Walk the InfoComm show floor and you will hear the same conversation in a dozen different forms. An AV integrator talking about color grading. A live event technician asking about narrative structure. A systems engineer who just finished producing a six-part internal video series for a Fortune 500 client. The titles on the badges haven't changed, but the work has.
Three things happened over the last few years, and they didn't send a memo. They just quietly rewrote what it means to work in AV.
Not by preference. By default.
Town halls that used to live as email threads are now produced as video. Executive announcements that used to be slide decks with a voiceover are now edited packages with graphics and music. Training content, onboarding flows, internal comms for distributed teams, safety briefings, product launches aimed at employees rather than customers: all of it has migrated to video in the last three years, and most of it landed in the lap of whoever in the building already knew how to operate a camera or manage a production environment.
That is frequently the AV team.
The internal rationale usually sounds something like this: the AV department already has the gear. They already understand signal flow and lighting and audio. How hard can the rest of it be?
The honest answer: the technical gap is smaller than people assume, and the storytelling gap is larger. Knowing how to run a live production is genuinely useful preparation for video content work. But live event production and video production are not the same discipline. One is optimized for the moment. The other is optimized for an audience that wasn't there and can stop watching whenever they want.
AV professionals who want to stay ahead of where their clients are headed need both skill sets. The demand exists. The client budget exists. The question is whether the training exists to match.
The pandemic accelerated something that was already underway. When live events went hybrid, the streaming layer stopped being a secondary concern bolted onto the main production. It became a first-class deliverable. And the person managing the LED wall suddenly needed to understand framing for a camera, audience engagement without a physical room, and what makes something watchable on a laptop versus compelling in person.
The content team and the AV team kept bumping into each other until the distinction started to dissolve.
Scope creep is the polite term. The more accurate description: the job expanded, and the people doing it adapted. An AV integrator scoping a hybrid event install for a corporate client is now, functionally, also being asked to think about how the recorded content will be used afterward. Will it be edited into a highlight reel? Does the organization need a broadcast-quality master for a training library? Is there a social clip coming out of this that requires a different crop and a lower-third treatment?
Those are post-production questions, and they are now part of the pre-production conversation on a lot of AV projects.
The professionals navigating this well are the ones who built enough fluency in video production workflows to speak the language. Not necessarily to do every part of the job themselves, but to scope it accurately, staff it correctly, and deliver something the client can actually use after the event is over.
For years, the reason organizations gave for not producing more video was time. Specifically: the time required to edit, color, mix, caption, and package content was a genuine barrier for teams that weren't built for it.
That barrier is lower now.
AI-assisted tools have compressed the post-production workflow significantly. Transcription is automated. Assembly edits from rough footage are faster. Color correction workflows that used to require a dedicated session are increasingly handled in the same timeline where the edit lives. Speech enhancement that used to mean a dedicated audio pass is built into tools that AV and video professionals are already using.
None of this makes the craft disappear. Good editorial judgment, strong visual storytelling, and the ability to shape a narrative from raw footage are still human skills that take time to develop. What changed is that the friction involved in producing competent video has dropped enough that "we don't have time" stopped being a defensible answer.
What that means practically: the organizations that used to outsource all their video because it was too resource-intensive are reconsidering. Some of them are building small in-house teams. Some are asking their existing AV vendors to take on more of the content work. Some are trying to figure out where AI tools fit into a workflow they haven't fully defined yet.
All of them represent work that didn't exist in this form three years ago. And most of that work will go to the professionals who are ready for it.
The three shifts above are not trends in the sense of something you can watch from a distance and decide whether to engage with. They are the current state of the market. Corporate video is already the default. Hybrid event scope already includes content deliverables. AI-assisted tools are already on the tools panel at every major industry conference.
The question is not whether to build video production skills. The question is how, and with whom.
This is exactly the conversation Pro Video Summit at InfoComm 2026 was built for.
FMC and InfoComm designed the program specifically for the transition that's already happening: AV integrators, broadcast engineers, corporate media teams, editors, and content creators who are producing more video than they used to, or trying to figure out where AI actually fits into the way they work.
Two days. Two tracks. Five working-pro instructors who are not teaching theory. They are teaching the workflows they use on real productions.
Track 1: Live and Corporate Events Production covers the operational side of the shift: producing content that works for the room and for the camera, managing hybrid workflows, building the kind of production value that corporate clients now expect from their internal communications teams.
Track 2: Video and Post Skills for Media Creators covers the editorial and post-production depth that AV professionals often need to fill in. Editing workflows, color, AI-assisted tools, and the storytelling fundamentals that make video content effective rather than just technically competent.
The instructors include Rich Harrington, Luisa Winters, Douglas Spotted Eagle, Jeff Greenberg, and Nick Harauz. These are names that show up on stage at NAB Show and Post Production World. They are also working professionals who understand what it looks like when an AV technician is trying to become a video producer, because they have been teaching that transition for years.
Every paid Pro Video Summit pass includes access to one of FMC's live & Online AI Content Creation Courses (standalone value: $399). It is designed to reinforce what you learn in Vegas and let you apply it at your own pace after the event. The course must be redeemed by December 19, 2026.
If you're bringing a team, that conversation changes. The professionals most positioned to capture the work described above are the ones whose entire team is working from the same playbook. Team pricing is available for groups of three, five, or ten or more. Email Megan Belka (megab@fmctraining.com) for a team quote.
Pro Video Summit runs June 17 and 18 in Las Vegas, at InfoComm 2026. Registration is open now.
The job description changed. Pro Video Summit is two days to catch up with it, and come back from Las Vegas ready to take on the work that's already in the market.