Light programming
We program projects on the grandMA3 platform — polished in a 3D previsualisation studio, synced to timecode or run live — by operators who know the songs as well as the band.
What you get
The show is built in 3D long before the gear rolls in. Time in the room goes to focus and polish — not to writing cues at 3 a.m.
Lighting, lasers and video synced to timecode, with a manual override for the moments that need a human “touch”.
Structured showfiles, named presets, commented macros. Any operator finds their way around the show we’ve prepared.
On show day we’re at the desk — or we hand over a file your operator “drives”, briefing included.
We prepare and operate lighting on grandMA3 for concerts, tours, television and corporate events. We also work on grandMA2 and train other programmers and operators.
01 / SHOWFILE PREPARATION
We organise the patch, groups, presets and sequences around the lighting rig and how the show will be run. Macros and user profiles support console operation, with the structure documented for the operator taking over the show.
Why timecode
The audience can’t name a single fixture, but they feel it when the light lands a fraction of a second late. Timecode holds the whole room in perfect sync — every time, identically.
And where the music is live and free, the show is run by hand. The secret craft is knowing which songs need mathematical precision and which need a human “pulse”.
Audience as pixels
We program LED wristbands for the crowd — every wrist a pixel. Zone-mapped to the seating bowl, driven by RF and synced to the same timecode as light and lasers — waves of colour sweep across twenty thousand people right on the beat.
Selected work
Random selection from our programming archive.
Send the date, the venue and the idea — we come back with a concept and a straight answer on cost.
