Hire freelance AV technicians for video & events

Looking for freelance AV work? 2 Stream, a Belgian broadcast and streaming company, is actively hiring camera operators, vMix technicians, and audio engineers for corporate productions.

We run a professional studio in Zaventem alongside our own CenterStage webinar and event platform, and we book freelance crew for a steady flow of work: studio shoots, livestreams, hybrid events, corporate broadcasts, podcasts, congresses and on-location video recordings. If you're a freelance AV technician trying to figure out where the actual paying gigs are, past the job boards and the generic "freelance av jobs near me" searches, this is a direct route in.

Why 2 Stream hires freelancers instead of running an all-in-house crew

No single production company can carry every specialization full-time, and event schedules don't line up neatly with a fixed headcount. We maintain a flexible freelance bench so we can staff the right specialist for the right production, on short notice, without compromising on quality.

In our work producing webinars, hybrid events and corporate broadcasts out of Zaventem, the pattern is consistent: client demand spikes around conference seasons, product launches and quarterly reporting cycles, and it spikes for very specific skill sets at once. One week we need three PTZ operators for a multi-camera panel discussion. The next, it's a single audio technician for a podcast recording and a vMix operator for a livestream running in parallel. A freelance network lets us match crew to job instead of stretching a small in-house team thin across productions where reliability can't be negotiated.

This matters more in our client mix than it might elsewhere. Corporate communications teams, event agencies and institutional clients don't get a second take when a livestream drops mid-keynote. That's why we're selective about who joins the roster, and why we keep the door open on an ongoing basis rather than hiring reactively when we're already short-staffed.

How we evaluate freelance AV profiles

Before listing what we look for, here's the short version of our filter: technical fluency with the tools we run daily, comfort operating independently on-site, and a track record that suggests you won't need hand-holding under pressure.

• Hands-on experience with our core toolchain. Panasonic PTZ cameras, vMix, Blackmagic Design gear, Behringer X32 audio consoles, and wireless microphone systems. You don't need mastery of every one of these, but fluency in at least two or three signals you can slot into a live production without a learning curve.

• Proven work in comparable settings. Corporate events, congresses, broadcast, or streaming environments, not just casual or hobbyist production.

• Independence on-site. Our crews often work in small teams or solo on a defined task (a single PTZ position, a single audio line), so we need people who troubleshoot without waiting for direction.

• Client-facing professionalism. Many of our productions put freelancers in the room with communications directors, executives or public affairs teams. How you carry yourself on-site matters as much as your technical setup.

• Language flexibility. Dutch, French and/or English cover the bulk of our productions across Belgium and international engagements.

• Clear logistics from the start. Region, day rate and availability need to be upfront, not negotiated after we've already committed you to a job.

Which AV specializations we're actively recruiting

We recruit across the full production chain, from camera to control room to post. The roles we return to most often:

• Camera operators and cameramen for multi-camera studio and on-location shoots.

• Panasonic PTZ operators who can run remote-controlled cameras precisely during live segments, panel discussions and conference coverage.

• vMix operators and live video technicians to switch, mix and route video feeds in real time, the multi-camera, multi-stream live production workflow, including native PTZ camera control, that our productions run on.

• Streaming engineers managing encoding, platform delivery and stream health during live broadcasts.

• Audio technicians comfortable with Behringer X32 consoles and wireless microphone systems in live event conditions.

• Video engineers handling signal flow, routing and technical setup across a multi-camera rig.

• Presentation and PowerPoint technicians running slide decks and content cues in sync with live speakers, a role clients consistently underestimate until it goes wrong.

• Technical event crew for general on-site setup, rigging and support.

• Production assistants supporting crews on shoot days and event floors.

• Video editors for post-production turnaround on recorded sessions, highlight reels and on-demand content.

If your specialization sits outside this list but overlaps with corporate broadcast or event production, we still want to hear from you. We've found the strongest additions to our roster often bring a secondary skill, an editor who also shoots, an audio tech who also runs vMix, that adds flexibility to how we staff a job.

What kind of productions you'd actually work on

Freelancers who join our network get booked across a genuinely varied production calendar, not a single repetitive format. That's part of what makes the work sustainable for AV professionals who don't want to be locked into one type of gig.

Expect a mix of studio-based webinars and podcast recordings from our Zaventem base, on-location corporate broadcasts, hybrid events combining in-room audiences with remote viewers, congresses with multiple simultaneous sessions, and interviews or video content shot for corporate clients. Some of this runs through our own CenterStage platform, our webinar and event technology built for structured, professional broadcasts rather than ad hoc video calls. If you want a sense of the range of formats we cover, our articles on professional livestreaming for corporate events and conferences and hybrid events vs livestreaming walk through how those production types actually differ on-site, which is useful context if you're deciding what kind of freelance work fits your skill set.

Is freelance AV work worth it, and what does it pay

Freelance AV work is worth pursuing if you can combine strong technical skills with reliability under live conditions, since day rates scale directly with how much a production team can trust you to handle without supervision. It is not a stress-free path. Live production carries real pressure: no re-takes, tight cue timing, and clients watching outcomes in real time.

Pay varies by specialization, region and how in-demand your skill combination is. A general camera operator with baseline experience sits at a different rate than a vMix operator who can also troubleshoot streaming issues mid-broadcast, or an audio technician fluent on a Behringer X32 in a live multi-mic setup. Rather than quote a number that varies wildly by market and client, we ask every freelancer who reaches out to name their own day rate directly, based on their specialization and region, so we can match you to jobs at the right budget tier instead of guessing.

The freelancers who do best in this space typically diversify across formats. Someone who can operate a PTZ camera for a conference one week, run vMix for a webinar the next, and support a podcast recording after that stays booked more consistently than a specialist locked into a single niche. If you're weighing whether to specialize deeply or build a broader toolkit, our take from staffing these productions is that breadth pays off faster in freelance work than in salaried roles, simply because production needs shift week to week.

What to send us if you want in

Send a short introduction covering your specializations, relevant experience, region, day rate and availability, plus a CV or portfolio if you have one. We review these on a rolling basis, not against a single application deadline, because we're staffing an ongoing calendar of productions rather than a one-off hiring round.

Mention specifically if you have experience with Panasonic PTZ cameras, vMix, Blackmagic Design equipment, Behringer X32 consoles, or wireless microphone systems, since that's the toolchain most of our productions run on. If you've worked corporate, institutional or live broadcast environments before, say so explicitly. And if you're comfortable in Dutch, French or English, note which languages you work in.

For a sense of the technical standard we hold productions to, our coverage on choosing a corporate video production company and our breakdown of B2B video engagement formats for hybrid events both reflect the kind of client expectations you'd be working against on a 2 Stream production.

The freelance AV market rewards technicians who show up reliable and leave the guesswork to someone else. Now you know exactly what to send, to whom, and what kind of work is actually on offer. Email your profile, specializations, day rate and availability to contact@2stream.live, or take a closer look at the kind of productions we run through our webinars and hybrid events resources before you apply.

Frequently asked questions

Is being an AV technician worth it?

Yes, if you build technical range across multiple tools and stay reliable under live conditions. AV technicians who can operate cameras, run switching software like vMix, and handle audio consoles get booked more consistently than single-skill specialists, because production schedules shift weekly and versatile crew fill more gaps.

How much do AV companies charge per hour or per day?

Rates depend on specialization, region, and how technically demanding the production is. A PTZ camera operator, a vMix operator, and an audio technician on a Behringer X32 console typically command different rates based on skill scarcity and event complexity. We ask freelancers to state their own day rate when applying, so it's matched to the right production budget.

What are high-paying freelance AV skills?

Streaming engineering, vMix operation, PTZ camera control, live audio mixing on consoles like the Behringer X32, and presentation/PowerPoint technical support tend to command stronger rates because they carry real-time failure risk. Editors and production assistants round out the crew but usually price lower than live, on-the-spot technical roles.

Is AV tech a stressful job?

It can be, since live productions don't allow re-takes and technical failures happen in front of an audience or client in real time. The stress is manageable for technicians with strong preparation habits and hands-on familiarity with their gear, which is exactly why experience with specific tools like vMix or Panasonic PTZ systems matters more than general enthusiasm.

Where can I find freelance AV technician jobs near me?

Production companies running regular corporate, livestream and hybrid event work, like 2 Stream in Zaventem, hire freelance crew on an ongoing basis rather than through one-off job postings. Sending a direct profile with your specialization, region, day rate and availability to a production company active in your area is often more effective than browsing generic freelance job boards.

What should I include when applying for freelance AV work?

Include your specializations, relevant experience, region, day rate, availability, and a CV or portfolio if available. Mention specific tools you're experienced with, such as Panasonic PTZ cameras, vMix, Blackmagic Design equipment, or wireless microphone systems, and note which languages you work in, since multilingual crew are valued on international productions.