Audio System May Need Attention During the Show

A large sound system is aligned under a particular set of environmental conditions.

Outdoors, those conditions may not remain constant.

Air temperature affects the speed of sound.

Over relatively short distances inside a small room, the resulting timing change may be insignificant.

Across a large outdoor site with mains, fills, and delay towers separated by substantial distances, changes can become much more important.

If a delay system is aligned during a cool morning and the air temperature changes significantly before or during the program, propagation time between the main system and distant audience areas changes.

The System Engineer can monitor and, when appropriate, recheck alignment so the distributed system continues working together as intended.

Atmospheric conditions also affect frequency response over long distances.

Temperature, humidity, and distance affect atmospheric absorption, particularly at higher frequencies.

Wind speed, direction, and atmospheric gradients can further influence long-distance propagation and coverage.

A large outdoor system may therefore require more than a one-time measurement during setup.

Depending on the system and conditions, the System Engineer may monitor:

The objective is not to continually change the system without reason.

It is to recognize when the environment has changed enough that the original alignment or atmospheric compensation should be revalidated.

For a simple pair of loudspeakers at a corporate meeting, a dedicated System Engineer is unnecessary.

For a large line-array system with front fills, out fills, subwoofer arrays, and multiple delay towers, the System Engineer can be an important show position even while the A1 remains focused on mixing. See the Sound System Sizing Guide for more context on matching system design to an event.

A1 / Lead Audio Engineer

The A1 / Lead Audio Engineer is responsible for the show mix and what the audience hears.

Depending on the event, responsibilities may include:

For a straightforward meeting with one or two microphones, a dedicated A1 may not be necessary.

The A1 becomes increasingly important as the program adds:

The A1 should generally remain at the console while the program is running.

If the engineer has to leave the mix position to mic the next presenter or troubleshoot a transmitter backstage, nobody is actively managing what the audience is hearing.

That is where an A2 becomes valuable.

A2 / Skilled Audio Technician (AV Tech II)

The A2 / Skilled Audio Technician (AV Tech II) supports the A1 and manages much of the backstage microphone workflow.

Responsibilities may include:

The A2 is a skilled audio position, not simply an extra pair of hands backstage.

The role becomes particularly valuable when presenters are changing while the show is underway.

A six-channel awards program with a new presenter every few minutes may require an A2 more than a static 10-person panel where everyone is mic'd before the program begins.

The pace of microphone changes often matters more than the raw wireless channel count.

For related channel-count and microphone-selection considerations, see How Many Wireless Microphones Do I Need for My Event?

RF Coordinator

An RF Coordinator manages the radio-frequency environment used by:

Responsibilities may include:

A dedicated RF Coordinator is not required for every event with wireless microphones.

The role becomes more valuable when there are:

For a theatrical run, the staffing model may differ.

The RF Coordinator may be most valuable during:

Once the production reaches a stable operating state, an A2 / Skilled Audio Technician can often manage routine RF monitoring and follow the established backup plan.

The A2 is operating a known-good RF plan—not re-engineering the frequency coordination every night.

The RF Coordinator may return if:

The Wireless Microphones for Theater Productions guide covers theatrical wireless planning in more detail.

Lighting Department

Lighting Designer

The Lighting Designer develops the visual approach to the event.

That can include:

On larger or visually important productions, the lighting design may be established well before equipment arrives onsite.

On many corporate events, Lighting Designer and L1 responsibilities can be handled by the same experienced person.

L1 / Lead Lighting Operator

The L1 / Lead Lighting Operator is responsible for implementing and operating the lighting system.

Depending on the event, responsibilities may include:

For a simple event with static presenter lighting, relatively little active operation may be required once the system is established.

A more complex production may require an L1 throughout the show to execute:

See the Corporate Event & Stage Lighting Guide for related planning guidance.

Video Department

As a production grows, video can include several simultaneous specialist positions.

Staffing does not scale in one fixed order.

For example, a Video Director may also control PTZ cameras on a smaller show while graphics may still require a dedicated operator because lower-thirds and overlays are frequent or precisely timed.

Video Director (VD)

The Video Director manages the live visual program.

The VD decides what the audience sees and may be responsible for:

On smaller and medium productions, the VD may also:

As workload increases, those functions may become separate positions.

Technical Director / Switcher Operator (TD)

The Technical Director, or Switcher Operator, executes the live video program.

Tasks may include:

On smaller productions, the VD and TD may be the same person.

On larger or faster shows, separating them allows the VD to concentrate on directing while the TD concentrates on executing the switcher commands accurately.

Camera Operator

A Camera Operator frames and follows the people or action assigned to that camera.

Coverage may include:

Camera operation requires more than pointing the camera toward the stage.

Good IMAG requires shots that are:

PTZ Operator

A PTZ Operator remotely controls one or more pan-tilt-zoom cameras.

Responsibilities may include:

On smaller and medium productions, the Video Director may also perform PTZ operation.

A dedicated PTZ Operator becomes appropriate when there are enough cameras or enough activity that the VD can no longer direct the show and prepare PTZ shots simultaneously.

Presentation / Playback Operator

The Presentation / Playback Operator manages content being shown on event displays.

Depending on the show, that may include:

For an important corporate program, presentation operation can be a show-critical position.

The operator may need to receive last-minute files, check formatting, verify embedded media, manage updated decks, and cue content at exact points while the program continues.

Graphics Operator

The Graphics Operator manages on-screen graphic elements such as:

Graphics are not limited to very large productions.

A relatively modest executive program or webcast may justify a dedicated Graphics Operator when names, titles, statistics, sponsor elements, or other overlays must appear frequently and at precise times.

The role may be combined with another video position when the graphics workload is light.

A dedicated PTZ Operator does not necessarily come before a dedicated Graphics Operator.

Replay Operator

A Replay Operator captures and recalls selected live-camera moments for immediate playback.

Replay is common in sports and performance production but can also be useful for:

Most corporate presentations do not require replay.

When replay is an important part of the program, it generally works better as a dedicated function rather than another task assigned to an already-busy VD or presentation operator.

Video Show Caller

A Video Show Caller is a specialized video-department position used primarily on larger productions or programs where cameras must acquire specific shots before those shots are needed.

This can be particularly useful for:

For many corporate events, the VD can communicate directly with camera operators.

A dedicated Video Show Caller becomes useful when the next shot cannot simply be found reactively.

For example, during a technical demonstration, the Video Show Caller might direct a camera operator to locate:

before the presenter reaches that portion of the demonstration.

That allows the shot to already be framed when the VD needs it.

This is different from the overall production Show Caller described earlier.

Video Engineer

The Video Engineer is responsible for the technical infrastructure behind the video system.

Depending on the event, responsibilities may include:

On smaller events, the VD or another senior video operator may also handle these responsibilities.

Larger systems may require a dedicated Video Engineer so live operators can remain focused on the program while someone else maintains the underlying technical system.

Video Staffing Often Peaks During the Show

Video is often one of the largest production departments during the actual program, even when it is one of the smaller departments during setup and strike.

A camera-heavy production may include:

Many of these roles exist because their work must happen simultaneously.

One camera may need to be reframed while another remains on-air.

The switcher must execute the current shot.

Presentation may need to advance.

Graphics may need to prepare the next lower-third.

A PTZ camera may need to reposition.

The next demonstration shot may need to be found before it occurs.

One person cannot realistically perform all of those jobs at the same time.

During setup, however, those positions may not all require separate people.

Once cameras, switching systems, displays, cabling, and control positions are installed, additional camera and operating personnel may be needed almost entirely during the program.

That is why a production might use three people to build the video system but seven people to operate it during the show.

This staffing profile is normal for more complex multi-camera production.

See When Do I Need IMAG or Cameras for My Event? for related camera-planning guidance.

Engineering, Safety & Cross-Department Specialists

Some production roles support several departments rather than belonging directly to audio, video, lighting, or rigging.

Structural Engineer

A Structural Engineer is not normally part of the rigging crew, but may be an important part of the overall production process.

Engineering may be required for situations involving:

The engineer determines whether the proposed structure and loads satisfy the applicable engineering requirements.

The rigging department then installs and operates the system according to the approved design and applicable procedures.

These are complementary roles:

Engineering establishes what the structure can safely support. Rigging executes the production hang within those requirements.

Professional Meteorologist / Event Weather Specialist

For outdoor events, weather can become a production and life-safety issue rather than simply an inconvenience.

Large festivals, concerts, outdoor corporate events, temporary stages, LED walls, tents, flown systems, and other weather-sensitive productions may justify professional meteorological support.

A professional meteorologist or dedicated event-weather service can combine forecast information with real-time onsite measurements to help the event team understand what weather is approaching and when predetermined action thresholds may be reached.

Depending on the event, weather monitoring may include:

Onsite Weather Instruments Matter

Forecast information from the nearest airport or weather station does not necessarily describe conditions at a temporary stage.

Large outdoor sites may therefore include onsite weather instruments.

Wind sensors or anemometers may be installed at representative elevated locations associated with the stage, rigging, roof, or other temporary structures as determined by the applicable engineering, weather, and safety plan.

On larger sites, there may be multiple measurement points.

Those instruments provide actual local conditions while meteorological services provide the larger picture of what is developing and approaching the site.

The two types of information work together.

The Meteorologist Is Not Simply Reading a Weather App

The value of professional meteorological support is interpretation and advance warning.

A meteorologist can evaluate:

The production and safety plan should establish in advance what happens when defined thresholds are reached.

For example, temporary structures may have engineered wind-response procedures, and the event may have predetermined lightning, heat, or severe-weather actions.

The objective is to make those decisions from an established plan rather than debating what to do after conditions have already become dangerous.

The meteorologist provides weather expertise.

Structural Engineers, qualified rigging personnel, production management, venue management, and public-safety personnel retain their respective responsibilities within the event safety plan.

Weather Monitoring May Continue Through the Event

Unlike many specialist positions, weather support may need to remain active while the public is onsite.

Conditions can develop or change quickly.

If weather forces a show stop or delay, professional monitoring can also be important in determining when conditions have improved enough for the event's established resumption procedures to begin.

For smaller outdoor events with limited temporary infrastructure and low weather risk, a dedicated meteorologist may not be necessary.

For larger public gatherings, significant temporary structures, difficult evacuation conditions, or events exposed to severe weather, professional meteorological support can be an important part of the safety plan. The Outdoor Event AV Checklist covers related site, power, weather, and contingency planning.

Staffing Principles

Roles Can Be Combined—Until They Can't

Not every event needs a separate person for every position described in this guide.

Combining roles is one way a production can remain efficient.

Examples include:

The question is whether both responsibilities can be performed at the same time when the show is busiest.

That is where understaffing becomes visible.

If the VD is switching a live panel, they may not have time to build the next lower-third.

If the A1 is actively mixing six panelists, they should not be backstage fitting the next presenter with a lavalier.

If the Presentation Operator is advancing slides every few seconds, they may not be able to troubleshoot a playback system elsewhere.

A large outdoor audio system is another example.

The A1 may be actively mixing a performance while changing environmental conditions justify measurement or adjustment elsewhere in the audience area.

At sufficient scale, assigning a separate System Engineer keeps both jobs properly covered.

If two responsibilities need attention at the same moment, those positions probably need to be separated.

The Consequence of Missing a Cue—or a Problem—Matters

Crew size should also reflect the consequences of something being missed.

A missed cue during an informal internal training session may be inconvenient.

A missed cue or unresolved technical issue during:

may have a much greater impact.

That does not mean adding personnel unnecessarily.

It means staffing the production so critical functions are not competing for the same person's attention.

Example: Small Corporate Meeting

Consider:

The event might require:

Dedicated departmental engineers may not be necessary if the systems are straightforward and properly configured.

Example: 250-Person Corporate General Session

Consider:

A reasonable show crew might include:

Additional stagehands and AV technicians may support setup and strike without remaining for the entire program. The Corporate Meeting AV Pricing Guide explains how labor, equipment, and program complexity affect a meeting budget.

Example: Larger Executive / Multi-Camera Production

A more complex general session might include:

The crew might expand to include:

The final staffing depends on the program—not simply the audience count.

Example: Large Outdoor Concert or Festival

Consider:

Audio Department

May include:

Rigging Department

May include:

Engineering / Weather

May include:

This illustrates why two events with similar audience counts can require very different crews.

Staffing is driven by the systems, program, environment, and consequences of failure.

What We Need to Recommend a Crew

Useful information includes:

If the program is still developing, an agenda, site plan, and draft run of show are usually enough to begin estimating crew requirements.

Which option fits best?

The right fit depends on event size, venue or site conditions, available staffing, technical complexity, and how hands-on you want your team to be on event day.

Rentals Only

Best when your team already knows what it needs, the event is straightforward, and qualified staff can handle setup and operation. This is usually the lowest-cost path.

Hybrid Support

Best when delivery and setup should be handled professionally, but the client or venue has enough technical knowledge to operate a simpler configured system. It reduces setup risk while costing less than full-service production.

Full-Service AV / Production

Best when timing, coordination, and reliability matter most; multiple systems must work together; onsite support is needed; or the client wants the least hands-on involvement.

Recommended Next Step

The goal of production staffing is not to put the largest possible crew onsite.

It is to make sure every show-critical function has someone available to perform it when it needs to happen.

Sometimes one experienced person can efficiently cover several responsibilities.

Sometimes the systems are large enough, the show is busy enough, or the environment is demanding enough that those responsibilities need to be separated.

NextLevel Production Services can provide:

The right crew is the one that keeps the technology working, keeps specialized responsibilities properly covered, and allows the audience, presenters, and production team to stay focused on the event.

The right option depends on your event size, venue, staffing, and how hands-on you want to be. If you already know what you need, browse related rentals. If you want help narrowing the crew and support level based on the event, venue, staffing, and budget, ask for a recommendation. If you need delivery, setup, onsite support, or a full production quote, request a quote.

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