Stereo Event Venue Setup and AV Cable Taping Data

It is first-person video of a person doing the physical work that readies an event room and clears it afterwards, recorded with two calibrated cameras, with hand pose and sensor streams alongside. People reach it through several phrasings: event venue setup robot training data, stereo AV cable taping video, an egocentric staging setup and teardown dataset, or custom venue operations data collection at scale. Stereo describes the capture, and MCAP describes the container. They are separate choices.

It is room work, not event footage. None of the eight catalog rows describes a guest, an attendee or an audience, and this page does not describe capturing event guests. The data is human capture by paid, consented contributors, not robot or teleoperation data, so using it for a specific robot still needs your own retargeting step. The site states one task instruction per episode as its language data. Firsthand is not affiliated with Foxglove or the MCAP maintainers.

Eight, listed in lib/commercial-catalog-data.ts under the Event Venue environment in the Hospitality & Events sector, whose examples line reads "Conference halls, wedding venues, stages and banquet rooms." Five are rated Easy and three Medium. All eight list "Phone (head-mounted) / multiview rig" as the capture setup, and all eight are Ready to deploy. The first table below reproduces them with the catalog wording.

Ready to deploy means contributors and site access are set up, and capture starts once a spec is signed. The site states no delivered hours and no delivered stereo footage for these rows, so this page claims none. Words such as platforms, hand trucks, dollies, ramps and gaffer tape are catalog wording for item types, not models, and no brand is named.

This page is the stereo and MCAP treatment of all eight Event Venue rows. The egocentric event venue setup and teardown page covers the same eight rows as first-person video that is not stereo as its subject. The egocentric AV cable management and taping page covers two of them, "AV & Cable Management" and the routing and taping row, in more depth, also not as a stereo page.

The stereo layout marking and taping page covers eleven measuring, marking, layout, drywall taping and masking rows whose statuses range from Ready to deploy and Active collection to Available on request, so its taping is tape on a surface, not a cable run. The stereo order packing and taping page covers four warehouse rows, all Ready to deploy, where tape closes a box. This page is stereo capture of venue staging setup and teardown, AV cable routing and taping, table and chair layout and venue sweep tasks. The second table below sets the pages side by side.

The catalog lists "Phone (head-mounted) / multiview rig" for all eight rows. The site does not state a stereo pair for any of them. Stereo applies through the site’s general stereo offer: a stereo pair is a capture choice agreed in the skill spec and confirmed on a Spec Pilot. Camera count, resolution and frame rate for venue work are Not stated.

The site describes two stereo setups and does not say which one an order for these rows uses. The hard-environments stack is a global-shutter 4K/60 head camera with a 120° lens, two 1080p/60 wrist cameras, a depth sensor at 848×480 and 30 fps, and 200 Hz 6-DoF IMUs. The off-the-shelf stereo head rig, dataset 06, is dual fisheye cameras at 1080p per eye, a 62 mm baseline, per-unit calibration, a 9-axis IMU and hand-tracking output. On the rig tier every stream is hardware-triggered onto one PTP clock domain, and calibration is solved before capture starts and after it ends.

Two Medium rows cover staging. "Set up and tear down staging using folding platforms and hand trucks" is described as carrying staging platforms in on hand trucks, locking them together, then dismantling and stacking them. "Stage & Equipment Setup / Teardown" is described as assembling stage decks, setting up equipment and lighting, then tearing down and packing after the event. Both describe a build followed by its reverse.

In stereo, the same items are seen going up and coming down, and the depth stream records how a platform sits against its neighbour when it is locked. A spec that says "set up the stage" gives one long segment. A spec that names carrying, locking, equipment and lighting, dismantling, stacking and packing as separate steps gives a sequence you can slice. Whether setup and teardown are one episode or two is a spec decision. The site states no stage size, load rating, rigging method, equipment list, deck count or packing order, and this page makes no stage-engineering or safety claim.

Two rows cover cables. "AV & Cable Management" is rated Medium and described as running cables to AV gear, taping them down, positioning speakers and screens and connecting equipment. "Route and tape AV cables using gaffer tape and cable ramps" is rated Easy and described as laying cables along walls and walkways, covering them with ramps and taping them down with gaffer tape. The site describes the work as long, thin items laid along walls and walkways.

A stereo pair records where a cable runs relative to the wall and the walkway, how a ramp sits over it and where the tape lands, in the same capture that shows the fingers at work. One hand usually holds the cable while the other works the ramp or the tape, and the egocentric cable page states that a finger hidden behind a cable, a ramp or a tape roll is flagged as hidden rather than guessed. The site does not describe tape tearing and pressing as a separate step, gives no cable types, lengths, connection standards or signal specifications, and names no AV equipment maker. This page gives no rigging, electrical or crowd-safety instruction.

Two Easy rows cover layout. "Arrange and align tables and chairs using layout plans and dollies" is described as reading the layout plan, rolling tables in on dollies and positioning and aligning tables and chairs. "Table & Chair Arrangement" is described as moving and arranging tables and chairs into the event layout and aligning rows. The catalog lists them separately and does not say how they differ.

Layout rows add alignment, because items are positioned into rows rather than just moved. Stereo depth lets an item and the floor it lands on be read together. The site states no layout plan format, room size, table or chair counts or row spacing, so a spec should say whether a plan is provided, how many items go in and what counts as aligned. Two-person carries are named only as a warehouse skill on the site and are not stated for these rows.

Two Easy rows reset the room. "Sweep and bag venue trash using brooms and liner bags" is described as sweeping the venue floor, bagging trash and recycling and carrying the bags to the dumpsters. "Trash & Recycling Sweep" is described as walking the venue collecting trash and recycling into bags and sweeping up debris. They are the cleanup end of teardown.

Walking a venue and carrying bags to a dumpster is large-space movement, and the site does not state how large a room is or how far a carry runs. Waste volumes, bag counts and disposal rules are Not stated. The sweep rows are the ones most likely to put people in the background, so the privacy rule in the spec matters here.

The site states that the hands occlude the work and that fingers disappear behind objects. That is why each hand joint carries a visibility flag, why contact events mark when the hand or a tool meets a surface, and why instance masks are recorded per frame. In a venue, contact events mark touches on a table edge, chair back, platform edge, cable or bag, and action segments mark each step.

The site says two-handed fine motion and small objects are where occlusion bites, and it states that depth degrades on wet and reflective surfaces. Whether a polished stage deck, a taped ramp or a reflective cable sleeve counts as reflective is Not stated, and so is whether a bag or a platform leaves the view for long. A spec that needs a clear view of a step should name that step, ask for wrist views or a multiview angle, and confirm it on a Spec Pilot.

The site states a consent chain for contributors. Every contributor signs a written release, each delivered episode links to it through consent artefact IDs, and a break at any of the six checkpoints discards the footage. An undocumented bystander is a stated reject criterion. For every delivered episode the site states that faces, plates and screens are detected and irreversibly blurred at ingest, that a reviewer confirms the result before anything ships, and that footage that cannot be de-identified is discarded. The anonymization record ships with the data.

The site states no venue-specific bystander rule, so how people who are present are handled is settled in the spec. Attendance, capacity and PPE rules are Not stated, and this page does not describe capturing attendees. The site names no venue, operator, event or region for these rows. This is not legal advice, and the executed agreement controls.

Venue, event, client and AV equipment brand names, rigging or electrical safety standards, load ratings, setup times, error rates, room sizes, the number of sites, camera count, resolution and frame rate for venue work, and what a correct or finished result means are Not stated. They are set in the written spec, and this page claims none of them.

MCAP is an open source container file format for multimodal log data, supporting multiple channels of timestamped pre-serialized data. It is serialization-agnostic, so messages can be Protobuf, DDS (CDR), ROS, JSON and more. Its design is row-oriented and append-only, it stores schemas alongside the data, and it offers an optional index plus optional LZ4 or Zstandard chunk compression.

Reader and writer libraries exist for C++, Go, Python, Rust, Swift and TypeScript, and the mcap CLI can inspect, merge and split files. The foxglove/mcap repository is MIT-licensed; that is the MCAP project licence, not the licence of a Firsthand delivery. The MCAP hub page and the glossary entry cover the format in full.

Firsthand offers MCAP delivery, and dataset 06 is stated as shipping as MCAP. For these rows the site states hand pose, a stereo-derived depth stream with confidence maps, IMU, contact events, action segments, per-frame instance masks and one task instruction per episode elsewhere. What it does not state is which of those are channels in an MCAP file, how they are named, what encoding they use or at what rate.

No topic name, message schema or rate is stated on this page, and none should be assumed. Name the streams that matter in the skill spec and confirm them on a Spec Pilot batch. The fourth table below sets each stream beside what the site states about it.

Hand occlusion by the cable, the ramp, the tape roll or the item being carried is the first risk, under the visibility flag above. Long, thin objects that run out of frame are the second, and how often that happens is Not stated. Calibration is measured at the start and end of every session under a 0.28 px RMS gate, and an episode is rejected for a sync breach beyond the ceiling for more than three consecutive frames, for the manipulated object out of frame for more than 15 percent of the episode, for more than 35 percent of depth pixels in the manipulation region being invalid, for an undocumented bystander or for a mismatch against the named skill spec.

A reject log ships with every batch, and rejected items are recaptured at the provider’s cost. The fifth table below lists the failure modes beside what the site states.

The October 2026 off-the-shelf catalog lists ~324,800 hours across 18 datasets, of which stereo is ~64,800 hours across 9 datasets. None of them names venue staging, AV cable routing and taping, table and chair layout or venue sweeping, so for stereo capture of these tasks this is custom collection, not an off-the-shelf purchase.

It is custom collection at scale through a network of thousands of capture providers, for a consistent, recurring data flow to labs. Where coverage is deep, the median time from signed spec to first validated batch is a median of 48 hours; where it is thin, turnaround runs three to four weeks. The site does not say which applies to venue work, so the timeline is quoted against your spec. Collections are billed per validated hour, and rejected episodes and recaptures are never billed.

Describe the tasks and where each starts and ends: a stage built and struck, a cable run from the gear to the last strip of tape, a room laid out, or a sweep from the first bag to the dumpster. Say whether an episode covers one step, one run or a whole room, what counts as the object and what counts as aligned or finished, the setting and lighting, the privacy rule for the room and for anyone in frame, and name the variation your pipeline is missing. Then name the streams you want in the file, the topic naming and message encoding your reader expects, whether calibration ships inside the file or beside it, and whether MCAP is the only delivery or sits beside RLDS, LeRobot or WebDataset.

Most programs begin with a Spec Pilot, a small first batch that proves the spec and accept criteria on real footage before you scale. The sixth table below shows what each spec element decides.