Our board currently lists 2 broadcast engineer jobs across the United States. Every listing comes straight from the company hiring, with the rate, the dates and the gear shown up front. Save a search and get told when a new one lands.
2 open broadcast engineer jobs across the United States.
Broadcast engineers own the signal path that leaves the room: cameras, switching, routing, sync, audio embedding, encoding, and the feed that hits the network, the satellite, or the stream. On live events the title covers the webcast engineer running encoders at the back of a ballroom and the engineer in charge of a production truck at a stadium.
The job is part build, part firefight. You design the flypack or the truck patch, prove every path before rehearsal, and then keep the program feed alive while everything around it changes.
A show call starts with the build: patch the flypack, land the camera fiber, sync the rig, route sources, and confirm records and backups. Facilities checks with the network or the streaming platform happen before rehearsal, because a bad handoff discovered on show day is already too late.
During the show the engineering seat watches levels, timing, and the encoder dashboard while the director cuts the show. Redundancy is the whole philosophy: two encoders, two paths out, and a rehearsed plan for the moment the primary dies.
Broadcast splits into two markets. Stations, networks, and truck vendors employ staff engineers on salary, and that side rewards depth in one plant. Live events hire freelance webcast engineers and EICs by the day, and day rates commonly run $350 to $900 depending on market and role, with senior engineering seats at the top of the range.
The streaming side keeps growing the freelance market: corporate town halls, hybrid conferences, and sports webcasts all need someone who can own the encoder and the network it rides on, and that person books solid weeks in every major market.
The Society of Broadcast Engineers runs the verified certification ladder for this department: exam-based credentials that step up with documented experience. Dante certification, Level 1 through Level 3 from Audinate, is the other verified certification that shows up constantly, because audio-over-IP is half the modern signal path.
Ross Video and similar vendor courses are manufacturer training, worth listing but training rather than certification. OSHA 10 and lift tickets are safety and operator cards, and event work still loads in through the same docks as every other department. Switcher and routing chops, Ross, Barco, Blackmagic, plus NDI, SDI, fiber, and RF coordination, are self-reported systems until a show proves them.
People arrive from two directions: event video engineers who kept following the signal past the switcher, and IT and network people who learned cameras. The second group is gaining ground, because standards like SMPTE ST 2110 and tools like NDI turned the broadcast plant into a network.
From the engineering seat the ladder runs to engineer in charge, plant or truck engineering leadership, and systems design. The differentiator is networking: an engineer who can subnet, multicast, and QoS a video network takes calls a switcher-only engineer cannot.