Questions we expect you to ask

Ticketing, reserved seating, box office, check-in and ticket-gated streaming with chat are built and in pilot testing. In pilot testing means no customer has run a real event on them yet. Online purchase of season and flex passes is planned and not built. Tell us what you are planning and we will say honestly what is ready.

We are finalizing pricing with our first venues, so there are no numbers on this site. The principles are one all-in price for buyers, you choose who pays the fees, a payout policy shown upfront, and human support on show weekends. You can ask for a quote.

You do. Buyers pay on Stripe-hosted checkout and the payment goes to your own connected Stripe account. We are finalizing our payout policy and will state any holds, and when they apply, before you sign up.

No. Card details are entered on Stripe-hosted checkout and do not pass through our servers. Box office staff can record an external card sale by reference only, and the system refuses a full card number.

You refund from the order page. You publish your refund policy by version, each order records which version the buyer saw, and a dispute evidence packet can be exported if a chargeback arrives. A refunded ticket stops working at the door and, within minutes, for the stream.

Yes. Wheelchair, companion and aisle-transfer seats start on hold and are released by the rule you pick, with every release logged. The feature is designed to help you meet your obligations for accessible seating; the rules that apply to your venue are yours to confirm.

The check-in scanner works from a list downloaded to the phone, so it keeps answering without a network and syncs afterwards. It flags duplicate and refunded tickets.

No. They open the link in their ticket email or enter their ticket code.

A ticket is limited to two devices by default, and a newer device bumps the oldest one. You can add a watermark with the viewer name and ticket code. These are deterrents. Nobody can stop a person from filming a screen.

A laptop or hardware encoder running OBS or similar, an audio feed from your mixer and a wired internet connection. The stream itself is about 6 Mbps. We ask for at least 25 Mbps of free upload for headroom, and about 50 Mbps if you send to two destinations. We can also bring the whole kit and crew. See production.

The player moves between 1080p, 720p and 480p as each viewer's connection changes. 1080p is the top rung and is limited by what your venue sends. The picture arrives several seconds after it happens, so it suits a show, not a live conversation.

Every stream has a second ingest key, so a backup encoder can already be connected. An optional managed backup provider can be switched in by an operator, with a gap of roughly half a minute to a minute unless you send to both. You pick a failure policy in advance: none, free replay, or refund requests. A producer is named as on call for the show.

Replay is off by default. You can switch it on if your licence allows it, and you set its terms. We do not promise a fixed period; it is whatever you set within what the licence permits.

You can upload caption files in several languages, and you can add a link to a live captioner you hire. We do not produce live captions ourselves, and audio description is not available yet.

You stay responsible for securing them. Before a stream can be scheduled or go live you complete a rights record with licence details and a statement about the music. We enforce the dates, viewer cap and replay terms you enter. We do not grant licences, and a complete record is not a legal opinion.

Only if the licensor allows it. Streaming is a separate permission from performing, some licensors decline it for most titles, and some only allow it through their own approved platform. If yours requires its own platform, Venue Vision cannot be used for that title. We help you track the permission; we cannot obtain it for you.