Frequently asked questions

We turn corporate events into content libraries. Video, photo, social, and live coverage, planned around how your team will actually use it: next year's promotion, sponsor outreach, internal communications, or a session archive people return to.

Your AV team runs the room. Sound, screens, lighting, live feed. Summit adds the content layer. We take what AV captures, add our own coverage, and turn it into assets your team can use after the room clears: social cuts, testimonials, recaps, sponsor proof, speaker clips, photos, and organized libraries.

AV makes the event work in the room. Summit helps the event keep working after.

You could, if all you need is someone to show up with a camera. A local crew captures footage. Summit helps you leave with a content library, not just a hard drive.

The difference is planning. We start with what the footage needs to become, not just what happens in the room.

Conferences, trade shows, internal meetings, sales kickoffs, awards programs, and virtual or hybrid events. The crew and content plan change with the event. A ticketed conference selling next year's registrations needs a different approach from a private leadership meeting.

Yes. We are based in Denver, Orlando, and Miami, and we take on events in other markets when the travel makes sense. We build travel into the scope, not as a surprise.

Yes, when we plan for it. We identify which sessions need dedicated cameras, which can use an AV feed, and where the crew needs to be for interviews and event coverage. Parallel sessions change the crew and gear plan, so we sort that out before the event.

Both, when the scope calls for it. Full recordings preserve the presentation. Edited sessions, speaker excerpts, and short clips make the ideas easier to find and use.

A six-hour recording is not a library. Individual sessions with clean starts and speaker identification are.

Yes. We identify subjects and available windows beforehand. A quiet space, a clear purpose, and realistic timing make the difference between a usable asset and a rushed clip no one wants to watch.

Attendee energy, speaker moments, crowd reactions, and testimonials from people who can speak to the value of attending.

A recap is useful. It is not the whole strategy. If you also need to fill the room next year, the content plan needs to account for that.

Yes. Booth activity, demonstrations, interviews, attendee engagement, short features. We figure out what the organizer and each sponsor can actually use before deciding what to film. Every asset has a purpose.

We plan around the show schedule, priority booths, and when the floor is most active. Clean booth visuals and crowd energy sometimes need different times, so we build that into the plan.

Yes. We coordinate with booth teams on timing so demonstrations and staff interactions are captured without disrupting foot traffic or the booth's own sales conversations.

That depends on who needs the content afterwards. Leadership messages, key presentations, employee reactions, recognition moments, material for teams that could not attend.

Internal content does not need to look or sound like a public conference ad.

Yes. We coordinate with the show team on stage access, camera positions, lighting, and run of show. Winner reactions and interviews matter just as much as the moment on stage. We plan for both.

Yes. We scope internal events around their intended audience and distribution. Some content stays inside the company. We plan capture, editing, and delivery around that boundary.

Yes. We define who handles cameras, audio, slides, the program feed, and the streaming platform before show day. Clear handoffs matter most when the room and remote audience need different views of the same program.

Not if you want remote attendees to follow the event. Camera framing, speaker audio, readable slides, and program flow all need to work on screen as well as in the room.

A camera in the back of the room is rarely enough.

Yes, when recording and post-event edits are part of the scope. Individual sessions, speaker clips, and an organized library are more useful than one long replay no one wants to search through.

Yes. The room may change, but the remote viewer still needs deliberate framing, clean audio, readable presentations, and an organized recording plan.

It should create less. We build the capture plan from your agenda, identify priority people and moments, and coordinate access before the event. Your team should not be directing a camera crew while running the show.

Event dates, location, a draft agenda, the rooms or stages involved, and how you want to use the content.

If the deliverables are not clear yet, that is a good reason to talk. You do not need to arrive with a finished shot list. Figuring out the right plan is part of our job.

Earlier gives us room to plan interviews, simultaneous sessions, sponsor needs, and quick-turn content. If your event is close, reach out anyway. We will be direct about availability and what we can cover well.

It usually does. We set priorities before show day so we know what to protect when timing shifts. Our lead stays aligned with your event contact on changes that affect coverage.

Yes, when that is included in the plan. A headshot setup needs its own space, lighting, schedule, and attendee flow. We scope it separately from candid event coverage, not as an afterthought.

We agree on a delivery schedule before production. Priority social edits can land within days. On-site editing can make selected assets available immediately after the event when it is in the plan. Recaps, testimonials, photos, and larger libraries follow the agreed schedule.

Yes. We agree on the review process and revision scope upfront. One point of contact gathering feedback keeps delivery moving and avoids conflicting notes.

Yes. Delivered assets come with usage rights for your agreed uses: web, social, email, sales, sponsor, and internal communications. We flag any speaker, venue, music, or third-party restrictions that affect a particular asset.

Raw footage can be included in the scope. Tell us early if you need it for an archive or future edits, so we can agree on organization, delivery, and any rights restrictions.

We scope the event, coverage, crew, deliverables, and turnaround before recommending an approach. You get a proposal built around what your team will use, not a generic list of filming hours.

You get your money back. We define the deliverables before production so the commitment is clear.