Video and Projection Tech Rider: Signals, Screens, and Playback

TL;DR — A video and projection tech rider should define the content, visible canvas, playback system, signal format, physical handoff, control, staffing, test schedule, and fallback. Confirm resolution, frame rate, aspect ratio, connector, conversion, and audio treatment as one end-to-end path. Do not assume that a file, an HDMI cable, or a screen size alone proves compatibility with the venue’s projector, LED processor, switcher, or distribution system.

Table of contents

1. Define the video outcome
2. Specify the display and content canvas
3. Document playback and signal handoffs
4. Advance control, staffing, and schedule
5. Test the complete path
6. FAQ

Define the video outcome

A video and projection tech rider describes how show visuals move from content and playback to the audience display. It can cover projection, LED screens, confidence monitors, switchers, cameras, media servers, graphics, and recording interfaces, but it should include only systems used by the actual show.

Begin with the production purpose:

• artist visuals or playback content;
• image magnification from live cameras;
• lyrics, titles, sponsor, or event graphics;
• scenic projection or projection mapping;
• conductor, clock, cue, or confidence displays;
• accessibility content such as captions;
• recording, broadcast, or stream feeds where separately agreed.

For each destination, name the content source, display, operator, timing method, and failure behavior. A decorative background can often fall back to a static look. A confidence feed or caption display may need a different operational priority.

Specify the display and content canvas

Describe the visible result

For each screen or surface, record:

• display type: projection surface, LED wall, installed display, or monitor;
• active image width and height, plus units;
• position, elevation, orientation, and viewing direction;
• native or configured pixel canvas supplied by the venue;
• aspect ratio and any masked or unused area;
• sightline and performer-clearance constraints;
• rigging, support, ballast, weather, and safety owner;
• brightness or ambient-light constraints to be resolved by the supplier;
• whether audience cameras or sensitive content affect placement.

Do not choose a projector from screen diagonal alone. Image size, throw geometry, lens availability, surface, ambient light, viewing area, mounting position, and venue restrictions all affect the design. Ask the qualified video supplier to propose and confirm the system.

Create a destination schedule

Replace placeholders during the advance. When an LED wall has a custom pixel map, obtain the current processor canvas and content template rather than assuming a standard 16:9 frame.

Prepare content deliberately

The content delivery note should state:

• exact file names and versions;
• pixel dimensions and aspect ratio;
• frame rate;
• codec and container accepted by the confirmed playback system;
• color and alpha requirements where applicable;
• embedded, separate, or no audio;
• loop, hold-first-frame, hold-last-frame, or blackout behavior;
• cue name and trigger;
• delivery method, deadline, and checksum or verification method where used;
• a fallback still or alternate file.

Do not prescribe a universal “best concert video format.” Export to the specification accepted by the actual playback system, then test that exported file on that system before doors.

Document playback and signal handoffs

Map the end-to-end path

Write the full route, not laptop to screen:

1. content file or live source;
2. playback computer, media server, or camera system;
3. local output interface;
4. switcher, converter, scaler, or distribution;
5. transport to the display position;
6. projector, LED processor, or display input;
7. configured output canvas.

At every handoff, record the signal format and owner. HDMI and SDI are connector or transport families, not complete delivery specifications; compatibility also depends on supported resolution, scanning format, frame rate, and device capabilities.

Use a signal schedule

Avoid writing HDMI preferred without cable distance, connector location, conversion responsibility, and supported format. Likewise, SDI feed is incomplete without the accepted video standard and physical handoff.

Resolution, frame rate, and scaling

Source and destination equipment must agree on an accepted signal. Record the exact resolution and frame rate at the touring output and venue input. If scaling or frame-rate conversion is needed, name the device/provider and identify where it occurs.

Do not assume the display’s native pixels are the transport resolution. A processor or scaler may accept one signal and map it to a different physical canvas. The venue video lead should supply the content canvas and accepted input specification.

Audio and synchronization

If a visual file contains audio, state whether audio is ignored, embedded in the video signal, or delivered separately to the audio system. Define the audio output, connector, channel assignment, sample format if relevant, and responsible operator. Align this with the Playback Tracks Tech Rider.

For timecode, automation, or tightly synchronized content, document:

• cue or timecode source;
• format and frame rate;
• physical or network distribution;
• receiving devices;
• operator and start procedure;
• rehearsal method;
• manual fallback.

Do not use sync to playback as a complete interface description.

Advance control, staffing, and schedule

Assign system boundaries

Name the responsible party for:

• content creation and final approval;
• file transfer and version control;
• touring playback hardware and adapters;
• venue switching, scaling, distribution, and display processing;
• cameras and image direction;
• screen, projection, LED, rigging, and power;
• playback, switcher, camera, and display operators;
• recording or streaming feeds;
• show calling and cue communication.

If the venue receives a feed but controls the screen processor, state that boundary. If the touring operator controls both content and switching, confirm access, credentials or show files, interface compatibility, and venue supervision.

Protect content and sensitive feeds

Agree how unreleased media and show files are transferred, stored, accessed, and removed. Keep passwords, private download credentials, and personal contact details out of public rider links. Use a restricted production channel for sensitive information.

Obtain explicit approval before distributing camera, recording, or stream feeds. A display feed does not automatically authorize recording or rebroadcast.

Schedule the dependencies

Build the video schedule in this order:

1. screen, LED, projector, rigging, power, and processing ready;
2. touring and venue systems connected;
3. accepted signal format established;
4. pixel mapping, scaling, edge treatment, or alignment completed;
5. every content file loaded and checked;
6. cue, audio, and synchronization tested;
7. backup route tested;
8. rehearsal or show run completed;
9. show-ready state protected before doors.

Projection alignment and LED configuration need access to the final physical system. Put that time in the Concert Production Schedule, not in an informal arrival note.

Test the complete path

Advance checklist

• Every display has a purpose, position, provider, and fallback.
• Exact active dimensions, canvas, aspect ratio, and orientation are confirmed.
• Content delivery fields include resolution, frame rate, codec/container, audio, and cue behavior.
• The complete playback-to-display route is documented.
• Every connector, signal standard, converter, cable, and adapter has a provider.
• Scaling, mapping, and frame-rate conversion have named owners.
• Audio and synchronization interfaces agree with the audio plan.
• Playback, switcher, camera, display, and show-call roles are assigned.
• Rigging, power, weather, and safety stay with qualified responsible parties.
• Setup, content check, rehearsal, backup test, and doors times are scheduled.

Show-day verification

Test the actual exported media through the actual primary path. Check:

• correct file and revision;
• image geometry, crop, scaling, orientation, and safe text areas;
• motion at the accepted frame rate;
• color and levels appropriate to the confirmed system;
• audio presence, absence, routing, and synchronization;
• first-frame, last-frame, loop, and blackout behavior;
• cue communication and operator sightline;
• primary-to-backup changeover;
• every audience and confidence destination.

A desktop preview does not validate the venue path. Record material changes in the current rider and cue sheet before the show.

Common video-rider mistakes

Specifying only a connector. HDMI does not define resolution, frame rate, distance, conversion, or ownership.

Sending content before receiving the canvas. The final display may not use a standard aspect ratio or pixel map.

Assuming playback and display use the same format. Scaling or processing may sit between them; document it.

Leaving audio embedded by accident. State whether audio is used and where it enters the audio system.

Testing only the primary computer. Verify the backup content, output, input, and operator procedure.

Mixing display and recording permissions. Treat projection, capture, streaming, and distribution as separate approved scopes.

FAQ

What should a video tech rider include?

Include display locations and dimensions, content canvas, files and formats, playback equipment, end-to-end signal routes, connectors and accepted standards, scaling, audio, synchronization, operators, cue workflow, rigging and power owners, schedule, backups, and approvals.

What video format should you send for a concert?

Send the codec, container, resolution, frame rate, aspect ratio, color treatment, and audio configuration accepted by the confirmed playback system. Ask the venue or supplier for its content specification and test the final export on that system.

Should a tech rider specify HDMI or SDI?

Yes, when it identifies the actual handoff, but the connector alone is not enough. Also specify the accepted resolution, frame rate, scanning format where relevant, cable and converter provider, handoff location, audio treatment, and backup.

How do you specify a projection screen for an event?

State the visible image dimensions, aspect ratio, position, elevation, orientation, audience viewing area, ambient-light conditions, and content purpose. Let the qualified supplier confirm surface, projector, lens, rigging, and processing for the venue.

Who operates video playback at a concert?

It may be a touring playback operator, video director, venue technician, or another named show operator. The rider should define who loads content, takes cues, controls outputs, handles failures, and approves the show-ready state.

Keep the video handoff attached to the show

Build the stage plot and technical package in Techrider.live, invite the video or production lead to edit and save the same Rider, inspect history after changes, and share one confirmed version with the venue.

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Last updated: 2026-08-03 · Reviewed for content canvases, projection and LED destinations, playback, signal formats, audio, synchronization, staffing, testing, and fallbacks.