We are the AV company Houston conference teams call when the whole company is watching.
Space City Pro is a producer-led corporate event production partner, which changes what “AV company” means in practice. You get conference AV, general sessions, breakouts and hybrid broadcast from a deep in-house Houston inventory that’s ready to deploy on demand, run under a Producer of Record: one senior producer, named on the contract, from the intake call to the measurement deck inside 72 hours of strike.
We run conference AV end to end: the general session, the breakouts, and the hybrid feed.
The core of our AV work is the corporate conference: a general session with proper line-array sound, camera-safe LED, and a show caller on comms; breakout tracks with matched audio and video, so nobody in track four feels like they drew the short straw; and a hybrid broadcast for the people who couldn’t fly in, run on redundant paths by the team behind 200+ broadcasts with zero dropped shows.
Each discipline runs deeper on its own page: event production when you want the whole program owned, audio & lighting for the rooms where sound is the deliverable, LED & video for the stage your cameras will cut to, and broadcast & live streaming when the audience is bigger than the room.
The room you scope is the room you get, every show.
A deep in-house inventory means your quote holds: no last-minute sub-rentals, no third-party markup, the same gear show to show. Everything below sits in our Houston warehouse and travels in our trucks, ready to deploy on demand.
Line arrays and consoles
L-Acoustics and d&b line arrays for large and mid ballrooms, Yamaha QL/CL at FOH and monitors, redundant Dante for broadcast feeds.
Camera-safe LED fleet
ROE, Unilumin and Absen panels from 1.9mm to 3.9mm with Brompton and Novastar processing. Camera-swept before doors, every show.
Moving light and control
Moving-light rigs with grandMA3 control and a lighting director who programs cues to your run of show. Programming included, not a line item.
Redundant streaming stack
Dual SRT encoders, bonded-cellular backup paths, and a broadcast engineer at the encoder for the whole show, not just load-in.
Rigging and power
Load-tested motors with current inspection tags, flown loads run through the venue’s rigging process, and power distribution scoped on the site survey, not on the dock.
Houston-based operators
The core crew is ours and based here, fifteen minutes from George R. Brown. When your conference travels, the same team deploys with it, delivered in 35+ US cities with standing partnerships in the top 30 US metros.
Here’s why producer-led AV beats the venue AV desk for a conference.
A venue AV desk prices a gear list and staffs whoever is on shift. A Producer of Record builds your conference backwards from the agenda: which sessions get cameras, where the breakout audio has to match the keynote, and what fails over to what when the venue uplink drops. The difference shows up in the room, and again in the measurement deck your exec sponsor reads on Monday.
And when your contract says the venue’s in-house AV is mandatory, we still produce the show. Most venue contracts allow carve-outs for rigging, power, and house sound; we negotiate those early, price the patch fee into the budget up front, and hybrid-crew the room, house techs on house systems, our producer and operators on everything your audience sees and hears. If you’re comparing bids right now, our conference AV RFP checklist shows the inputs that make quotes comparable.
We know what each room will let you fly, and when the freight elevator opens.
Conference AV in Houston is venue-specific. The George R. Brown turns over OTC, NAPE and CERAWeek inside the same quarter and runs on tight freight windows. Most hotel ballrooms limit flown rigs. The TMC campuses badge crews through their own portals. We have loaded in at all of them, which is why our quotes survive the site survey.
A focused single-day AV engagement, a boardroom, a small-ballroom session, or a studio day, typically runs $25K–$60K. A multi-day conference with a keynote, breakouts and a scenic build usually lands $125K–$300K, and flagship user conferences scale from there. The full ranges, and the five levers that move them, are published on our investment page, and a scoping call turns the range into a number your finance team can review.
The gear you scope is the gear that shows up, every show. Audio, LED, lighting and the broadcast stack sit in our Houston warehouse and travel in our trucks, so there are no last-minute sub-rental surprises and one team stays accountable end to end. For scopes beyond our in-house inventory we pre-book with trusted partners and tell you exactly which line items those are.
Yes, we produce alongside in-house AV teams every month. Most venue contracts allow carve-outs for rigging, power and house sound; we negotiate those early, price the patch fee into the budget up front, and hybrid-crew the room: house techs on house systems, our producer and operators on everything your audience sees and hears.
That is the point of one team running both. The broadcast cuts from the same cameras and console feeds as the room, on redundant uplinks with dual encoders and a broadcast engineer at the encoder for the whole show. 200+ broadcasts, zero dropped shows. The full stack is on our broadcast & live streaming page.
George R. Brown, Hilton Americas, Marriott Marquis, NRG Park, The Post Oak, The Revaire, the TMC campuses and the Energy Corridor. We know the rigging limits, the freight windows and the badging portals because we have loaded in at each of them, repeatedly.
Replies land inside 72 hours, usually the next business day. A fifteen-minute scoping call returns a directional range on the spot, and the producer owns procurement, so your team never chases it.
Tell us the agenda and the room. A producer scopes the AV in one business day.
Fifteen minutes on the phone gets you a scoped recommendation and a transparent budget range, built on 480+ engagements since 2019. Prefer to talk now? Call +1 888-996-5667.