Most people hiring a teleprompter company for the first time don't know what to ask. They search, find a few options, compare prices, and book whoever responds fastest or looks most professional online.
That works fine until something goes wrong on shoot day — and then it's too late to ask the right questions.
Below are the ten questions you should ask before you book anyone. Not to be difficult, but because the answers will tell you quickly whether you're dealing with a professional operation or a vendor who's hoping nothing goes wrong.
1. How long have you been doing this, and what types of productions?
Experience in teleprompting isn't just about years — it's about the variety of productions. An operator who's worked exclusively on corporate talking-head videos has a very different skill set than one who's run live broadcasts, political events, award shows, and world tours.
ViVi-Q has been operating since 1989. In that time we've worked on presidential events, Grammy-winning tours, network television, and every type of corporate and live production you can think of. That breadth matters when something unexpected happens on your shoot.
2. What happens if the equipment fails during a live event?
This is the question that separates professionals from vendors. A professional operation has a clear, rehearsed answer. A vendor will usually say something like "that hasn't happened to us" or change the subject.
The right answer involves backup systems, redundant connections, and a protocol for what happens in the first 30 seconds of a failure — before the audience or the speaker loses the thread. For more on this, see our guide: What happens if the teleprompter fails during a live event?
3. Do you carry backup equipment to every shoot?
This should be a yes with no hesitation. Backup prompter hardware, backup cables, backup software configurations, and backup power solutions should be standard on any professional production — not something you add on for an extra fee.
4. Can you handle both SDI and HDMI connections?
Professional broadcast environments typically use SDI. Many corporate video setups use HDMI. Some productions use both. A professional teleprompter company should be comfortable with either and shouldn't need to ask your camera department to swap cables to accommodate their equipment.
5. Are your operators union or non-union, or both?
If your production is union, your teleprompter crew needs to match. If it's non-union, union rates may be more than you need. Ask upfront — a professional company will have a clear answer and won't be surprised by the question. ViVi-Q provides both union and non-union operators depending on production requirements.
6. Have you worked on outdoor productions?
Outdoor shoots introduce variables that don't exist on a sound stage: direct sunlight, ambient light that changes throughout the day, wind vibration, temperature extremes, and power accessibility challenges. These are solvable problems with the right equipment and experience, but they require both.
7. How do you handle last-minute script changes?
On most professional shoots, the script changes at least once. Sometimes significantly, and at the worst possible moment. Ask specifically how the operator handles an executive who hands them a new version 15 minutes before camera rolls. The answer should involve a clear workflow, not a shrug.
The operators who handle last-minute changes without breaking a sweat are the ones who've seen it hundreds of times. That calm is worth more than any piece of equipment.
8. What's your experience with confidence monitors?
Presidential-style setups and large stage productions typically use confidence monitors — screens the speaker can see that aren't visible to the audience or camera. Setting these up correctly, positioning them so the speaker can glance naturally without it being obvious, and managing what's displayed on them requires specific experience. Not every teleprompter operator has it.
9. Can you provide references from similar productions?
Any established company should be able to point you to credits, past clients, or productions you can verify. Ask specifically for references from productions similar in scope to yours — a live broadcast reference means more than a corporate video reference if you're booking a live broadcast.
ViVi-Q's client list includes political events at the highest level, network television productions, world tours, award shows, and corporate productions for major brands. We're happy to discuss our specific experience relevant to your project.
10. What do you need from us before shoot day?
A professional operator will have a clear list: final script format, shot list or rundown, location details, power requirements, contact for the director or DP, and a timeline for when they need script changes locked. If the answer is "just send us the script the morning of," that's a flag.
The Underlying Question
All ten of these questions are really asking the same thing: does this company have a system, or are they winging it?
A company with a system can tell you exactly what they'll do in every scenario. A company that's winging it will give you vague answers and hope nothing goes wrong. On a $50,000 production day, you want the one with the system.
Frequently Asked Questions
How far in advance should I book a teleprompter company?
As early as possible, especially for live events during awards season. For straightforward corporate shoots with flexible scheduling, a week or two is usually sufficient. For large events, multi-day productions, or anything during a busy time of year in LA, book as soon as you have a confirmed date.
Should the teleprompter operator be on the production call sheet?
Yes. The teleprompter operator is a member of the crew and should be on the call sheet with a specific call time, location, and contact information. Productions that treat the prompter operator as an afterthought tend to have prompter problems.
What's the difference between a teleprompter company and a teleprompter rental house?
A rental house provides equipment. A teleprompter company provides equipment and the trained operators who know how to use it professionally. For most productions, you want the company, not just the hardware.
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