Build a Run of Show Document Your AV Crew Will Use

A well-structured run of show document is the backbone of any successful event, providing a clear roadmap for your AV crew to execute their tasks flawlessly. It's more than just a timeline; it's a comprehensive blueprint detailing every technical cue, personnel responsibility, and timing increment, ensuring everyone from the A1 to the V1 is on the same page.

Build a Run of Show Document Your AV Crew Will Actually Use

Having been on countless show floors across Southern California, from the massive stages of Coachella to intimate corporate gatherings in Century City ballrooms, I've seen firsthand the difference a quality run of show makes. It’s the difference between a smooth, professional execution and a chaotic, last-minute scramble. This document is not just for the show caller; it's for every single crew member, from the playback operator to the camera shader, informing their setup, their cues, and their understanding of the event's flow.

What Your Run of Show Needs to Be Truly Useful

Forget the basic schedules. A run of show that actually serves its purpose for an AV crew goes deep. It’s a living document that anticipates needs and clarifies expectations. Here’p what needs to be in there:

Comprehensive Timing: Beyond just start and end times for segments, include precise duration for each element, speaker walk-on/walk-off, video playback, musical cues, and transitions. Think down to the second for the most critical moments.
Detailed Technical Cues: This is where generic show flows fall short. For each segment, list specific AV cues:
- Audio (A1/A2): Mic on/off (specify mic number/type), music sting, SFX, pro-tools playback cue number, coms channel assignments, monitor mixes, speaker IFB.
- Video (V1/V2): Camera sources (pulpit cam, wide shot, audience cam), GFX cues (lower third, full screen, logo bug), video playback (specify content file name), IMAG switching, confidence monitor feeds, LED wall content.
- Lighting (LD/LX): Scene recall, gobos, color changes, house lights up/down, spotlight cues (follow spot operator).
- Projection/Screens: Projector source changes, screen aspect ratios, specific content presentation (PowerPoint, Keynote, video).
- Staging/General: Talent entrance/exit, prop movement, curtain calls, stagehand cues.
Personnel Assignments: Clearly state who is responsible for what. "Mic 1 on" isn't enough; "Mic 1 on - A2" ensures accountability. This applies to all roles: V1, TD, A1, LD, Playback Op, GFX Op, Camera Op.
Speaker/Talent Information: Name, title, mic preference (lav, handheld), any special requests or notes.
Content Identification: Specific file names for videos, presentations, and audio tracks. Nothing is worse than a V1 trying to guess which "Opening_Video.mp4" to play.
Breakout Room Details: If applicable, individual run of shows for each breakout room, noting their unique AV setups and content.
Contact Information: Key internal and client contacts, and especially the TD or Show Caller's direct line.
Notes/Contingencies: A section for potential issues, backup plans, and last-minute changes. For instance, "If presenter runs over, cut Q&A by 5 minutes."

The "How" of Making It Actually Usable

It's not just about what's in the document, but how it's presented. Usability is key for a crew working long hours under pressure.

1. Format for Readability and Quick Reference

Clear Columns: Use distinct columns for Time, Segment, Speaker/Content, Audio Cues, Video Cues, Lighting Cues, Notes, and Responsible Party. Avoid overly dense text.
Color Coding: Strategically use color for different types of cues (e.g., red for critical live cues, blue for video playback, green for lighting). This allows an operator to quickly scan for their specific responsibilities.
Concise Language: Use clear, industry-standard terminology and abbreviations (e.g., "VO" for voiceover, "GFX" for graphics). Avoid jargon that isn't universally understood.
Logical Grouping: Group related cues together. If a speaker walks on, and a lower third appears, and their background music fades out, these should be visually linked.
Printable Version: While digital copies are essential, many crew members still prefer a printed, triple-hole-punched copy for their binder, especially at FOH or monitor world where screen real estate can be limited. Ensure it's legible in various lighting conditions.

2. The Importance of Version Control and Distribution

Changes happen constantly, especially in the week leading up to a show. A robust version control system is non-negotiable.

Date and Version Number: Every iteration must have a clear date and version number (e.g., "RoS_ClientName_V3.2_20240415.pdf").
Highlight Changes: When distributing updates, clearly indicate what has changed. Using a change log or highlighting new/modified text in yellow makes it easy for the crew to spot revisions without rereading the entire document.
Centralized Access: Use a shared cloud drive (Google Drive, Dropbox) so everyone always has access to the latest version. However, always confirm receipt of critical updates, especially when working with remote teams or AV staffing in Los Angeles.
Pre-Show Review: Conduct a dedicated show flow meeting where the TD or show caller walks through the run of show with key crew (A1, V1, LD) and clients. This is the time to catch ambiguities and make final adjustments.

Integrating with Other Show Documents

The run of show doesn't exist in a vacuum. It interacts with and informs other vital documents:

Call Sheet: The run of show informs crew meal breaks, specific arrival times for talent, and when certain departments need to be "hot" or "cold."
Stage Plot/Patch List: The run of show's mic and input requirements directly dictate the stage plot and the audio technician staffing needs for patching and mixing.
Rider: It helps ensure all technical specifications from a performer's rider are accounted for within the show's structure.
Show File: The run of show is the blueprint used to build the show files for the audio console, lighting board, and video switcher, ensuring all cues are pre-programmed and ready.

Consider a large outdoor festival setting like those regularly found in Southern California during Q2. A meticulous run of show for a main stage at an event like Stagecoach, for example, would detail not just the band’s set times but individual song cues, specific lighting looks for each song, video content per track, pyrotechnic cues, and even the changeover time for the next act, down to the minute. Without such precision, coordinating multiple headliners, each with their own technical demands, would be impossible.

A truly effective run of show document is a result of thorough advance work, clear communication, and an understanding of the technical intricacies of live events. It’s a tool that empowers your crew, minimizes errors, and ultimately delivers a polished, professional experience for your audience and client.

If you're pulling together crew for an upcoming show in Los Angeles and want the right people in the right seats, Show Ready Audio Video Services staffs vetted AV professionals across Los Angeles, Orange County, San Diego, and Palm Springs. Call (949) 415-6233 or reach out at contact@showreadyavs.com.

What's the difference between a run of show and a call sheet?

A run of show details the minute-by-minute flow of the event's content and technical cues, serving as a roadmap for the production. A call sheet, conversely, focuses on logistics for personnel, providing arrival times, meal breaks, contact information, and location details for the crew and talent.

How often should I update the run of show document before a large event in Los Angeles?

For a large event, especially one with multiple stakeholders or talent, it's common to update the run of show daily, or even multiple times a day, in the week leading up to load-in. Always distribute new versions with clear version numbers and highlight any changes, ensuring the crew at venues like the Los Angeles Convention Center always has the latest information.

Who is typically responsible for creating the run of show?

The run of show is usually initiated by the Event Producer or Project Manager. However, the Technical Director (TD) or Show Caller plays a critical role in refining it, adding the specific technical cues and details necessary for the AV crew to execute the show effectively.

Why is color-coding important in a run of show document?

Color-coding enhances readability and allows individual crew members to quickly identify their specific cues and responsibilities amidst a dense document. For an A1, for example, seeing all audio cues highlighted in blue means they can scan the document rapidly for their tasks without getting distracted by video or lighting cues.

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