Mission control for live-event production — inventory, crew, travel, quoting and the warehouse floor in one dark, fast cockpit. Built by working live-event operators, on real shows.
Every board below is the real layout, rebuilt here in vector so it stays sharp at any size. Nothing is a screenshot; nothing is a mockup of a feature that does not exist.
Mission Control: an action queue ranked by severity, an ON AIR banner for the show running right now, load-in and load-out counts, a travel rail, a money pulse and a week-ahead strip.
The Ops Map: shows plotted on a dark world, crew pins with status LEDs, animated flight arcs between airports, a deployment rail listing who is on the road, and a timeline scrubber that moves the whole map through time one day at a time.
Inventory: availability derived per item from owned, reserved, sub-rented and quarantined counts; a kit whose buildable count is derived from its scarcest component; and the serialized asset roster behind a single SKU.
Quote builder: line items grouped into sections with per-section subtotals, and a profitability panel showing internal cost, profit and a margin gauge computed against true cost with tax treated as pass-through.
Warehouse pull sheet with barcode scanning, per-line packed counts and a shortfall flagged in red — beside the technician portal as it appears on a crew member's phone, showing their live show and a penciled call awaiting a response.
None of this is a software problem until the truck is loaded. Then it is the only problem.
Two people edited the tab during load-in and neither told the other. The twenty-four you counted are eighteen — and you find that out at the dock, in front of the client, with the truck already backed in.
He said yes to both, because nothing told either of you. So you buy a freelancer at short notice, at one-point-eight times the rate, and quietly eat the difference on a show you already sold.
Sub-rentals, freight, per diem and one cracked fixture land weeks after the deposit cleared. The margin you sold was never the margin you ran, and nothing in the file ever reconciled the two.
Not products you buy separately and reconcile later. The warehouse floor, the crew board, the travel desk and the ledger read and write the same rows.
Load-in through strike on one timeline. Call times, rooms and cues sit in the same record the warehouse reads.
Barcodes, kits that pack as a single line, and serial-level history for anything with a warranty clock running.
Hard reserves on confirmed shows, soft holds on live quotes, sub-rentals counted as supply. One number, always current.
Double-books surfaced before they are booked. Fatigue alerts on contiguous confirmed runs past your own threshold.
Rates resolved per day, not per trip — fiscal-year rollover on 01 October handled, lodging seasonality where it applies.
Deposit invoices, credit notes and refunds. Margin computed against true cost, not against the number you wish were true.
Pull sheets, scan-out, cycle counts and damage billing. The dock and the office are looking at the same row.
One expiring, revocable link. The client signs, the quote flips, and the deposit invoice is already waiting.
Crew enter their own flights and hours from the floor, on their own login. You approve. You do not transcribe.
Subscribed, not exported. The show that wakes you at 04:00 is already on the phone next to the bed.
Not marketing copy. These are constraints the software actually enforces, so nobody has to remember them at 02:00.
EventGenius was written by working live-event operators, inside a live-event AV company, while that company was running shows. It ran real load-ins, real freight and real overdue invoices before it had a name or a logo.
Every rule in it exists because something went wrong once and we refused to let it happen twice. That is the whole design brief. It is not a rental package with an events skin, and it was never sold before it was used.
EventGenius is opening to a small number of AV companies. Tell us what you run, how big the floor is, and what your current system keeps getting wrong.
We’ll be in touch. If it is a fit we will open a board for you and walk the floor with you on the first show.
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