THE PRODUCER'S FIELD GUIDE

Corporate Event AV Checklist

The 87-point pre-production checklist that producers, marketing leaders, and corporate planners use to keep AV on-time, on-budget, and on-brand — from kickoff to load-out.

INTRODUCTION

Why this checklist exists

Most corporate AV problems aren't caused by bad gear — they're caused by questions nobody asked early enough. A skipped site survey. A missing power spec. An unclear run-of-show. A vendor who showed up with rented equipment instead of their own.

This checklist is the same internal pre-production sequence we use at VLI Events. Walk through it once with your team and once with your AV partner — and you will catch 90% of the issues that derail corporate events before they happen

HOW TO USE IT

Print or save a copy per event.
Fill out Sections 1–3 yourself before contacting any AV vendor
Walk through Sections 4–9 with your AV partner during pre-pro
Use Section 10 the morning of the event.

WHAT'S INSIDE

Discovery & Goals

Define what success looks like

Audience & Format

Match production to attendee experience

Venue & Site Survey

What to verify before signing the contract

Audio

PA, mics, monitoring, recording

Video & LED

Screens, projection, IMAG, content

Lighting & Atmospherics

Stage wash, accent, mood, haze

Stage, Set & Rigging

Decks, scenic, truss, safety

Power, Internet & Logistics

Distro, redundancy, load-in

Run-of-Show & Crew

Cue sheets, rehearsal, headcount

Day-Of & Vendor Vetting

Pre-flight + how to choose a partner

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Name

Discovery & Goals

Define what success looks like before you spend a dollar on AV.

EVENT BASICS

Event name, date, and load-in/load-out window are confirmed in writing

Total run-of-event hours (including rehearsal) are documentedAV labor scales with hours — vague schedules cause vague quotes

Internal owner / decision-maker is named and reachable

Budget range for AV is approved (not just estimated). Producers without a real ceiling spend 20–35% more on average

OUTCOMES

Top 3 measurable outcomes for the event are written down.e.g., 200 product demos booked, 4.5/5 attendee NPS, 30% pipeline lift.

Executive must-haves vs. nice-to-haves are separated.

Brand guidelines (logo, fonts, colors) are gathered for content.

Recording, livestream, and on-demand needs are decided up front. Adding a stream after content is built typically costs 2–3× more

Audience & Format

Production must match how attendees experience the event.

AUDIENCE

Final headcount and seated vs. standing capacity is confirmed.

Audience profile is documented (seniority, technical level, language).

Accessibility needs are accounted for: ADA seating, ASL, captioning.Live captioning typically requires a separate audio feed and operator.

FORMAT

Each segment has a defined format: keynote, panel, fireside, demo, awards, breakouts.

Q&A; method is decided: roving mic, mic stand, app-based, or none.

In-room AV needs for breakouts are scoped (separate from main stage).

Networking, meal, and reception areas have their own AV scope. Background music, paging, and ambient lighting are commonly forgotten.

Venue & Site Survey

Verify the room before you sign — not after.

WALKTHROUGH

On-site walkthrough has been completed with the AV provider.

Ceiling height and clear deck height are measured at the stage location. Trim height drives lighting and LED wall design more than any other number.

Load-in path, freight elevators, and door dimensions are documented.

Stage placement and FOH (front-of-house) position are agreed on.

VENUE SPECS

Venue AV / drayage / labor restrictions are known in writing. Convention centers often require house labor — budget accordingly.

Rigging points and load capacity are confirmed by venue engineering.

Sightlines from worst seats are tested by sitting in them.

Wi-Fi capacity and dedicated event SSID are scoped with the venue. Public Wi-Fi alone is never enough for streaming or interactive sessions.

House sound, lights, and screens are evaluated — kept or replaced.

Audio

Bad audio ends an event. Everything else is recoverable.

PA & COVERAGE

Main PA is sized and positioned for the room — not just the stage.

Delay or fill speakers are specified for rooms longer than ~75 ft.

SPL targets and any venue dB limits are confirmed.

System tuning / sound check is scheduled with adequate time. Minimum 60–90 minutes for a corporate general session.

MICROPHONES

Lavalier and handheld counts are mapped to every speaker and panel seat.

Backup mics (one per active channel) are on the rider. Always assume one wireless will fail. Plan for it.

RF coordination is run for the venue — frequencies confirmed legal and clear.

Comms (intercom) for crew, stage manager, and director are specified.

SOURCES & RECORDING

Playback, click track, and walk-in/walk-out music are scoped.

Multitrack recording or isolated speaker recording is decided. Marketing usually wants this later — confirm now.

Audio feed for stream / captioning / translators is split cleanly.

Video & LED

Pixels, screens, and content — sized for the room and the brand.

SCREENS & RESOLUTION

Main screen size is calculated from farthest-viewer distance (image height ≈ 1/8 of viewing distance).

LED wall pixel pitch matches viewing distance (2.6mm – 3.9mm typical for general session).

Aspect ratio is locked (16:9 standard, ultrawide if intentional).

Confidence / downstage monitors for speakers are specified.

SWITCHING & IMAG

Switcher and operator are scoped (not just the screens).

Camera plan is documented: count, positions, lenses, IMAG vs. record only.

Lower-thirds, logo bug, and scoreboard graphics are templated to brand.

Backup of presentation files lives on a second machine.

CONTENT

All slide decks are received 48+ hours before tech rehearsal.

Video files are delivered in spec (codec, resolution, frame rate).

Animated logos, sponsor reels, and walk-in loops are finalized.

CONTENT

All slide decks are received 48+ hours before tech rehearsal.

Video files are delivered in spec (codec, resolution, frame rate).

Animated logos, sponsor reels, and walk-in loops are finalized.

Lighting & Atmospherics

Lighting tells the audience what's important. Use it intentionally.

STAGE LIGHTING

Key, fill, and backlight are speced for every speaker position.

Color temperature matches camera white balance (typically 3200K or 5600K).

Stage wash covers all walking surfaces — no dark spots in IMAG.

ACCENT & ATMOSPHERE

Audience and room accent lighting matches the brand palette.

Haze level is appropriate for the venue (some forbid haze entirely). Verify smoke detector status / venue policy in writing before load-in.

Awards, reveals, and big moments have dedicated cues, not improvised looks.

OPERATION

Lighting designer / operator is on headset during the show — not just programmed.

Pre-recorded cues and live-call sections are clearly separated.

Stage, Set & Rigging

Where the show happens — and how it stays safe.

STAGE

Deck size, height, and shape are spec'd for the format and sightlines. Panels with 4 chairs need a wider deck than most planners assume.

Stairs, ramps, and ADA access on/off the deck are confirmed.

Skirt color and any branding wraps are matched to the design.

Confidence monitors and timer are placed in speaker eyeline.

SET & SCENIC

Backdrop / scenic walls are designed and source files are with fabricator.

Furniture, podium, and on-stage signage are confirmed.

Camera-safe flooring (matte, no glare) is in place.

RIGGING & SAFETY

Rigging plot is signed off by venue and a certified rigger.

All flown elements have current load and inspection certifications.

Cable paths are matted, taped, or trenched in audience walkways.

Fire marshal sign-off is scheduled if required by the venue.

Power, Internet & Logistics

The unsexy stuff that ends shows when it's wrong.

POWER

Total amperage draw is calculated and matched to venue distro.

Audio is on a separate, isolated power leg from lighting.Mixing legs is the #1 source of buzz and ground loop on corporate stages.

UPS or battery backup protects switcher, playback, and FOH desks.

Generator (if outdoor) is sized with a 25% safety margin.

LOGISTICS

Load-in / load-out schedule is shared with venue and all vendors in writing.

Trucking, parking, and dock access are coordinated with the venue.

Crew meals, breaks, and overtime windows are scheduled per local labor rules.

On-site storage / case room is identified for cases and spares.

Run-of-Show & Crew

A show that hasn't been rehearsed isn't ready.

DOCUMENTATION

Minute-by-minute run-of-show is distributed 48+ hours before the event.

Cue sheet shows audio, video, lighting, and stage cues per moment.

Speaker bios, intros, and walk-on music are finalized.

REHEARSAL

Tech rehearsal is scheduled with all crew on headset.

Speaker rehearsal includes mic check, screen check, and timing.

Live transitions (panel swap, demo handoff) are walked end-to-end.

CREW

Crew chief / stage manager is named and has authority to call the show.

Each role has a primary and a documented backup.

Show caller, A1, V1, L1, and camera ops have direct comms to each other.

Day-Of & Vendor Vetting

A pre-flight checklist plus how to know your AV partner is legit.

DAY-OF PRE-FLIGHT (T-2 HOURS)

All mics tested with intended speaker — not just a tech.

All slide decks have run end-to-end on the show machine.

Lighting cues have been walked with the operator.

Stream / recording is confirmed live and being captured.

Comms check completed across every position.

Spares are out, labeled, and within reach of FOH.

VENDOR VETTING QUESTIONS

Does the vendor own the gear, or sub-rent? Owned inventory means lower cost, faster swaps, and a team that knows the equipment.

Are operators full-time staff, or freelancers met that morning?

Can they show 2–3 case studies of similar-sized corporate events?

Do they carry $1M+ liability insurance and provide a COI on request?

What is their backup plan for a failed projector, switcher, or wireless mic?

Will the same producer who quoted the job be on-site running it?

READY TO PRODUCE A FLAWLESS EVENT?

Get a free production review

Send us your run-of-show, your venue, and your goals — we'll review your production plan against this checklist and flag anything that could derail your event. No commitment, no sales pitch.

Schedule your free production review

vlievents.com · hello@vlievents.com · (602) 919-1272