Concert Producers: Building Your Event Crew Staffing List

Why start with the show flow, not just the gear list? Concert producers often begin building their crew list by picturing the show flow and the moments that matter most. It's not just about the equipment; it's about how that equipment serves the performance and audience experience. For a multi-stage festival, this means sketching out simultaneous needs: when does Stage A need two camera ops and a V1 for an LED wall feed, while Stage B needs a broadcast audio mixer and RF tech for a guest artist, and Stage C is in active changeover? A detailed show flow dictates the pace of the day, identifies critical transitions, and highlights potential bottlenecks. This helps determine not just what roles are needed, but when and where they are critical. For example, a complex band changeover might require an additional audio utility, a video Shader, and a lighting programmer for pre-cueing, all for a specific 30-minute window. Thinking this way prevents understaffing key moments and overstaffing downtime.

How do you translate show complexity into specific AV roles? Translating complexity into roles involves breaking down each show element into its technical requirements and the human interaction needed. Consider a touring act with a substantial video package: you'll need a Video Director for overall vision, a V1 (Video Engineer) for system integrity, LED Wall Technicians for setup and monitoring, Camera Operators for IMAG, and potentially a Media Server Operator for content playback. Each role has distinct responsibilities and skill sets. For a concert with multiple moving lights, you’ll need a Lighting Designer (often provided by the artist), a Lighting Programmer for console operation, and Lighting Technicians for fixture setup, cable runs, and troubleshooting. The more intricate the design or the faster the pace, the more specialized roles you'll need. It’s also crucial to consider the 'what-ifs.' What if a projector goes down mid-song? You need a utility tech ready to swap it or troubleshoot. What if an artist's custom pedalboard fails? An audio utility with strong troubleshooting skills is invaluable. These scenarios inform redundancy in roles or cross-training among the crew. When you hire AV technicians , specificity in the job description ensures you get the right person.

What factors drive your day-to-day crew count beyond the show itself? Beyond the actual performance, several factors significantly influence daily crew counts: Load-in/Load-out Schedules: A tight load-in window for a large stage often means doubling up on general labor and stagehands, plus dedicated techs for each department to oversee their gear. A multi-day load-out may allow for fewer hands per day but require more total labor hours. Venue Constraints: A venue with limited dock space or a long load-in path (e.g., through a convention center lobby) will require more hands to move gear efficiently. Similarly, a venue with strict fire marshal rules for cabling or rigging might necessitate additional dedicated safety personnel or more time from existing techs. Overtime & Meal Penalties: Long days quickly escalate labor costs. Producers often strategically add a second shift or split crews to avoid costly overtime or meal penalties, especially in markets like Los Angeles or New York where these can be significant. Pre-Production & Prep Days: Dedicated prep days for programming lighting consoles, building media servers, or testing complex RF setups reduce pressure on show day. These days require specialized technicians, even if the full show crew isn't present. Artist Riders: Many artists have specific technical riders that dictate not only equipment but also the number and type of crew required for their setup, sound checks, and performances. Adhering to these is non-negotiable.

How do you balance local hires with specialized touring crew? The balance between local hires and specialized touring crew is a cornerstone of efficient concert production. Touring acts often bring their core personnel: the Front of House Engineer, Monitor Engineer, Lighting Designer/Programmer, and Video Director. These individuals are intimately familiar with the artist's show and specific requirements. However, the bulk of the setup, strike, and support roles are typically filled by local talent. Local crews, sourced through an AV freelancer marketplace or trusted labor coordinators, provide the essential hands for general AV support, stagehand duties, LED tech, camera utility, audio utility, and projectionists. In major event markets like Las Vegas or Orlando, there's a deep pool of experienced local AV production support . For example, a large arena concert might have 5-7 touring crew but rely on 30-50 local technicians for load-in, show support, and strike. Effective communication between the touring production manager and the local labor coordinator is key to integrating these teams seamlessly, ensuring everyone understands their role and the show's specific needs.

Booked AV connects event producers with qualified freelance AV technicians and labor companies, streamlining the process of building the right crew for any concert or live event.