Stage lighting.

Stage lighting — FAQ

Common questions on this service.

• How does cue-programming work on the day?

  We program cues from the run sheet and walk-through, then refine during rehearsal. Our LD calls the show live so timing flexes with what's actually happening on stage.
• Do you provide branded gobos?

  Yes, we have a glass and metal gobo library, and we can have custom gobos cut for product launches and corporate events on reasonable lead times.
• Can you light for camera and audience together?

  Standard practice. We design front-light levels that work for cameras (avoiding hot spots, getting accurate skin tones) without making the room feel like a TV studio.
• Do you handle architectural and uplighting for room atmosphere?

  Yes. Uplighting transforms the feel of any space, particularly for evening events, galas, and weddings. We use battery-powered LED uplighters (Astera and Chauvet) positioned around the room's walls and columns, programmed in your brand colours or appropriate event palette. The fixtures are wireless so we don't need cable runs across the floor, and we can shift the room's mood throughout the event (cool whites during the talks, warm amber during dinner, hero brand colour during the speech moment). Combined with hazers and key lighting on focal points, uplighting is one of the highest-impact-per-dollar lighting choices for any event in an interesting room.
• Can you sync lighting to music or video cues for a hero moment?

  Yes. For product launches, awards moments, and any moment where the lighting needs to land precisely with music or video, we program the cues frame-accurate to the source content. This works either through SMPTE timecode locking the lighting console to the AV chain, or through manually called cues from a rehearsed playback. For the highest-stakes moments (a 30-second product reveal with lighting, video wall content, audio sting, and pyrotechnics all hitting together), timecode is the right answer. For more typical events with one or two hero moments, well-rehearsed manual calls work fine and are simpler.
• How much lighting design happens before vs on the day of the event?

  Most of the design happens before. We pre-program cue sequences based on the run-of-show, plot the fixture positions for rigging, and prepare any custom looks during the week leading up to the event. The day of the event is for rigging, focusing each fixture (aiming it precisely where it needs to go), and refinement during rehearsal. For complex shows we sometimes recommend a dedicated programming day the day before, particularly when there's a hero moment or unusual venue that benefits from extra prep time. The proposal will say what's included in the bump-in window vs what would need an additional day.