Right now there are 335 event production jobs listed across the United States on ShowRoster. The board refreshes daily, and anything that closes drops off. Filter further by department, certifications or safety cards on the full job board.
335 open event production jobs across the United States.
Event production is the department that turns a client's agenda into a show that starts on time. Production managers advance the gig, book crew and gear, build the schedule and the budget, and own the room from load-in to strike. Technical directors own the technical design and make the audio, video, and lighting plots fit together. Show callers sit on headset and call every cue in the run of show.
Producers hold the client side: content, speakers, rehearsal wrangling, and the thousand decisions that never reach the crew. On smaller gigs one person wears most of these hats at once, which is why production people tend to know a little of every department's job.
The real work starts weeks out with the advance: floor plans, power, rigging plots, labor calls, trucking, and hotel blocks. On site the PM runs the room through load-in, keeping the schedule honest while the departments build and the client changes the agenda.
Show days are run-of-show discipline. Rehearsals get timed, changes get pushed to every headset, and when a keynote runs long the caller and the TD re-flow the afternoon in real time. Strike and settlement close the gig out, and the recap deck is what wins the next one.
Production management and TD work prices at the top of the freelance market. Day rates commonly run $350 to $900 depending on market and role, with experienced PMs, TDs, and show callers at the upper end, and multi-week programs often negotiated as a project fee instead of a stack of day rates.
Staff production roles at agencies and production companies are salaried, with the usual trade: steadier income and benefits against the ceiling of a strong freelance year. Coordinator and production assistant roles are the salaried on-ramp into the department.
AVIXA CTS is the verified certification most often seen on production resumes, an accredited exam-based credential that signals you speak every department's language. It is not required for the work, but it reads well to corporate clients and to the staffing managers who book crews for them.
OSHA 30 is a safety card, not a certification, and it is the one production managers carry because they answer for the site. Vendor education, like Vectorworks courses for plots and drawings, is manufacturer training. Show calling, budgeting, and advance work are self-reported skills that live on your track record rather than on a card.
Almost nobody starts in production. PMs and TDs come up from the departments: an A2 who started advancing shows, a V1 who began running rooms, a stage manager who moved from the deck to the headset. The department knowledge is the qualification.
The other on-ramp is the coordinator desk at an agency or production company. Build decks and schedules, shadow a PM through a season, then take a small show of your own and do not give it back.