Quick answers to
the questions clients ask most.

For larger conferences and concerts, 6 to 12 weeks is comfortable. We routinely take on faster turnarounds (including same-week) for smaller events, depending on crew and gear availability. The bigger the event, the earlier the conversation pays off, especially if venue selection is still open. Reach out and we'll tell you straight whether your timeline works for what you're trying to do.

Yes. We're Sydney-based but travel across NSW and interstate for the right work. Travel and accommodation are quoted transparently as part of the proposal, with a clear breakdown of crew time, vehicle costs, and any sub-hire required in the destination city. Regional Sydney events (Wollongong, Newcastle, Blue Mountains) get done out of our normal kit. Further afield (Melbourne, Brisbane, Canberra) we'll often pair local sub-hire with our travelling crew leads.

Often, yes. If we have the crew and the gear, we can move quickly. Email us with the date and event shape and we'll respond within a few hours if it's urgent. Same-week is doable for smaller corporate events. Same-day is harder but not impossible if the venue has decent in-house infrastructure we can build on. The honest constraint is crew availability, not us being precious about timelines.

Confirm your AV partner once your venue and rough run-of-show are locked. For mid-sized conferences and launches, that's typically 6 to 10 weeks out. Earlier conversations are welcome and useful, because most of the planning value comes from involving an AV team during venue selection, not after. A vendor walking through a shortlist of venues with you will often catch constraints that change the answer (rigging restrictions, power limits, dock access) before you sign a venue contract you'd want to renegotiate. For hero events with custom builds, 3 months out is sensible. For a standard 200-person conference at a known venue, 4 to 6 weeks is fine.

AV hire means renting gear: you pick up the boxes, you supply the crew, you make all the decisions. AV production means a vendor designs the system, supplies the operators, runs the show end-to-end, and is accountable for the outcome. For corporate events where the production has to land cleanly, full production is usually the right answer. The cost of one untrained operator at a critical moment outweighs the savings from hire-only. Hire works well when you have an experienced in-house production team who just need additional gear, or for very simple events where there's no real production risk.

Venue in-house AV is convenient and familiar with the room, but typically optimised for standard setups. A specialist production company tailors the rig to your event, brings senior operators with broader experience across venues and event types, and is accountable end-to-end for the show, not just the gear. Many corporate events use both: in-house for base PA and projection, specialist for streaming, IMAG, lighting design, and anything custom. The smart question isn't 'in-house or specialist' but 'which parts of this event need bespoke design and which parts are standard.'

Five questions, in order of how much they tell you: Who specifically will be on the ground (named individuals, not 'a crew')? How do you handle redundancy if a primary system fails (specific contingencies, not 'our gear is reliable')? What's your refresh policy if the venue spec or run-of-show changes after we sign? What's included in this price and what would push it up after we sign? When do I get a single named point of contact, and what's the communication cadence in the two weeks before the event? A vendor that answers all five clearly is doing this properly. Vague answers anywhere are flags.

For a standard single-room corporate conference at a friendly venue, 4 to 6 hours of bump-in is normal. Larger setups (multi-room conferences, hero product launches, full lighting design with rigged moving heads) often need 8 to 12 hours, sometimes split across two days. Outdoor or heritage venues with rigging restrictions can take longer. The variables: how much rigging is involved, how big the gear footprint is, whether the venue gives you flexible dock access, and how complicated the signal routing is. We size bump-in honestly in proposals so there's no scope-creep on the day.

Standard tech checks on the morning of the event are included in the production day. Speaker rehearsals during bump-in are also included. Dedicated rehearsal days (e.g. a full dress rehearsal the day before) are quoted separately because they require crew and gear standing by for an additional day. For high-stakes events with complex programming we'll often recommend a dedicated rehearsal; for standard conferences the show-morning tech check is enough. Either way, what's included is in the proposal explicitly, so there's no surprise at the back end.

We've worked across most major Sydney venues including ICC Sydney, Carriageworks, the Royal Botanic Garden, hotel ballrooms across the CBD, and many private function rooms. We're happy to recommend venues if you haven't booked one yet, particularly if there's a particular look or capability you're trying to land. Different venues suit different events, and a venue that's perfect for an awards dinner may be wrong for a hybrid keynote with broadcast streaming.

Common. We work with in-house teams regularly, sometimes augmenting their gear, sometimes running parallel systems for streaming or specific stages. We coordinate with the venue from the proposal stage onwards, including a joint site walk where possible so the in-house team knows what we're bringing and where we'll patch in. Most major Sydney venues' in-house teams are good to work with once expectations are aligned early.

Yes, this is routine for us. We coordinate technical patch, talk-back comms, and signal flow with venue teams during pre-event site surveys. For most events we either augment what the venue provides (specialist cameras, streaming, lighting design) or run parallel systems where independence matters (e.g. our own audio mix for the broadcast feed even when the in-room PA is venue-supplied). The key is naming who's responsible for what before bump-in starts. Venue ops teams appreciate this and so do we.

Outdoor events need weather contingencies, power planning (often generator-backed), and rigging solutions that don't depend on fixed venue infrastructure. We do a site survey to confirm power availability, ground conditions, line-of-sight, weather risk windows, and acoustic considerations before quoting. Tents, marquees, warehouses, and heritage venues are all regular work for us. The cost premium for outdoor or unusual venues isn't massive, but the planning lead time is longer because there's no in-house anything to lean on. Build that into your timeline.

Audio: Yamaha and Allen & Heath consoles, DPA and Shure microphones, Sennheiser wireless. Vision: Blackmagic ATEM switchers, Panasonic and Sony cameras, Resolume for content playback, Atomos for recording. Lighting: ETC EOS consoles, Chauvet Professional and Robe fixtures, Astera for wireless LED. We spec for the room and the brief, not for the rider. If you have a particular brand requirement (presenter prefers a specific lav model, broadcast spec requires a particular camera package), we'll either bring it from our inventory or sub-hire it cleanly.

We own the core inventory we use weekly: audio consoles, microphones, base lighting fixtures, cameras, switching, recording. For specialist gear that comes up less often (large LED walls, exotic lighting fixtures, broadcast-grade cinema cameras for specific looks) we sub-hire from trusted partners and integrate it into our system. The proposal will say which items are owned vs sub-hired, and from which sub-hire partner. A vendor sub-hiring everything from a single trade-rental house is closer to a broker than a production company; we're not that.

YouTube, Twitch, Vimeo, Zoom, Microsoft Teams, LinkedIn Live, Facebook, and custom RTMP destinations including private players. We can stream to multiple destinations simultaneously when needed (e.g. public on YouTube, gated on your own internal platform). For corporate clients we often stream to a single private endpoint with login-gated access; for public-facing broadcasts we'll typically multi-cast across two or three platforms. The platform isn't usually the constraint; the bandwidth and reliability of the venue's internet is.

For high-stakes broadcasts we run a primary and backup encoder with hot-failover, separate internet uplinks (typically venue wired plus 4G or 5G bonded), and a synced recording so nothing is lost even if the stream drops. The backup encoder is encoding the same inputs in parallel, ready to be switched into the live stream in seconds. The internet failover is automatic when the primary drops below a quality threshold. The redundancy adds a couple of thousand dollars to a hybrid event budget; the conversation you don't have to have with your CEO post-event makes it the easiest dollars you'll ever spend.

Not a separate team, but you need a vendor whose people understand both in-room production and broadcast. Hybrid events fail when one team optimises for one audience and the other gets a passable version. We design one production system that serves both, with the in-room mix and the broadcast mix as deliberately different feeds from the same rig. The same applies to cameras (presenter close-ups for the stream, not just locked-off wide shots) and to Q&A (a flow that makes the remote audience first-class, not tacked on). One team, but the team needs broadcast experience as well as in-room experience.

Yes, and it's often the right call. If your audience is all in the room and you want the content for post-event distribution (training material, social cuts, archive), recording without streaming is simpler and cheaper. We do multi-track audio capture and multi-cam ISO recording independent of any live broadcast. You get the source files for editing, plus optional same-week edits (highlight reel, per-speaker breakouts, full-show cut) if you want that done. The cost is roughly half what a comparable live-stream-plus-record setup would be.

A standard streaming package includes: multi-camera setup with vision switching, audio routing from FOH with a separate broadcast mix, encoding to one or more destinations, basic lower-thirds and graphics, captions (AI or human-supplied), a dedicated stream director watching the broadcast output throughout the show, and ISO recording for post. For higher-stakes events we add encoder redundancy, bonded uplink failover, custom branded overlays, and broadcast-grade colour matching across cameras. The proposal spells out exactly what's in your specific package and what would push it up or down.

Yes. $20M public liability insurance and workers compensation. Insurance certificates available on request, usually included with the proposal for venues that require it upfront. We also carry contractor's all-risks for gear in transit and on-site. If your venue or your procurement team has specific certificate requirements (named insured, specific endorsements), let us know early and we'll arrange it.

At minimum: public liability ($20M is the Australian commercial-event norm, $10M is the absolute floor), workers compensation for crew (legally required in NSW), and rigging-certification documentation if anything is hung from venue grid. Most venues will require a certificate of currency before bump-in starts. Some larger venues and government work also require professional indemnity coverage. We supply our certificates with every proposal where they're needed, and we keep them up to date so there's no scramble in the week before the event.

Every event is bespoke, so we don't publish package prices. After a short discovery call we send a detailed proposal within two business days: fixed scope, fixed price, no surprises on the day. The proposal itemises crew, gear, bump-in time, and what's in vs out of scope. No-cost, no-commitment. If you want a rough range before that, we'll often give you a back-of-envelope number on the call itself based on what you tell us about the event.

We're happy to talk through any event. Our sweet spot is corporate work where the production matters: conferences from 50 people upward, product launches, hero broadcasts, anything where the production quality is part of the story. For very small jobs (a single speaker in a boardroom with a Zoom call, a tiny private dinner) we may refer you to a smaller specialist. If we're not the right fit, we'll tell you and suggest someone who is.

A proper proposal includes: a system design appropriate to the venue and audience, named senior crew on each discipline (not 'a crew'), the gear list itemised with brands and models, a run-of-show timeline aligned with the event program, rigging and power planning, insurance and safety documentation, and a fixed price with what's in and out of scope clearly stated. Specific contingencies for the failure modes that matter (audio redundancy, stream backup, vision spares) should be named, not glossed. Anything vaguer than this is a quote, not a proposal. We'd be cautious of vendors who send you a one-line price with no detail.

For a one-day, single-room corporate conference of 200 people in Sydney with main-stage audio, IMAG vision, presenter graphics, basic lighting, and on-site crew, typical ranges run $8,000 to $18,000 depending on venue complexity. Add streaming with captions and you're around $15,000 to $28,000. Multi-room breakouts and recording add proportionally. The cost lever isn't usually headcount; it's venue complexity, streaming scope, and crew seniority. Send us your specifics and we'll give a real number within two business days. Our full breakdown is in the Conference AV budgeting article on this site.