An event video plan
built on the run of show.

One row per run-of-show item: the time, the room, the camera and operator, the audio source, the must-get shots and the deliverable it feeds. Add the moments that are not on the agenda: arrivals, registration, sponsor stands, the room filling, candid networking and two or three short interviews. Mark which rows are must-film so the crew knows what to protect when the day runs late.

What each video is for and where it will run, the run of show, the must-film speakers, sponsors and moments, who is not to be filmed, the AV company's contact, load-in and doors times, whether the venue needs your insurance certificate, what is due that night, and who approves the cuts. Ask them on a call, then send the answers back as the plan.

Count by what gets recorded, not by the size of the event. A common shape is two cameras on each stage you record in full (a locked-off wide and an operated tight), plus one roaming camera for the room and interviews. Breakouts that only feed the highlight film can share the roaming camera. More stages means more operators, not just more cameras.

Take a feed from the AV company's sound desk for every stage you record, run a backup recorder on it, and check the feed is live before doors. Put a lav on anyone you interview, and ask AV for the keynote mic on its own channel, not just the room mix. Agree all of this with the AV lead before the day.

A same-day edit is a short recap, often 60 to 90 seconds, cut during the event and shown at the close or posted that evening. It needs its own editor who does not shoot, footage handed off through the day, and a fixed cut-off time. Quote it as its own line when the client wants the recap on screen or on social before the event ends.

Name each one with its length, aspect ratio and due date: a highlight film of 60 to 120 seconds, full session recordings, speaker clips, three to five vertical cutdowns, and a same-day recap if it was sold. Say whether raw footage is included. A package priced as "event coverage" without a deliverables list becomes whatever the client remembers asking for.

Build it from what drives the cost: coverage hours, number of camera operators, same-day editing, each post deliverable, travel and any extra shoot day. Offer two or three packages that differ on coverage and deliverables. State the overtime rate per half hour past the coverage window, because events run late. Price usage beyond the client's own channels as its own line.

Yes, as a first pass over the agenda. Attach the run of show and your call notes, and Storyflow's AI drafts the coverage plan and the shot list on the board, with each session given a camera and must-get shots. You decide what is must-film, where cameras stand and who operates them.

No. Contracts, e-signature, deposits and invoices belong in HoneyBook, Dubsado or Bonsai, call sheets emailed to crew with confirmations in StudioBinder, and timecoded review of the cuts in Frame.io. Storyflow is where the coverage is worked out; put the plan's link in the proposal so the event producer reads both together.

A deposit that holds the date, often half, with the balance due before the final files are delivered. Add what happens if the event is postponed or cancelled and how much notice that needs, the overtime rate, travel and accommodation for crew outside your area, and meals for crew on a long day. Your contract tool collects the payments.

Not during early access. Storyflow is paid-only during early access, with plans from $7.99 a month billed annually ($9.99 monthly). A free plan launches before the end of 2026, and anyone a paid member invites to a board joins free. The client and the event producer pay nothing to open the plan.