This is the first in a 3 part series addressing the causes and prevention of damage. Based on previous LinkedIn discussions, I'm going to break it down into three potential causes, Labor, Manufacturing and Usage.

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I often heard it said that a lack of caring by the new generation of technicians is the cause. Some cite that, since Covid, the majority of good technicians have moved on. I refuse to accept that this is a generational behavior or that every good technician left the industry.

Every technician has a first day, first month, first year, etc. We all develop skills at different rates. If you have no starting point of reference, it's the human condition to not realize that you don't know something.

Similarly, if you have been performing the same task in the same department for an extended period of time with no negative results, it's the human condition you are doing it the correct way.

The only way past these human barriers is through education and the sharing of knowledge and experience.  

When I was actively working on shows and touring, I started every day with a brief introductory meeting where I explained to everyone what our goals and timeline were. Part of that introduction included the statement, "I know most of you have done this before. But bear with me, I'm going to show you how I would like it done."

I never blanket assigned roles to people based on their experience. New people weren't automatically relegated to wrangling empties. Rather, it was the technician's responses to my message in that meeting that dictated what tasks they got assigned. You can learn a lot about an individual's personality in 2 minutes.

I believe in people. Most people want to do a good job and feel proud of their work. It is the older generation's job to train and educate those who will carry on and advance the work we've done.

This means that the older generation may have to learn something new as well. I learn from my crews, colleagues, manufacturers, other industries and reading user manuals and technical bulletins.

For the most part, we rate the success of an event based on the happiness of the client.

If we want to make the client happy, we need to minimize extra work onsite including swapping modules or having to "redo" things.

If I'm the lead, the success of the gig begins with my decisions and actions. This means taking time in prep to build and test engineering racks and signal, loom cables, label cases and the like so that my crew can execute the plan with minimal questions.

A major broadcast client of 4Wall's made a point of letting us know that he was impressed with how few module swaps we had to make after the screens were up. He also noted we were the only vendor to finish the job on schedule.

The client's statement was a testament to our QC, prep and on site handling of the equipment.

However, the true success of the show is measured in how the gear returns to the warehouse.

The number one phrase I never want to hear on show site is, "that's shop work."

If it's something we are capable of taking care of on job site and have the time to do, it's not "shop work", it's our responsibility.

It is, in fact, everyone's responsibility to take care of the equipment as well as each other.

Even in my role as Vice President of LED Service for 4Wall, you will still find me rolling up my sleeves to assist with prep, QC or repairs if needed. I have seen our CEO and our Senior VP of Product Strategy do the same. It's one of the reasons I love the culture at 4Wall.

Leading by example is key. If your stagehands see someone who cares about their work and is passionate about the job, they will follow you. Be a confident leader, but don't be elite about your position. Everyone came from somewhere.

If you're a member of the team, listen to your leader. They have thought this through from beginning to end. You may have seen it done differently or, possibly, see a better way. But every action on the day hinges on the success of the previous action and your leader has planned for that.

Be organized. Work neatly. Simple things like having a place to put tie line from cable looms rather than throwing it on the floor can set the tone for how everyone performs on the job. Everyone is a leader and everyone is a follower. We are a team. A clean workspace is a safe workspace.

When I was Master Electrician at the DuPont Theater in Wilmington, Delaware, we were trained that "every accident is preventable."

That doesn't mean accidents won't happen. But understanding the cause and why the accident happened allows you to adjust your behavior and actions in the future to recognize and correct situations that could result in an accident.

Beyond applying this philosophy to accidents, understanding the "why" behind your decisions and actions will make you a better worker and communicator. This goes for team leadership and team members. Listen, evaluate, act.  

The number two phrase I never want to hear uttered on show site, "that's just for now."

To quote my friend Abe, "for now is forever." Whenever Abe said this to a technician on show site, unless the technician took the time or was directed to correct the issue, it was still that way on load out.

There is no "just for now." Do it once. Do it right. It's a fantastic motto to keep in your head.

But due diligence doesn't end when the house lights come on. Load out is just as important as the load in.

For me, a load out is the same as a prep.

We are prepping the gear for a smooth return, intake, QC and/or repair at the warehouse. Or we are prepping the gear to flip right to another job.

If you're on a tour, every load out is a prep for your next load in!

At the peak of XL Video's output, we were flipping gear from show to show. Often times, the only items returning to the warehouse were items needing repair.

While supervising the crew and managing the load out, as crew chief, I would also be bundling the jumper cables in groups of 10, separating out damaged gear and labeling cases with the contents and any repair needs the equipment might have.

I'm a big fan of sorting and organizing cable on load out for easy identification when it returns to the warehouse. Please don't bury the LED jumper cables at the bottom of a caddy filled with feeder and looms.

The better the gear goes back to the warehouse, the quicker it can be put on your next job in working order.

The number three show site pet peeve is labeling gear "NFG." It's the entertainment business and we all love a good "F bomb" every now and then. However, we are professionals and skilled laborers. We can and should present ourselves and the equipment in a better light to our clients and employers.

This doesn't mean that we should swap out "NFG" for simple, creative quips like "needs love", "send back to mama", "is unhappy", etc. Let's give the person receiving the equipment a fair chance at replicating and finding the problem we experienced in the field. Be specific in communicating the issue.

If you couldn't get signal on a specific port on the processor, specify which port you had problems with. Put a piece of gaff tape on the faulty pixel. Label the outside of the case alerting the warehouse that this case contains gear in need of repair.

If there is a major issue with a piece of equipment, let your PM or sales agent know so that they can alert the warehouse team in advance. This equipment might be needed for another show immediately after it is returned.

Never be afraid of reporting damage that occurs or accidents that happen. We have all been there. The chance that you won't be hired again or will get in trouble is very slim to non-existent.  

I applaud the responsibility and maturity of the person who is not afraid to admit something went wrong on their watch or that they personally made a mistake. Learn from it and grow. Everyone on the team will learn from it and grow.

If you don't admit to something and someone finds out, you immediately subject yourself doubt and question from that point on. No one wants to be in that position. Honesty is always best.

I hope you find this motivational. Tag 4Wall on social media or connect with me on LinkedIn to let me know your thoughts after reading it. We can all be better together.

About the Author: 
Wayne Romanowski brings over two decades of expertise in LED and video technologies, with a current role as Vice President of LED Services at 4Wall Entertainment, overseeing global initiatives in LED solutions. His career spans key positions such as Director of LED Services and Senior LED Engineer, alongside diverse freelance experience with major tours and productions, including Barry Manilow's tour and the Russian Ballet Theatre. Wayne's background blends technical mastery, project management, and leadership, making him a driving force in advancing the industry's LED and video display innovations.

TLDR:

What career advice do live events professionals give? Over 770 production industry veterans were asked what advice they'd give someone breaking into live events. The top responses: ask questions and don't be afraid to admit what you don't know (204 likes), don't try to be an "Ironman", accept help to protect your body long-term, networking matters more than credentials, invest in steel-toe boots and good tools, learn to properly coil a cable, and answer every call because availability wins gigs. 28 respondents jokingly said "Don't", then admitted they can't imagine doing anything else.

• We asked the production community for advice they'd give someone looking to break into live events. Over 770 people answered across Facebook, Instagram, and TikTok.
• The single most popular response? "Don't." (They're kidding. Mostly.)
• The real advice boiled down to: ask questions, protect your body, invest in good boots, learn to coil a cable, and accept that sleep is now a suggestion.
• The love for this industry came through loud and clear, even from the people telling you to run.

TLDR;
How do lighting programmers transition from small shows to large-scale productions? Broadway moving light programmer Jonah Camiel outlines the key shifts: stop thinking in individual fixtures and start thinking in systems (front light, back light, texture, effects), build console files as if revisions are coming, and invest in tools like subgrouping and fan/align that become essential at scale. Career growth depends on trust built through smaller shows with designers. Speed comes from removing friction in your workflow, not rushing. The series "Between the Console and the Clock" covers topics specific to the moving light programmer role.

At some point, every programmer hits the same moment.

The rig gets bigger.
The room gets faster.
More people are waiting on you.

And suddenly, what worked on smaller shows doesn't feel like enough anymore.

This jump isn't just about more fixtures. It's about more pressure, more complexity, and less room for hesitation.

The tricky part is that no one really explains how to make that transition. You don't wake up one day ready for bigger shows. You grow into them.

Photo: Mythic, Lighting Design by Kenneth Posner

Small shows are where the real learning happens

It's easy to think of small shows as a stepping stone - something to get through before "real" work starts. In reality, they're where most of your development happens.

Smaller rigs give you space to experiment. They give you time to make mistakes and understand why they happened. They force you to take ownership of everything.

This is where you build your habits.

How you structure presets.
How you organize groups.

These things matter much more on a big show - but you learn them on small ones.

Treat every small show like it's bigger than it is.

Build your file like revisions are coming.
Label things like someone else will need to understand them.
Don't rely on memory - rely on structure.

After every show, ask yourself:

• What slowed me down?
• What felt messy?
• What would break if this rig were twice as big?

That's how you start preparing for scale.

It's not about more lights - it's about more systems

One of the biggest shifts happens in how you think about the rig.

On smaller shows, it's easy to think in individual fixtures. On larger shows, that approach doesn't hold up. You have to start thinking in systems.

The first time I ever worked on a rig that was entirely moving lights, there were around 120 fixtures. Even though it was a shorter special event, it was still intimidating. The scale alone felt like a jump.

What made it manageable was how the designer approached it. They immediately began breaking the rig down into systems.

Front light. Back light. Side light. Texture systems. Effects systems.

That's how we worked the entire night.

Think about how you will focus each system. Do you need multiple versions of each? What fixtures can be repurposed between systems? How will you transition between them?

When you build systems instead of individual looks, you give yourself flexibility. When the designer asks for a change, you're adjusting logic - not rebuilding from scratch.

This is what allows you to move quickly in bigger rooms.

The tools you didn't use

As your rig grows, the way you use the console has to grow with it.

Things that felt optional on smaller shows start to matter. Grouping becomes more intentional. Channeling and Magic Sheets need to be clean and reliable.

Photo: Broadway Bares 2025, Lighting Design by Joel Shier

The more fixture types you have, the more consistency matters. Color palettes need to match. Timings need to land together.

On a small rig, you might not notice that an LED fixture snaps out differently than an arc source fixture. On a larger rig, those differences become obvious.

You'll also start to rely on features you may not have needed before.

Subgrouping becomes essential, especially on effects-heavy shows.
Fan and align tools become critical when you need to focus large systems quickly.

These aren't advanced tricks. They're the tools that let you keep up as the scale increases.

Your career scales through people

Getting onto bigger shows isn't just about skill. It's about trust.

Designers bring programmers into larger rooms because they know how they work - because they trust them to keep up, and to not slow the room down.

That starts on smaller shows.

That designer who brought me onto that 120-fixture special event and I had just finished three small shows together. Those smaller projects were where we built the trust that made that opportunity possible.

Relationships have to be built from the ground up. I've done a smaller show first with just about every designer I've worked with.

Are you organized?
Are you calm when things change?
Do you listen before you act?
Are you easy to collaborate with?

Those are the things people remember.

Photo: Broadway Bares 2025, Lighting Design by Joel Shier

The best way to meet designers is to do good work in the rooms you're already in - regional theater, small productions, projects where teams are still forming.

Those relationships grow over time.

Listening is what actually gets you hired again

Technical skill gets you in the room. Listening is what keeps you there.

Different designers have different ways of working. Some will speak to you directly - sometimes in near command-line syntax. You have to be comfortable with that. Others won't speak in technical language at all.

"Make it warmer."
"Give it more energy."
"Can we simplify this?"

Your job is to translate that into action.

Color changes.
Timing adjustments.
Movement choices.

The better you get at interpreting those notes, the faster the room moves.

In many cases, designers build trust over time. The more you work together, the more they trust you to interpret their ideas. A long-term relationship can be incredibly valuable - they may begin to rely on you more, and you help take some of the load off their plate.

At the same time, it's important to branch out. Every designer communicates differently. The more styles you experience, the stronger your instincts become.

Working on a variety of smaller shows is one of the best ways to build this skill.

Speed matters more as the scale increases

Bigger rooms move faster.

There's less time per cue.
More people waiting.
Less tolerance for disorganization.

You can't build speed overnight. You have to train it.

Time yourself when you practice. Find where you hesitate. Clean up your workflow.

If something slows you down, isolate it. Practice it. Or automate it if it makes sense.

Speed isn't about rushing. It's about removing friction from your own process.

Take the opportunities that stretch you

At some point, you have to take a step up.

A slightly bigger rig.
An effects-heavy show.
A designer you haven't worked with before.

You're going to feel behind sometimes. That's part of it.

Photo: Mythic, Lighting Design by Kenneth Posner

The goal isn't to feel ready. The goal is to be prepared enough to keep up - and to recover when things don't go perfectly.

Triage can become the name of the game. In the moment, the priority is to keep the room moving forward. Then come in early the next day and fix your workflow when no one is waiting on you.

Mistakes will happen. What matters is how quickly you adjust.

Scaling is a process

You don't become a "big show programmer" overnight. It's a gradual shift.

Better habits.
Cleaner files.
Stronger relationships.
Faster decision-making.

Small shows aren't something you graduate from. They're where you build the foundation that everything else sits on.

The work scales because you do.

This is the second entry in the series, Between the Console and the Clock. We cover topics not typically discussed about working as a Moving Light Programmer to help demystify this important role. DM Jonah on Instagram @jonahcamiel with any topics you're interested in hearing more about!

Jonah Camiel is a Brooklyn based Moving Light Programmer originally from Boston, Massachusetts. He is a graduate of the production and design program for stage and screen at Pace University. Selected Broadway: Beaches, Every Brilliant Thing, The Wiz, Peter Pan Goes Wrong, Into the Woods, POTUS, Thoughts of a Colored Man. Selected National Tours: The Wiz, Mystic Pizza, Clue, Come From Away, Into the Woods, Ain't Too Proud. Other notable projects: Broadway Bares, Norwegian Cruise Lines, Virgin Voyages, CNN Studios, Food Network Studios, PGA Tour Studios, Love Island USA Reunion. www.jonahcamiel.com

TLDR;
What oddly specific skills do live events workers develop? 4Wall Entertainment surveyed over 750 production professionals across Facebook and Instagram. The top-voted skill with 938 likes was "standing by", the art of waiting. The second highest at 912 likes was managing extreme stress under tight deadlines with minimal information. Other top responses included watching the rig instead of the show (775 likes), fixing anything with gaff tape (304 likes), doing CrossFit-level labor with Socapex cable (294 likes), and locating catering faster than any production skill (278 likes). Responses were grouped into seven categories, with People and Navigation earning the most combined likes at 2,213.

• We asked our followers what skill they've gained from working in production. Over 750 people answered across Facebook and Instagram.
• The top response? "I'm really good at standing by." (938 likes.) 
• We compiled the most-liked responses, grouped them into themes, and turned it all into this article for our posterity to understand us better.

TLDR;

Does 4Wall Entertainment offer audio services? Yes. In 2026, 4Wall Entertainment made a major expansion into audio, more than doubling its full-time audio staff and investing in a comprehensive L-Acoustics inventory including Kara II, Kiva II, K3, Syva, and SB15m systems alongside existing K2, SB18, and KS28 infrastructure. The move positions 4Wall as a single-source production partner for lighting, video, audio, and rigging.

• 4Wall is expanding in a major way. The missing piece is now here: audio

• We have more than doubled our full-time audio team and made significant investments in best-in-class gear, including a deeper L-Acoustics inventory

• It means one complete production partner for your next project: one call, one team, one point of accountability

For decades, if you needed the best in lighting, video, or rigging for your live event, concert, general session, breakouts, auto show, or broadcast production, there was a short list of companies you called. 4Wall Entertainment was at the top of it. With locations across the United States and the United Kingdom, and a reputation built on world-class gear and unmatched expertise, 4Wall became synonymous with the visual and structural side of live events.

TLDR;
How do you become a moving light programmer? Broadway moving light programmer Jonah Camiel describes the role as translating a designer's ideas into repeatable, reliable data under time pressure. He recommends shadowing working programmers during tech, asking "why" questions during breaks, and attending meals with the team to build relationships. Practice should be intentional - focus systems, match color across fixture types, build chases, and time yourself. There is no assistant programmer position; the first job comes through trust built on small shows. The article is the first in the series "Between the Console and the Clock."

Tech moves fast. Faster than most people expect.

The show is changing by the minute. The designer is calling ideas as quickly as they can think them. You're listening, anticipating the next adjustment, updating cues, and trying to stay organized enough that nothing slips through the cracks. Every adjustment matters. The goal is simple: keep the creative process moving.

You glance at the console clock. What felt like ten minutes since the cast walked onstage has been a full hour.

That's life as a moving light programmer.

My name is Jonah Camiel. I've been working as a moving light programmer across Broadway, television, cruise ships, and live events since 2017. I've been asked to write a bit about what it's really like to do this job.

I could use this space to talk about favorite macros, or how to build some of the most commonly requested effects. That information is useful, but it's also pretty easy to find. What I think is harder to come by is an honest look at how to set yourself up for success, how to keep improving, and how to survive and continue to grow once you're actually in the room.

That's what this series is about. Not just how to become a moving light programmer, but how to keep learning, keep getting better, and keep getting hired.

A job that's often misunderstood

The role of a moving light programmer is one of the least understood - and least taught - roles in the design world.

Part of that is because the days are long and packed. Checkout. Pre-cueing. Tech. Production meetings. Notes. Revisions. Repeat. From the outside, it can be hard to tell what we're actually doing all day.

More importantly, it's often misunderstood what the job really is.

A programmer is more than a light board operator. A moving light programmer is part of the design team.

Your job is to translate a designer's ideas into repeatable, reliable data. You do it fast, but you also have to do it in an organized and methodical way. The goal isn't just speed. It's clarity. It's staying ahead of the room. It's building a system that supports the design, even as it changes.

Speed comes with time. Eventually, the keystrokes turn into muscle memory. When that happens, your attention can shift to the things that actually matter.

How can I support the storytelling?

How can I reduce friction in the room?

How can I help the designer stay focused on creative choices instead of technical hurdles?

That's where the real work is.

"How do I even learn this?"

This is usually the first question. And honestly, it's a fair one.

A lot of us didn't have formal training opportunities. There were no moving light programming courses offered at my university. I didn't even know how to start.

My best recommendation is simple: shadow.

Shadow anyone and everyone who will let you. That advice applies to almost every design role, but it's especially important here. You want to see how other programmers work in real rooms, under real pressure.

This is how I got started. I reached out to programmers who I admired and asked if I could sit behind them during tech. I was lucky that some incredibly generous people said yes.

Watching a real programmer in action is invaluable. You're not just learning how they program - you're learning how a professional tech actually runs.

Take notes on what you don't understand. Pay attention to pacing, naming, revision habits, and how they respond when things change. Study the decision-making, not the button presses.

During breaks, ask better questions.

Not "what does that feature do?" - you can look that up.

Ask why they stored focus and beam data but not color.

Ask why they chose an absolute effect instead of a linear one.

Those answers are where the job really lives.

Getting in the room

Getting these opportunities can be a lot easier said than done.

Cold-emailing worked for me, but it's not the only way. Start with the rooms you're already in. Does anyone there program? Do they know someone who does?

If you're not in New York, keep an eye on regional theaters hosting Broadway tryouts. A lot of complex productions are happening outside the city now, and they often bring New York-based designers and programmers with them.

When you do connect with someone, ask politely if you can shadow for a day. Be respectful. Show up on time. Don't interrupt. Save your questions for breaks.

Another big piece of advice: go to meals with the team.

In this industry, meals matter. Lunch and dinner are where relationships get built. I've had plenty of people shadow me for a full day, only to disappear during the meal break. That's a missed opportunity.

Practicing with intention

Once you know what you don't know, it's time to start learning it.

Lucky for us, this has never been more accessible. Most modern consoles have built-in visualizers, and seeing the result of your keystrokes is fundamental.

But don't just open offline software and mess around.

Set goals.

Focus a sidelight system and record it into presets.

Practice matching color across different fixture types.

Build chases that can run in multiple directions, across multiple different fixture types.

These are real, day-to-day skills.

As you improve, start timing yourself. Pay attention to accuracy as much as speed. Drill like it's a sport. If something slows you down, isolate it. Practice it on its own. Or build a macro if it makes sense.

Practice should feel like tech, not just experimentation.

Think ahead. How will you turn on work lights during a break? Will atmospherics live in a separate cue list? Build it. Test it. Make sure it fires the way you expect.

When your speed and organization feel solid, it's time to try it in the room.

The first job is the hardest

One thing that doesn't get talked about much is getting your first programming job.

There's no assistant programmer position. No internship. One day you haven't done it, and the next day you have.

That's scary for designers too, especially on smaller shows. They're trusting you with their ideas and their data.

Mistakes will happen. What matters is how you respond.

Be honest. Own what went wrong. Learn from it and move forward. That's how trust gets built. That's how more opportunities will present themselves to you.

Taking the work - and listening

Repetition is your friend. The more shows you program, the more you learn.

Early on, take anything you can reasonably afford to take. The money comes later. Smaller shows are where you really learn how to listen - and listening is one of the most important skills a programmer can have.

You can't build a look if you don't understand what the look is supposed to do.

Every designer speaks a slightly different language. Working with a lot of different designers early on helps you build a stronger vocabulary and better instincts.

There's always more to learn

This isn't an easy job to learn. And I've only covered the basics of what can help you start the journey of becoming a moving light programmer.

Having the skills to transform ideas into data is an important aspect of the job. Being a good collaborator, good at reading the room, and good at managing your business is just as important.

None of that happens overnight.

Be patient with yourself. This work takes years. I'm still learning too.

The Wiz, Lighting Design by Ryan J. O'Gara

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This is the first entry in a new series, Between the Console and the Clock. We'll cover topics not typically discussed about working as a Moving Light Programmer to help demystify this important role. DM Jonah on Instagram @jonahcamiel with any topics you're interested in hearing more about!

 Jonah Camiel is a Brooklyn based Moving Light Programmer originally from Boston, Massachusetts. He is a graduate of the production and design program for stage and screen at Pace University. Selected Broadway: The Wiz, Peter Pan Goes Wrong, Into the Woods, POTUS, Thoughts of a Colored Man. Selected National Tours: The Wiz, Mystic Pizza, Clue, Come From Away, Into the Woods, Ain't Too Proud. Other notable projects: Broadway Bares, Norwegian Cruise Lines, Virgin Voyages, CNN Studios, Food Network Studios, PGA Tour Studios, Love Island USA Reunion. www.jonahcamiel.com

TL;DR: We list 4Wall's most-rented lighting, video, and audio gear of 2025. MAC Aura XBs still dominate moving lights (surprisingly), Absen and ROE tiles lead video, grandMA3 rules consoles, Yamaha owns audio mixers, and the Viper NT Fogger remains the undisputed haze champ. 

A little background about me before we get into the fun part. My name is Luke Lytle (pronounced light-ul), and I've been with 4Wall since 2008. I started in the cable department, spent time in shipping/receiving, moved into the asset department entering data, helped build out and manage UsedLighting.com, NewLighting.com, and 4Wall.com, became the company's graphic designer, and have been in the marketing department ever since.

I'm fascinated by data. I make sense of the world through graphs and charts and data. For example, this chart lives on my office wall and I really wish it would get updated by someone to 2025! 

I still work closely with the asset team to determine what needs to be listed on UsedLighting.com and what 4Wall is buying so I can make sure people know we have it. So I have some connections. To build the list of the top rented items across all 4Wall locations, I reached out to 4Wall's first employee from all the way back to our founding in 1999, Kraig Spencer (nicknamed 'Spreadsheets'). I like data, but he lives in data. I told him what I wanted to do with this article, and he built me a spreadsheet based on our internal data that shows what equipment was rented the most in 2025.

So without further blathering by me, I present the top rented items from 4Wall across a few categories.

Moving Lights

I went back and forth on which units to include in this as a few 'moving lights' could be in this or the category below it. I ended up sticking with more traditional moving lights and put things like the JDCs and Color Strikes in the EFX category. It was a bit surprising to see the MAC Aura XB at the top of this list. Looking in our system, designers are still using this as a background to their rigs across auto shows, concerts/tours, brand events, exhibitions, and even TV/Film applications. The ACME Tornados have been rising in popularity as people see them more and more. 

• Martin MAC Aura XB
• ACME Tornado
• Chauvet Rogue R1 BeamWash
• Elation Dartz 360
• Chauvet Rogue R2X Wash

Video Walls/Tile

I was very interested to see which video tile came out on top this year as we've added thousands of tiles across multiple manufacturers over the past few years. Both versions of Absen's PL2.5 Pro tile narrowly won with ROE CB5 and coming right behind it. Both tiles were heavily utilized for literally everything: TV and shoots, tradeshow exhibits, summits, auto shows, galas, and the list goes on. The Unilumin Upad IV-2 generally lives at our UK locations and is a go-to for auto-shows like Paris Motor Show and Munich Motor Show and all over exhibitions displays at ICE Gaming and IBC.

• Absen PL2.5 Pro - 1/20th Scan & PL2.5 Pro - 1/8th Scan
• ROE Carbon CB5
• ROE Black Pearl BP2, V2
• Unilumin Upad IV - 2.6
• ROE Carbon CB8 

Media Servers and

I kept this category purely for the video tech people out there who will undoubtedly want to know which servers and players that people used the most. Disguise continues to be a workhorse for many of the screens we build.

• Disguise GX2C
• Disguise d3 2x4pro
• Disguise vx 2
• BrightSign XT1144 4K Player
• Brightsign HD223

Video Processors

I also kept this category for the video geeks (nerds?). It was interesting to see how much manufacturer variety there was here compared to media servers.

• Brompton Tessera SX40 4K
• NovaStar MCTRL4K
• Megapixel Helios 8K
• NovaStar MCTRL660
• Brompton Tessera S8

Lighting Consoles

There were no surprises as to which consoles would be at the top of this list. We still have a few MA2s left in our inventory, but the MA3s dominate the market. I wasn't sure if the Light or Full would win out, and it was close, but the Full slightly pulled ahead. The Hog 4 still has a dedicated group of users, the ColorSource 20 was utilized on smaller rigs, and the Gio @5 consoles are still a go-to for theater productions.

• MA Lighting grandMA3 Full-Size
• MA Lighting grandMA3 Light
• High End Systems Road Hog 4
• ETC ColorSource 20
• ETC Gio @5

Audio Mixers

Yamaha was the standout manufacturer for audio mixers, but to be fair, dominates our mixer inventory. It was interesting to see how each size of mixer stacked up with the 32 channel QL1 taking the top spot. Auto Shows, events with keynotes and general sessions, galas, and brand events utilized this list of consoles the most.

• Yamaha QL1 - 32CH
• Yamaha QL5 - 64CH
• Yamaha DM3-D - 18CH
• Yamaha TF1 - 16CH
• Behringer X32 Compact - 40CH

Cameras

Cameras was another interesting category to see the results on. Panasonic cameras led the way with Blackmagic URSAs and Sony HXC cameras breaking into the top 5. Cameras across the board were most utilized across music tours, our virtual production shoots for commercials/promotions, and Broadway tours like Spamalot and Hell's Kitchen.

• Blackmagic URSA Broadcast G2 4K Camera
• Panasonic AK-UC4000 4K Camera
• Panasonic AW-UE150 4K PTZ Camera
• Sony HXC-FB80 HD Camera
• Panasonic AW-HE130 PTZ Camera

Strip Lights, Blinders and (EFX) Lights

This was another category that could have been separated out as its own, but I decided to combine these three categories into one list. The Color STRIKE M squeaked past the JDCs due to being able to use it on outdoor rigs. I found it was utilized on basically every festival and concert that played at outdoor venues. Titan Tubes are utilized everywhere and for everything, and the Pixel Line IPs continue to gain in popularity. The impression X4 Bars have been consistent renters since we first purchased them almost a decade ago.

• Chauvet Color STRIKE M - IP65
• GLP JDC1
• Astera Titan Tube - IP65
• ACME Pixel Line IP LED
• GLP impression X4 Bar 20

Fog and Machines

It was no surprise seeing the Viper NT Fogger and Radiance Hazer at the top of this list. They have been crucial for every type of production for over a decade. MDG's theONE was utilized the most on music touring and festivals due to its ability to produce fog or haze.

• Look Solutions Viper NT Fogger
• Ultratec Radiance Hazer
• Chauvet Cloud 9 Low Lying Fogger
• Chauvet Professional Vesuvio II Fogger
• MDG theONE Atmospheric Fogger and

Speakers and

L-Acoustic's Kiva and speakers were the top choices due to their ability to be stacked in line arrays. They were utilized across all types of events needing BIG sound, like Salesforce's Dreamforce, Sundance Film Festival, and galas like IBEW's 125th anniversary. Meyer Sound's UPM-1P and were heavily utilized at auto-shows, breakout sessions, balls (the kind you dance at), and galas. Electro-Voice's sub-woofer was the sole non-speaker to break into the top 5.

• L-Acoustics KIVA II Speaker
• L-Acoustics KARA II Speaker
• Meyer Sound UPM-1P Speaker
• Meyer Sound Ultra-X40 Speaker
• Electro-Voice EVOLVE 50 Subwoofer

LED Pars, Lekos and

We recently released episode 10 from our Light Humor Series that discussed the impending demise of gel, and all of these fixtures have played a large part in that demise. The series 2 Lustr continues to be utilized across Broadway and every other type of show we work on. The AX5s and Well Fits constantly go out due to their small size and ease of use. The ColorSource Spots work well when you don't need the full color mixing of a Lustr 2, and the COLORado Solo Battens have become a standard wash light for designers.

• ETC Source Four LED Series 2 Lustr
• Astera AX5 Triple PAR
• Chauvet COLORado Solo Batten - IP65
• ETC ColorSource Spot LED Deep Blue
• Chauvet WELL Fit Battery Powered - IP65

What Did You Use Most in 2025?

Tag us on social media and let us know how these lists lined up with your experience. We'll send out a swag package to the first 10 who tag us and let us know what you thought of this article.

What item surprised you by being on this list?

What do you expect to breakout in 2026 (I'm personally rooting for GLP's MAD MAXX!)?

If you made it this far, thanks for reading!

LL

TLDR;
|How do you choose the right LED pixel pitch for a live event? The primary factor is content type: static images with text benefit from finer pixel pitch (sub-2mm), while moving video content can use wider pitch because persistence of vision compensates. Other key factors include viewing distance, screen size, and total resolution. A 26x15-foot wall at 2.8mm produces 2816x1584 resolution, while 1.9mm surpasses 4K at 4096x2304 but doubles processing costs. For outdoor use, IP65-rated panels are essential for weather resistance and high brightness (4,000-6,000+ nits).

Let's Talk LED Pixel Pitch

Clients regularly request sub 2mm screens. 4Wall Entertainment offers 1.5mm and 1.9mm rental options as well as 2.5mm and 2.8mm. 

A higher resolution can benefit your production by reducing viewing distance for the naked eye. It can also reduce moiré on camera. 

But is it necessarily the better option for your event? 

Live Events vs. On-Camera Usage

Let's focus on live events/viewers for now. I'll address "on camera" usage in the next installment.

How Do You Claculate Viewing Distance?

There are a number of "guides" available for viewing distance. Is it three feet or three meters of viewing distance for every mm of pixel pitch? I.e. - a 2.5mm screen requires a viewing distance of 2.5 x 3 for 7.5' or 7.5m depending on the formula you chose.

But in reality, my first consideration is your content.

Content is King

• Is your content static images with lots of text and blocks of solid colors? That leans towards wanting a higher resolution screen. 
• Is your content moving images with variations in content, contrast, color, etc? You don't necessarily need a higher resolution. Persistence of vision can compensate for a looser pixel pitch. 

Audience Location: Close vs. Variable Distances

Where is the viewer seated?

• A finer pixel pitch benefits a presentation style, seated event with close viewing distance.
• A wider pixel pitch works well for a moving audience, like a trade show floor or long/variable viewing distances. 

The Role of Screen Size

How big is the screen? This is huge - or maybe it's not.

The general inverse rule of thumb is, "As screen size decreases, the resolution should increase."

A 40' wide screen with an 8mm pixel pitch at a concert probably looks awesome. A 10' wide 8mm screen looks like a bunch of individual pixels when you stand 10' away from it. 

Don't Forget Total Resolution

Total resolution is a very important measurement tool as well. Often, it's the last considered item. 

Let's look at using 500mm x 500mm panels in a 16:9 configuration. That would be a 26' x 15' screen rounded off. 

• The 2.8mm pixel pitch screen gives a resolution of 2816 x 1584, which is well above HD but slightly less than 4K. 
• A 2.5mm pixel pitch results increases the resolution of 3200 x 1800. Closer to 4K. 
• Drop down to a 1.9mm pixel pitch and you surpass a DCI 4k resolution by hitting 4096 x 2304. 

Here's the trade-off:

• For a difference of .6mm pixel pitch between the 2.5 and 1.9mm screens, you double your processing, engineering and playback source needs/costs because you have gone past the 4k resolution. But you have only increased your resolution by 64%. 
• Conversely - your production costs remain the same between a 2.8mm and 2.5mm pixel pitch. But with the 2.5mm product you increase your resolution by 29%.

What about weather?

If your LED wall is going anywhere near weather, crowd traffic, or a beer garden, pixel pitch isn't the only spec that matters, you also need to consider the IP rating. IP65 means the panel is sealed against dust ("6") and can take low-pressure water jets from any direction ("5"), so it can survive rain, wind-blown mist, dust, and general outdoor abuse. 

That matters because outdoor activations, fan zones, plazas, red carpets, and festival stages need two things: (1) weather resistance and (2) daytime punch. Outdoor-rated tiles are built for both. They're typically brighter than indoor tiles (think 4,000-6,000+ nits instead of ~1,000 nits), so your content is still readable in direct sun instead of washing out to a dull gray. 

Also worth calling out: outdoor LED used to mean big, coarse pixel pitch because that was the only way to get durability. That's not the case anymore. We're now seeing outdoor-capable tiles in the 3-6 mm range that still carry an IP65 rating and high brightness, which means you can put LED much closer to the audience (or camera) without it looking chunky. 

At 4Wall, we stock multiple IP65-rated options:

• Planar Leyard LN 3.9S Outdoor (3.9mm)
  Lightweight rental cabinet designed for fast rigging, curved walls, and creative angles. The 3.9S "S" variant is the outdoor model: IP65-rated, up to ~4,000 nits max brightness, and built to hang or stack for concerts, sports, and brand activations.

• ROE Carbon CB5 (5.77mm)
  Carbon fiber frame, ultra-light touring panel. IP65-rated, front-serviceable, and capable of up to ~6,000 nits, so it's comfortable outdoors in daylight. Common on large stages and outdoor broadcast looks where you still want tighter pitch.

• Chauvet F5IP (5.9mm)
  IP65-rated LED video panel with a magnesium housing, designed for fast load-in/out. Delivers ~5,000 nits calibrated (up to ~6,000 nits max) and wide viewing angles (160° H / 155° V), which is clutch for outdoor stages and fan zones where people are wrapped around the screen.

• ROE Carbon CB8 (8.33mm)
  Classic large-format outdoor touring wall. IP65 weather protection, up to ~5,000 nits brightness, and big 600 x 1200 mm panels that build fast and stay up in rain, wind, and dust. Ideal for massive sightline screens where the audience is further back. 

The short version: if you're outdoors (or even semi-outdoors, like a concourse or rooftop), you should be looking at IP65-rated tiles first, then picking pixel pitch based on how close the audience or camera will be. Indoors you can get away with a lower IP rating - outdoors you really can't.

Other Factors to Consider

There are other factors to consider depending on the project design.

• Is the screen curved or flat?
• Ground stacked or flown?
• What are the lighting conditions?
• How about build time?

Wrapping it Up

There isn't a Nyquist formula that can give you a definitive answer.

But, there is an incredibly knowledgeable sales and support team at 4Wall that can help you ascertain the best solution for your project. Give us a call and let's succeed together!

PS. We have this LED Wall Calculator to help you plan out your video wall needs.

About the Author: 
Wayne Romanowski brings over two decades of expertise in LED and video technologies, with a current role as Vice President of LED Services at 4Wall Entertainment, overseeing global initiatives in LED solutions. His career spans key positions such as Director of LED Services and Senior LED Engineer, alongside diverse freelance experience with major tours and productions, including Barry Manilow's tour and the Russian Ballet Theatre. Wayne's background blends technical mastery, project management, and leadership, making him a driving force in advancing the industry's LED and video display innovations.

What's your name and title?
Michael Mutascio: Assistant Operations Manager

What 4Wall location do you work at, and how long have you been with the company?
Boston, going on 12 years...I think? It's kind of a blur at this point!

What was your "aha!" moment that made you realize this was the industry for you?
I grew up doing theatre, and then I was out in L.A. going to film school and working on some of the back lots. I don't know if I'd say I had an "aha" moment as much as I just always knew I wanted to be in the entertainment industry in some aspect.

Describe your career path within this industry.
Once I moved back to Boston and got a job at 4Wall, I entered as a shop tech. From there I worked my way into the shop foreman position and then stepped into the assistant operations manager. Outside of 4Wall I went from starting a few not-for-profit theatre companies to opening up my own haunted attraction. originally as a fundraiser for the mentioned non-profits and then spinning that out into it's own business. I like to have my hands in different aspects of the entertainment world.

When you explain your job and/or this industry to family members who have no idea what it is, how do you do it?
We are everything except the eye of the hurricane. We are the storm before the calm, and the aftermath of the devastation when it's all said and done.

What's one thing people think is easy about your job-but in reality, it's way harder?
Thankfully, I don't know if anybody thinks my job is actually easy. so N/A I guess?

If you could trade jobs with one person at 4Wall for a day, who would it be and why?
That's a tough question. Perhaps Eric Meagher, so I could go to different locations and compare their SOPs to ours in Boston. See if they're doing something that could help improve our lives here or vice versa. I don't know if one day would be enough to switch into any position, but it would be a position I could benefit from in some way.

What's your secret weapon on a long, hectic day?
Kindness. Everyone is having a hard day, and if I can be their calm during it, we can both get through whatever we need to in an amicable way.

What's a project you worked on that made you the proudest?
Creating a successful band in my youth, that allowed me to tour and play with friends for an elongated timeframe, starting theatre companies that continued after I left, bringing arts to different communities, turning my parents home haunt into a thriving business that became a tradition for other families throughout the year.

What's a piece of industry advice that sounded like nonsense when you first heard it but turned out to be absolutely true?
Nothing is set in stone. Clients will always client and you have to roll with those punches.

Are there any life hacks at your job that would surprise people?
I can't give you all the tricks!

Technology in our industry is constantly evolving-how do you stay on top of what's new?
Just need to find the time to plug in and play.

What's a skill you've developed on this job that you never expected to need?
I've always been good at multi-tasking. But this job brought it to a new level.

If you could go back in time and give "Day One You" a piece of advice about this job, or life in general, what would it be?
Trust yourself.

What's one career goal you're working toward right now?
Constant continued knowledge and advancement.

What's the best part of working at 4Wall?
The next show.

Describe your job in three emojis.
😤 😬 ☕

What's your go-to karaoke song after a long event?
Can't take my eyes off of you by Frankie Valli.

What's your favorite guilty pleasure snack on the job?
I actually don't eat on the job. It's a mental block so that I won't need to use a restroom. I know, awkward!

If your work life had a theme song, what would it be?
The pirates of the Caribbean theme song.

What's the last song that you listened to?
The Mark, Tom and Travis show - Blink182 live CD.

We posted the news of his passing on social media and many people shared memories of their time with Buddy. Below is a collection of the memories that were shared.

"One of the greats - not just in the industry, but among his fellow humans. Rest in peace, my friend."

"I had the pleasure of working with Buddy when we opened the Manadaly Bay Convention Center in 2002. He was an extremely talented man that gave the project every ounce of effort and attention to detail to get it open and operational. A true loss to the industry."

"KFP wouldn't have looked as awesome as it did without him. Fond memories of sorting through the challenging ideas I had for the land and figuring out how to do it with his support. A giant in our industry and a massive loss of talent, kindness and professionalism."

"Buddy was one of the good ones and will be missed. I've enjoyed working with him for nearly 30yrs."

"RIP Buddy...I have very much appreciated working with you on the Dubai Parks. Not many reach your level of expertise, trustworthyness, motivation and positivity."

"Was very sorry to read of Buddy's passing-many years crossing paths with Buddy on projects, another big loss to our industry."

"Really awful to hear. He was a wonderful person and great to work with."

"Worked on many projects with Buddy. Always took care of me. Very sad to hear of his passing. May he rest in peace."

"He was always there to support me no matter what time of day I called him. I'm going to miss you my friend. My thoughts and prayers go out to his family, friends, and all that were blessed to know him. May you Rest in Paradise and keep those lights above forever shinning down on us all so we can find our way."

"What a bummer-I know he touched so many of us in positive ways. So much business he built to be proud of, he will be missed and remembered."

"Buddy helped us build the Phantom Theater at the Venetian in Las Vegas and showed me a lot about the thought process and attention to detail it takes to make a new build happen. Always had time to answer a question or a concern. May his memory be a blessing."

"My condolences to his family and friends. I had the pleasure of working with Buddy when we opened the Manadaly Bay Convention Center in 2002. He was an extremely talented man that gave the project every ounce of effort and attention to detail to get it open and operational. A true loss to the industry."

"He was such a kind and thoughtful man, always taking the time to be there for others."

"I worked with Buddy in Dubai, and later I was at 4wall as well. He was a very smart man and we all had fun together getting the parks up and running. My heart goes out to his family, just know that he was a great guy and one of the smartest at what he did."

"He was a great and talented man. He was always there to support me no matter what time of day I called him. I'm going to miss you my friend. My thoughts and prayers go out to his family, friends, and all that were blessed to know him.
May you Rest in Paradise and keep those lights above forever shinning down on us all so we can find our way."

"Buddy is still in my memories after having been out of his industry for 15 years! Buddy was so kind, so thoughtful in his words and intentions. Very sorry to hear of his early passing."

"This one hits hard. I worked with Buddy when he was the TD at the Sam Luis Obispo Performing Arts Center through Local 442. He was amazing."

"Buddy was a good guy like all the people in Systems, he thought of others, great personality and in my 8 years with 4 Wall was a pleasant person to work with on projects and shipments.. always a smile on his face... RIP Buddy..."

"This breaks my heart. Loved Buddy. Phenomenal human. The biggest heart in the world. Much love to his family and friends."

"When Buddy and I served together in our local church congregation, he took our group of boys to the 4Wall shop for a tour. It was evident how much he loved his work and how absolutely brilliant he was!! Buddy was the best of the best at sharing and lifting others. He connected deeply and meaningfully with others, especially those who needed lifting and encouragement. He inspired those boys with a belief that they could be successful in life too."

"A great guy with a big heart. Patient and kind, a great guy to have known and work with."

"It was a pleasure to work with Buddy and the 4Wall guys with the Oasis team on DPR. A true gent."

"This is heartbreaking. 4Wall and the industry has lost a great one. I've worked with Buddy for countless years on some of the largest and most complex ETC systems. He was top notch and a great guy."

"I worked with Buddy briefly in Dubai on Motiongate and enjoyed his wisdom and knowledge and the way he shared it to those who listened. Great guy and he will be greatly missed."

"Buddy was a great guy, I will remember our time working together in Abu Dhabi with fondness. May he rest in peace."

[[{gallery=2}]]

Working in live events means one thing, sooner or later, something's gonna go hilariously wrong. Hopefully not tragic or show-ending, just the kind of mistake that makes you shake your head and laugh (usually later, not in the moment).

We asked TikTok to spill their funniest mishaps, and wow... they did not disappoint. 

🚪 Wrong Place, Wrong Show

"Did a setup at the wrong venue."

We have so many questions..

🎛️ Blue Screen of Doom 

"One time a Pro2 got the blue screen of death mid-show."

You haven't lived until you've watched a console throw a Windows error in front of 5,000 people. 

🎶 When the Music Stopped

"Playback froze and we had to sing the rest ourselves."

If there's one thing crews don't sign up for during a gig (maybe after the gig with a few drinks), it's karaoke. 

🪄 The Vanishing Cable Trick

"Everything unpacked... except the cables."

The show must go on, but not without power. 

🕒 Time Is Just a Suggestion

"Call time 6pm. Everyone showed up at 7."

"What time should we be on site?" "Yes." 

💡 Who Turned Off the Lights?

"House power tripped mid-focus. Whole venue in the dark."

That's when you let the audience be the lighting designers with their phone flashlights.

🏃 Wrong Case, Wrong Gig

"Rolled in a case of video gear to a wedding by accident."

Bride and groom were apparently not impressed with a rack of processors where their cake should've been. 

🎤 Mic Check, 1... Nope

"Tested the mic. Hot mic. Entire arena heard me swear."

It's a rite of passage at this point.

🪖 The Accidental Safety Win

"Was told I didn't need to wear a hard hat on a small theater gig. I wore one anyway as a joke. Rigger dropped a shackle on my head from 20 feet up."

Sometimes being a goof actually saves your life.

📉 Wall Down

"We dropped an LED wall. The whole damn wall."

No explanation needed. Just the sound of collective gasps followed by dead silence.

🎹 Tiger Touch Massacre

"Classmate of mine dropped 3 Tiger Touch 2 consoles. All didn't work anymore."

RIP.

🎤 Wrong Wedding Band

"My band set up at a large venue. 30 minutes into the gig, a wedding planner ran in... we were at the wrong wedding."

Some lucky couple almost got a free show.

🪑 Partition Dominoes

"A row of partitions wasn't weighted properly. One person leaned, the entire 100m row collapsed with a thunderous sound."

This is the type of thing that keeps you up at night while you stare at the ceiling.

🥂 Drunk Show Caller

"Had a gameshow thing for a company party. Organizer was drunk and completely messed up the music cues. Whole show derailed."

Forwarding this to HR.

@4WallEntertainment

Production stories that didn't exactly go to plan 😅

♬ original sound - 4WallEntertainment

What was your "aha!" moment that made you realize this was the industry for you?
I got very into musical theatre in high school. My tiny school in Upstate NY did not have much of a theatre department, but I soaked up musical theatre soundtracks and made trips across the Northeast to see regional touring shows. I knew pretty quickly that it was something I wanted to pursue in further education and as a career.

Describe your career path within this industry.
Like so many, I started off wanting to be an actor! I went to Manhattanville College (now University) 30 miles north of NYC. It was a liberal arts college, and I wanted an overarching theatre education. To make some extra money and get an inside look at the department, I worked in the scene shop and eventually taught other students how to use tools and build things. A spark was lit! I helped build sets, hang and focus lights, and run shows. It was an all hands on deck, completely immersive, and pretty thorough education into multiple aspects of putting on a show. After graduation and a few years in restaurant and office jobs I bit the bullet and moved from Upstate NY to New Jersey to take a Production Assistant job at Two River Theater Company. I was lucky enough for them to take my multi-faceted experience as a guide and I worked in the shop, on lighting, on sound and on shows. I stayed for 2 years before coming to DC to be the Assistant Technical Director for the Folger Shakespeare Library's Elizabethan-style theatre. Just like many things I had done to that point, it was a little bit of everything! I liked it so much that I stayed there for just over 12 years before coming to 4Wall. It was all great experience to bring to the company as I've worked closely with theatrical productions, but also events, planning, and budgeting.

If your job had a tagline, what would it be?
Adapt and overcome, focus on fixing the problem at hand.

When you explain your job and/or this industry to family members who have no idea what it is, how do you do it?
I usually say I'm a facilitator between the client and the shop to ensure the gig/show/event goes as smoothly as possible.

What's one thing people think is easy about your job-but in reality, it's way harder?
Explaining specific problems/issues to clients that aren't familiar with terminology or processes.

If you could trade jobs with one person at 4Wall for a day, who would it be and why?
OOOOOH. Somebody high up in Systems, the variety of those projects is fascinating to me.

What's a project you worked on that made you the proudest?
In 2015, the Folger did a production of Pericles, a not-well-known Shakespeare play. The production values and cast were incredible and I cried multiple times watching it. It was beautiful. I was particularly struck by the sound design and how it felt like a film. At 4Wall, it wasn't the biggest gig, but I did an event with a client for Only On Uber. This was a small but pretty complex event, with lighting, sound, video, a teleprompter, cameras, and live streaming. I also ended up going on site for it and serving as a Project Manager of sorts. It was valuable learning experience but also a confirmation of what 15 years of training in the industry had taught me - adapt and overcome - and in the end went very smoothly. Both my client and the end client were happy, which is the name of the game.

What's the wildest request you've ever gotten from a client, and how did you make it happen?
A tie: Folger - Changing a traditional proscenium Elizabethan theatre to an in-the-round setup. Seating was moved on stage and the stage was built on the raked floor that held the orchestra seating. It was insane, took a mammoth effort to install and restore, but looked incredible. There's a time lapse for the transformation here. At 4Wall, it would have to be lighting a 10' diameter Mistletoe on a 28' steel structure in the middle of winter outside in DC. Through a mountain of effort by everyone involved (myself, Project Manager, labor team, freelancers, the shop) it happened. It was great when it worked, but even IP65 fixtures were not prepared for the crazy temperature variety of winter in our lovely nation's capitol. Lesson well learned here also.

What's a mistake you made early in your career that taught you a valuable lesson?
I was laying a herringbone floor for a set in my 1st year doing theatre professionally. Someone who had been working in the biz much longer than me told me to lay stuff out before bradding it down, but I did not listen. Ended up getting progressively off the guide lines and having to pull up and redo. Lesson: listen to people who know more than you.

If you could go back in time and give "Day One You" a piece of advice about this job, or life in general, what would it be?
Listen and don't be afraid to ask questions. Admitting you don't know something doesn't reflect poorly on you, pretending you do and winging it definitely can!

What's the best part of working at 4Wall?
The sheer magnitude and breadth of knowledge in the company, coupled with the willingness of everyone to assist when asked, feels truly supportive. There is never a time where I've felt I have no one to go to if I have a question or problem, regardless of complexity.

What's your favorite guilty pleasure snack on the job?
Twix and/or Dr. Pepper

The demand for seamless, responsive and data-rich environments is growing fast. Whether it's an installation that reacts to customer movement or an activation that tailors content in real time, the magic often lies in how a space understands and reacts to the people within it.

One technology that we utilise to empower this shift is LiDAR, a remote sensing technology that uses lasers to measure distances.

LiDAR can be used in event spaces in various ways, from tracking movement with high accuracy and detecting gestures, to measuring dwell time and engagement zones.

It's fast, invisible to the human eye, and requires no wearables or touchpoints - ideal for environments where smooth, contactless interaction is key.

How does LiDAR work?
By emitting rapid pulses of light that bounce off objects and return to the sensor, LiDAR calculates how long it takes for the light to return. This enables it to build a highly accurate, 3D map of its surroundings.

LiDAR in action
Event Tech Live 2023

On our stand at Event Tech Live 2023, we used LiDAR's ability to detect hand movements, body position, and proximity to create a fully interactive custom game that enabled users to pop balloons and reveal digital paint splats across the LED canvas, creating a unique piece of digital art every time.

Read more about this project here.

Studio 19

In our Studio 19 experience, we used LiDAR tech to transform the video content based on the user's position.

When approached, the content on our transparent LED would shift to open a portal, revealing a podium piece behind the LED. This portal would then dynamically close once the user had stepped away.

-

LiDAR technology enables effortless experiences, allowing spaces to respond naturally, intuitively, and intelligently. Our in-house Innovation team works closely with both creative and technical partners to integrate LiDAR in ways that are fast to deploy and stable under pressure.

If you have an idea that you're looking to bring to life, get in touch with our team at europe@4wall.com.

Touring is a blur of cities, cues, and adrenaline. Behind every beam, blackout, and breathtaking moment is a crew member living life on the move-chasing the next cue, the next stage, the next unforgettable night.

For the crew behind the curtain, it's more than a job. It's a lifestyle built on precision, connection, and the drive to create unforgettable moments for strangers every night. With so many crews and creatives passing through 4Wall's shop and showing up in @LimeLightWired's orbit, we wanted to team up and tell the real story-the human one. So what does "tour life" really look like when you're the one making the magic happen?

We asked four working tour professionals what keeps them coming back to life on the move, what challenges them, and what grounds them in the chaos. Their answers go beyond job descriptions. This is what touring feels like from the inside.

What Draws You In (and Keeps You Coming Back)
Touring can sneak up on you. Loud Luxury's tour manager Jacob Landman wasn't chasing it. He had a steady house gig for years and had turned down road offers more than once. But a three-month run with friends changed everything. "72 shows in 90 days. Truly a grinder of a run... but I was absolutely hooked." What keeps him on the road now is twofold: "The shows themselves, and the connections I make in cities around the world."



For others, it has always been in the cards. Calvin Johnson, who has lit stages for H.E.R. and Janelle Monáe, describes a deep-rooted visual instinct. "I have this unique ability to 'see' lights in sync with the music I hear." For him, it's not just programming cues. It's interpreting music in color and rhythm. It's art.

Pyrotechnician Jared "Cheeks" Jones Parks puts it simply. "The energy in the building during a live show and how much joy it brings people." If you've ever stood in the crowd when the flame hits on beat, you've felt the work he does. That moment, the crowd forgetting their real lives for a while, is what makes the grind worth it.

Ed Shaw from 36NORTH, who VJ's for Deadmau5, Sammy Virji, and others, finds joy in both the creative and technical sides. "It's fun and challenging to create visuals that connect with the crowd... I'll never get tired of playing a role in moments thousands of people experience together every week."



Photo credits: Leah Sems / @leahsems

Daily Rhythms, Creative Flow, and Staying Centered
Tour life doesn't come with a manual, but patterns still emerge. Jared's days start before the sun is up and end after the trucks are packed. "Unload the truck, set up gear, check systems, operate the show, then pack it all up again and hit the road." It's a physically demanding loop, and when pyro is involved, safety is everything. "Every show that is safe and no one gets hurt is a good show. When in doubt, leave it out."

For Ed, routine is less about timing and more about mindset. Walking into a new venue, his eye goes straight to the LED screens. He looks at how they're arranged, how the crowd will see them, and how to map motion content for maximum impact. "I can't help spotting dead pixels or broken lights faster than I can find the exit sign... even in a supermarket," he jokes.

Calvin finds his flow in the process of building a show with the artist, not just for them. "Cueing a show that clicks, after collaborating with an artist, is when I feel most fulfilled. It's about delivering something the fans will remember." He's not exaggerating when he says he designs with the audience in mind. "Once you analyze the components, it's important to realize everything you do is for the artist's fans."

What keeps everyone centered varies. Calvin packs handmade items from his son, little art projects or mementos that bring the real world with him. "There's something special about holding an object that was created with love and care," he says. "It inspires you to do your own work with greater passion and purpose."

Consistency, Connection, and What Makes a Crew Click
Touring is movement by design, but the best crews find their footing in consistency. That doesn't mean things don't go sideways. Calvin recalls updating focus presets while the house was opening after a tight city-to-city turnaround. But when a team is locked in, they can handle just about anything.

"The biggest challenge is getting complacent," says Jacob. "If we no longer see it as special, that will translate to the audience. The crowd is there to escape from their day-to-day and experience something worth remembering." That's the mission. Every night. Every city.

And when a crew is clicking, you can feel it. "Tight communication and support throughout the team," says Ed. "From FOH knowing the artist's tracks inside and out, to the stagehands trusting each other. It all adds up." Mistakes might happen, but it's how the team reacts that makes them pros.

Even as the venues change, the faces start to feel like home. You learn people's habits, their quirks, their rhythms. You know who needs coffee before they speak. You know who will catch the missed cue without a word. The crew becomes a kind of family, not in the cheesy way, but in the honest, practical one.

Let's Do It Again Tomorrow!
Tour life is built on motion, but its power lies in connection. Connection between team members, with the artist, and with the crowd. From the outside, it's easy to focus on the spectacle. But talk to the crew and you'll hear the real story. Early mornings, late nights, tiny victories, and the deep belief that every show is someone's first and someone else's favorite. And for the people behind the curtain, that is enough to keep doing it all again tomorrow.

What's your name and title?
Kerrie Robinson, Senior Project Manager

What 4Wall location do you work at, and how long have you been with the company?
Atlanta, Georgia. I was part of the Magnum acquisition and just recently passed my 10 year mark of working alongside the company. Officially 2.5 years with 4Wall.

What was your "aha!" moment that made you realize this was the industry for you?
I was in Performance Arts in high school and during my senior year took a liking more to the technical side. With that I began staying after rehearsals to help my director with set construction/design, lighting focus and the like.

Describe your career path within this industry.
This actually wasn't the path at all. After high school I went to college for Civil Engineering but there was always a special place in my heart for my senior year of High School and all I had learned. 2 years into college I reconnected with my high school and began assisting them with shows as their Technical Director. During time as their TD, Magnum did an Audio install in our PAC and then helped on a couple of our bigger shows going forward. We made a connection, they saw my interest and work ethic, and I've been with the company ever since in different capacities.

If your job had a tagline, what would it be? 
Be at peace with the unexpected.

What's the most unexpected or bizarre thing that has happened to you on the job?
SCAD Grad 2024... Load in was done, rig was up, fully rehearsed and waiting for the last piece of the puzzle from the client, and then a series of water mains burst around the city put our venue out of commission. We were patient to see how the city would act, as well as what decision our client would make, but unfortunately the event downscaled drastically to a facility on their campus, and we just loaded out the next day.

When you explain your job and/or this industry to family members who have no idea what it is, how do you do it?
You know when you go to a concert and you're like man that looks or sounds cool...yeah that is what I do. A little more corporate related work in ATL though.

What's one thing people think is easy about your job-but in reality, it's way harder?
So you get to see free shows all the time? No not exactly, we often times miss some cool stuff but that's ok.

If you could trade jobs with one person at 4Wall for a day, who would it be and why?
Lucas Scott-Martin, AV Department Lead of Atlanta. Lucas and I go way back and both started working in the shop together way back when in the AV department. Hard work but a lot of fun was had.

What's your secret weapon on a long, hectic day?
Talking to my wife...that's home base for me.

What's a project you worked on that made you the proudest?
Delta 100. Easily the biggest job I have done. Great crew, successful show and ultimately was a great experience for all.

What's a piece of industry advice that sounded like nonsense when you first heard it but turned out to be absolutely true?
Just Live!

Are there any life hacks at your job that would surprise people?
Do your best to turn it off when you get home. Enjoy your job, create friendships with people, and grow in your career and as a person, but remember what you are doing it all for at the end of the day.

What's the wildest request you've ever gotten from a client, and how did you make it happen?
This needs to be it's own 4Wall Series. Report back to me when it is.

What's a mistake you made early in your career that taught you a valuable lesson?
Trust the process and your team. Everything isn't on my shoulders especially when I surround myself with the people I do. Love all these guys here!

Technology in our industry is constantly evolving-how do you stay on top of what's new?
Honestly our freelancers and techs are like a live messaging board for what's new. So I just pay attention and ask questions.

What's one trend with equipment that you're excited about?
I am really interested to see where video production is going...a little scared too. It's not getting smaller or less complicated by any means so wondering what may be next to ease the flow or add another element of depth.

If you could go back in time and give "Day One You" a piece of advice about this job, or life in general, what would it be?
Stay focused and trust your instincts...you're taking in more than you realize.

What's one career goal you're working toward right now?
Building out the ATL PM bullpen. We have some great guys down here as well as some new additions. So just making sure I keep them up to date on things as well as taken care of in general as an employee but even more so as people.

What's the best part of working at 4Wall (and no, you don't have to say "the people" unless you really mean it!)?
The get it done mentality. Atlanta get's into some stufffff, but we never shy away from a fight and we always get it done. Big thanks to all involved.

Describe your job in three emojis.
👀😏🙌🏾

What's your go-to karaoke song after a long event?
Public Service Announcement - Jay-Z

What's your favorite guilty pleasure snack on the job?
Fruit Snacks

If your work life had a theme song, what would it be?
Can't Tell Me Nothing - Kanye West

What's the last song that you listened to?
Tuscan Leather - Drake

What's your name and title?

Wells Hunter, LED Department Lead

What 4Wall location do you work at, and how long have you been with the company?

I have been employed at 4Wall Boston since June of 2018, but I was first hired by ALPS in 2015.

What was your "aha!" moment that made you realize this was the industry for you?

I don't remember what show it was, but seeing my work on stage mixed in with everyone else's drove home how collaborative theater has to be. Once I learned that you're never alone on a job site, I knew it was the place for me.

Describe your career path within this industry.

I started doing shows with my high school, and was lucky enough to be part of the host team for the Massachusetts Drama Festival. I moved on to study technical theater at Bridgewater State University, and did freelance work in the city whenever I had the time. I met a lot of ALPS employees during this time, and ended up working for the Actor's Shakespeare Company for a season as a production assistant. When the freelance scene got to be too chaotic for me, I moved to ALPS full-time as a shop tech. Since then, I've been very happy sticking with this group, and being bought by 4Wall has only expanded my opportunities.

If your job had a tagline, what would it be?

Well, since my job is to bring fixtures back to factory standard appearance: "Enforcing conformity, but in a fun way!"

What's the most unexpected or bizarre thing that has happened to you on the job?

I work for a local theater part-time as well, and during the pandemic we had a bunch of movies using the theater as a filming location. The owner wanted a crew in the building to get the crew whatever they needed, so I got to have a sleepover in the theater while they did a full evening of shooting.

When you explain your job and/or this industry to family members who have no idea what it is, how do you do it?

I ask them what the last live event they went to was, and I tell them that I help with everything happening AROUND the stage, not on it. Then I mention that we do weddings and birthdays, just to give them a better idea of the scope we cover.

What's one thing people think is easy about your job-but in reality, it's way harder?

Knowing when something has gotten bad enough to need replacing. Sometimes it's easy, like a burned out circuit, but sometimes you're trying to see if one fixture is a slightly different shade of green, because the designer said it didn't match, but I don't see anything wrong, and the replacement part is super expensive, how big of a difference is it really? Then I go to Richard, our resident repair tech, and ask them to give me the odds.

If you could trade jobs with one person at 4Wall for a day, who would it be and why?

Richard, because they get to fix problems all day by fiddling with electronics, and that sounds like fun.

What's your secret weapon on a long, hectic day?

A 360 degree speaker slung over my shoulder with tie line, a 60 0z water bottle, and many shelf stable snacks.

What's a project you worked on that made you the proudest?

Every time I got to go on site and work the Joey O'Donnell fundraiser, I was overwhelmed by the pride I felt for our industry. Charity events are necessary for so many valuable causes, and seeing every vendor come together to make it happen was always awesome. The people bringing in food, the people setting up sound, the security guards clearing the end of the mall, and the people with the money who made it happen: we were all there doing our jobs, but we were also doing our part supporting cystic fibrosis research at the same time. I love being part of something meaningful, something that can change lives, and every event we send out has the chance to do that.

What's a piece of industry advice that sounded like nonsense when you first heard it but turned out to be absolutely true?

"Slow is fast." I always assumed that advice was for students, and that as soon as I entered the workforce, I would be encouraged to go as fast as I could. I'm grateful for the managers and safety officers who each made sure to tell me that there's nothing more important than being careful. An injury will slow you down WAY more, after all.

Are there any life hacks at your job that would surprise people?

Some of the specialty tools I've received over the years might as well be life hacks. The Light Source makes a mega-combo wrench that totally changed the game when I took it to my first focus call. So in short, look for theatrical supply stores, because they'll have every tool you wanted but didn't know existed.

What's the wildest request you've ever gotten from a client, and how did you make it happen?

I'm usually the small but vital problem-solver. The issues I resolve aren't huge, but I like to think my creativity helps me see things from a different angle.

What's a mistake you made early in your career that taught you a valuable lesson?

I made the mistake of not owning up to a mistake and hoping it wouldn't be noticed. Now I know the one rule to earn people's confidence: admit when you messed up. If your manager knows that you'll admit your mistakes, they'll generally be more forgiving of them. It's hard to fix a mistake that no one knows about.

What's one trend with equipment that you're excited about?

I'm excited to see what comes next for LEDs, because as batteries and diodes get smaller, we may see more complex arrays, more intricate lenses, different reflector shapes? But the world of video is also going absolutely insane, with curved panels, crystal clear images, and faux green-screen/video mapping for television sets.

What's a skill you've developed on this job that you never expected to need?

Authority. I thought I could get through life never needing to correct anyone, but sometimes you need to be able to stop someone from hurting themselves or damaging equipment.

If you could go back in time and give "Day One You" a piece of advice about this job, or life in general, what would it be?

Accountability is key; make sure you don't make promises you can't keep, and always admit when you don't know something.

What's one career goal you're working toward right now?

Right now, my main goal is to continue expanding my knowledge base. Any opportunity to stop and listen and observe, I'm trying to recognize them and capitalize on them.

What's the best part of working at 4Wall?
The constant movement of people and gear. Having massive shows going out means we get to meet a lot of professionals from all over the country, and all of them have tips, tricks, and stories that they're eager to share.

Describe your job in three emojis.
😬👍😝

What's your go-to karaoke song after a long event?
Holdin' Out for a Hero

What's your favorite guilty pleasure snack on the job?
A giant tub of peanut butter pretzels

If your work life had a theme song, what would it be?
Technologic by Daft Punk

What's the last song that you listened to?
Love is a Battlefield, covered by The Klingon Pop Warrior

Anything else that you'd like to add?
Theater is an industry that is constantly growing and changing, and I love that I get the opportunity to grow and change along with it. The future is expanding faster than I can follow, but the arts will remain.

What are examples of interactive trade show booth technology? 4Wall Europe has built several interactive exhibition stands using LED and sensor technology. At Heimtextil, they created a custom LED tunnel for Welspun where a touchscreen game triggered real-time content changes on surrounding displays using visual output capture. At Event Tech Live 2024, a 2D LiDAR sensor drove an interactive floor poll where visitors answered by physically stepping into projected zones. For Bausch + Lomb, they built a dual-sided LED wall with LiDAR scanners that transformed the displays into interactive touch surfaces with a live photo gallery.

In the ever-evolving event space, catching visitors' attention is key. Interactive elements allow your audience to explore, discover and respond to your brand, whether through immersion in motion and sound, or interaction with physical, hybrid or digital interfaces.

Not only does an interactive experience help you to stand out in the crowded exhibition hall, but it also creates an organic invitation to visit the stand and increases the time spent there, giving you the opportunity to build a meaningful connection. Whether you choose a physical activation or a gamified challenge, an interactive experience tells your brand story in a more personal and memorable way. 

At 4Wall, we're passionate about providing well-designed interactive features that give life beyond the event, creating moments that people post, share and talk about - amplifying your presence far beyond the initial audience.

If you're in need of some inspiration, check out some examples of our work below.

Welspun at Heimtextil

The Welspun stand showcased a custom LED tunnel, featuring content that interacted with a game on the touchscreen, triggering different content based on the game's outcome.

In this instance, we had to think outside of the box with our approach, as the client approached us with an existing, store-ready game to use as a foundation. This presented a unique challenge, as when we build games ourselves, we can implement our content triggers directly into the source code. 

After numerous iterations, we settled on a custom system that captured and processed the game's visual output in real time - similar to the human eye! From here, our bespoke system could identify key moments in the game, such as specific win phrases or levels to send triggers to our content servers and update the LED within milliseconds.

See more about this project here.

Event Tech Live 2024

Designed, built and managed by our team, we showcased some of our interactive technology, incorporating a 2D LiDAR sensor and custom software to create a fully interactive poll. 

Our custom software used data driven by these sensors to manipulate the poll content based on the user's physical location - when they stepped into zones highlighted by our overhead projector, they would answer the digital poll. Since everything was built in-house, we were able to integrate with all the technology on the stand to produce a seamless, engaging user experience.

Bausch + Lomb

In collaboration with Bausch + Lomb, we created and designed an immersive experience that featured a photo-taking journey using an iPad, which was then displayed live in the LED's "gallery view". These updates happened seamlessly within seconds of the user taking their photo.

We provided a dual-sided LED wall equipped with Hokuyo LiDAR scanners, which allowed us to transform the LED walls into interactive touch surfaces. 

Read more about this project here.

From simple physical puzzles that echo a brand's problem-solving ethos to playful installations and digital tools that visualise data in real-time, our Innovation team has the tools to support your vision. 

If you have an idea that you're looking to bring to life, get in touch with our team at europe@4wall.com.
 

What's your name and title?
Richard Gagliardi, Service Department Lead

What 4Wall location do you work at, and how long have you been with the company?
4Wall Boston. I have worked at 4Wall for 6 years, and by way of acquisition, I have been with the company for over 25 years.

What was your "aha!" moment that made you realize this was the industry for you?
When I realized that there were more late nights than early mornings - that sold it to me. I've always been a night owl.

Describe your career path within this industry.
I started in stage/theatre work through community theatre when I was young, both on stage and backstage. After high school, I took a year off to experience the real world and moved to the Boston area. Through a friend, I got my first gig as a freelance stagehand doing electrics. That led to more gigs and eventually a job at a small lighting and production company, where the owners/management discovered my talent for troubleshooting and repair. I ended up staying there for 25 years!

If your job had a tagline, what would it be?
Broken is bad, intermittent is much, much worse.

What's the most unexpected or bizarre thing that has happened to you on the job?
It's probably a tie between two moments. The first was Harvey Fierstein tripping over me backstage while I was repairing a dimmer rack - he almost missed his cue! The second was completely rewiring the control cabinet for a mechanical bull needed for a Fortune 500 company's annual sales meeting.

How do you explain your job to family members who have no idea what it is?
If it's larger than your smartwatch or smaller than the building itself, it's my job to know how to fix it. Whether it's electrical, electronics, mechanical, networking, hydraulics, fabrication, HVAC, or confusion - even if I can't fix it, I know who can.

What's one thing people think is easy about your job - but in reality, it's way harder?
Waiting. It's tough waiting on parts shipments, approvals, client responses, or for equipment to break down so I can diagnose it properly.

If you could trade jobs with one person at 4Wall for a day, who would it be and why?
I'd love to shadow one of the Systems people who handle large theme park installations. The infrastructure at that scale fascinates me.

What's your secret weapon on a long, hectic day?
Coffee, upbeat EDM, staying hydrated, and never stopping until the gig is done.

What's a project you worked on that made you the proudest?
Building custom power supplies for LED tape for a trade show. It was my first big project with 3D design, custom fabrication, and scaling parts sourcing.

What's a piece of advice that sounded like nonsense at first but turned out to be true?
Own your mistakes. Admitting fault early builds trust faster than pretending to be perfect.

Are there any surprising life hacks at your job?
Bring extra socks. After 10 hours on concrete, fresh socks can make a huge difference.

What's the wildest client request you've received, and how did you handle it?
A client brought a stretch Cadillac Escalade with malfunctioning party lights to our shop. We diagnosed the issue, sourced replacement parts, and fixed it same day - just in time for his auction trip.

What's a mistake you made early in your career that taught you a valuable lesson?
Never badmouth people or name-drop in this industry. Word travels fast.

How do you stay on top of technology trends?
Read the manual.

What's one equipment trend you're excited about?
IP-rated fixtures for outdoor use - love the durability, but hate the complexity when repairs are needed.

What's a skill you've developed that you didn't expect to need?
Code switching - being able to communicate effectively with different teams and individuals.

If you could give your younger self one piece of advice, what would it be?
Wear hearing protection. You only get one set of ears.

What's the best part of working at 4Wall?
The variety. Every day brings something new to fix, and the people are just as interesting as the challenges.

Describe your job in three emojis.
🔥 😬 🕛

What's your go-to karaoke song after a long event?
Nobody wants to hear me sing.

What's your favorite guilty pleasure snack on the job?
Mountain Dew and a Snickers bar.

If your work life had a theme song, what would it be?
Daft Punk - Harder, Better, Faster, Stronger.

Richard Gagliardi's journey through the world of lighting and event production is a testament to passion and perseverance. From bizarre client requests to personal growth and professional achievements, Richard embodies the spirit and dedication that defines the 4Wall team. Their story is a great reminder that no matter how complex or chaotic things may get, there's always a way to make it work.

What's your name and title?
Jamie Vitullo, Account Executive.

What 4Wall location do you work at, and how long have you been with the company?
4Wall Las Vegas. I've been here for 7 years, approaching year 8.

What was your "aha!" moment that made you realize this was the industry for you?
I have always been a music lover and concert enthusiast. My father used to say that "Rock and Roll Lifestyle" by Cake was written about me. The vibes, the sounds, the lights and set pieces-I LOVE IT!

Describe your career path within this industry.
In about 2006, I was lucky enough to be in the right place at the right time to get in the door at Upstaging Inc. I started in the cable department in my 20s, moved up to "Tour Support," and then relocated to Las Vegas in 2009. I've held many positions in various warehouses-lighting, audio, video-you name it!

If your job had a tagline, what would it be?
LOL! No gear, no guys, no problem!

What's the most unexpected or bizarre thing that has happened to you on the job?
A few years ago, I got a cold call from the Jane's Addiction Touring Manager needing projectors at Planet Hollywood. I helped them out, and as a thank-you, he offered me passes to the show. When I picked them up, they turned out to be Backstage After Party passes-pretty cool memento!

What's one thing people think is easy about your job-but in reality, it's way harder?
Getting into shows for free.

What's your secret weapon on a long, hectic day?
Southern Comfort!

What's a skill you've developed on this job that you never expected to need?
A good poker face.

If you could go back in time and give "Day One You" a piece of advice about this job, or life in general, what would it be?
Go to college.

What's one career goal you're working toward right now?
Retirement.

What's the best part of working at 4Wall?
The people! Lyn Mendoza is my Ride or Die Work Wife, and honestly, 4Wall really does treat their employees the best.

What's your favorite guilty pleasure snack on the job?
Marlboro Lights.

If your work life had a theme song, what would it be?
"It's the End of the World as We Know It (And I Feel Fine)" - R.E.M.

What's the last song that you listened to?
"September" by Earth, Wind and

Working at 4Wall is more than just a job; it's a lifestyle filled with challenges, creativity, and unforgettable experiences. Jamie's journey from cable department to Account Executive is a testament to passion and perseverance. We're grateful to have her as part of the 4Wall family and look forward to many more years of herrock and roll spirit lighting up our projects.

What's your name and title?

Gary McGarity - Crew Chief  

What 4Wall location do you work at, and how long have you been with the company?

Detroit, 2 years  

What was your "aha!" moment that made you realize this was the industry for you?

I was running lights for Skrillex at Electric Forest Festival with 15k in the audience, and suddenly I realized I wasn't even thinking about what buttons I was pressing or what was coming up next, I was just going with the music like the console was an extension of me. At this point, I realized this 'job' had turned into a career.  

Describe your career path within this industry.

I started off as a stagehand at my local high school theater. After graduation, I became the technical director and ultimately ended up being the auditorium manager. A few years of getting a feel for running all aspects of an event lead me to taking an internship with the local lighting company, Odyssey Lighting, and ultimately employment for a while, getting my teeth wet in the lighting side of things doing a mixture of corporate, festivals, touring and installs. Eventually I ended up at Bluewater Technologies leading the lighting department there, which gave me a great opportunity to build a lighting department that mostly hadn't existed before while teaching myself some valuable lessons along the way. Post-covid I ended up engineering and developing experiential lighting activations that would fuse together technologies from the AV industry into magical moments for the general public. When I was finally ready to take the next steps back into live events, 4Wall was the only logical choice.

If your job had a tagline, what would it be?

Doing more with less.  

When you explain your job and/or this industry to family members who have no idea what it is, how do you do it?

I design the lighting for live events, crafting visual experiences that enhance performances and create unforgettable atmospheres. Essentially, I use light to tell a story, making concerts, theater shows, or special events come alive with color, movement, and energy.  

What's one thing people think is easy about your job-but in reality, it's way harder?

Work/life balance. It seems really easy to maintain both, especially when there are long periods of time between jobs sometimes. In reality, it's one of the hardest parts about this job, realizing that even though you are on vacation, somewhere someone may need an answer that only you can give and there is no waiting until you get back.  

What's your secret weapon on a long, hectic day?

Mt Dew gets me through the days that you know you're gonna be there all day.  

What's a project you worked on that made you the proudest?

One of my most proud projects was when I lit the Detroit Central Train Station. We put a light behind each of it's 264 windows across 11 floors and mapped it out so we could scroll low-resolution imagery and words across the windows that could be seen from miles away. I was a part of the design and engineering team for it and was able to program the whole activation. Hearing the city go crazy with excitement as we lit the building, that had once been an iconic stop in Detroit and since been abandoned for almost 40 years, has just always stuck with me as one of the greatest moments in what I do.  

What's a piece of industry advice that sounded like nonsense when you first heard it but turned out to be absolutely true?

Never burn a bridge, as you don't know who you'll be working for next week.  

Are there any life hacks at your job that would surprise people?

You can get anywhere if you wear all black and carry a radio or ladder with you.  

What's the wildest request you've ever gotten from a client, and how did you make it happen?

I had one client, that after weeks of meetings and discussions on the design of the event, decided while loading in they were changing the color scheme of their event to brown and black. After explaining to them, these colors weren't colors you could create with light, we ended up with an all white lighting event.  

What's a mistake you made early in your career that taught you a valuable lesson?

If you're going to make a mistake, learn from it.  

Technology in our industry is constantly evolving-how do you stay on top of what's new?

I try to attend LDI yearly to catch up on the newest technology releases and keep up with industry contacts.  

What's one trend with equipment that you're excited about?

I love how far RDM has come, the ability to remotely make changes to fixtures and monitor potential problems before they become a show stopper is an awesome advancement we are in the middle of.  

What's a skill you've developed on this job that you never expected to need?

Being able to make anything happen with a little time and a trip or two to the hardware store.  

If you could go back in time and give "Day One You" a piece of advice about this job, or life in general, what would it be?

Don't sweat about trying to be involved with every project that you hear about, find the ones that are right for you and give them your full focus.  

What's the best part of working at 4Wall.

Working at 4Wall is great because of the access to gear and opportunities that it presents. When I'm designing for shows I don't feel like I have to be limited by what's on the shelf, I can come up with whatever the best design for a show is and know that we have the inventory to be able to execute it. I also love all of the opportunities. Whether you want to tour, do sports events, stick to corporate work, do installs, or a mixture of all this plus more, the chances are there to get involved with any aspect of live events that you could want.  

What's your go-to karaoke song after a long event?

Teenage Dirtbag - Wheatus  

What's your favorite guilty pleasure snack on the job?

Air Heads Xtremes  

If your work life had a theme song, what would it be?

One More Time - Daft Punk  

What's the last song that you listened to?

Evil Angel - Breaking Benjamin  

From lighting up Detroit's iconic train station to staying ahead of the curve with evolving technologies, Gary's dedication is evident in every project he undertakes. Whether it's finding the balance between work and life or creating mesmerizing visual experiences, his story serves as an inspiration to all who love the art of live production. Stay tuned for more insights from the talented individuals who make 4Wall an industry leader.

What 4Wall location do you work at, and how long have you been with the company?
I work out of the Nashville location. I actually started my career at 4Wall in June of 2012 when 4Wall acquired Theatrical Lighting Systems in Huntsville, Alabama. Later that fall, we moved operations to Nashville, and I worked there until I went freelance in 2016. I returned to 4Wall in January of 2024 as a Project Manager, and I couldn't be happier!

What was your "aha!" moment that made you realize this was the industry for you?
When I was a kid, my parents would compete in professional BBQ cook-offs all over the Southeast. Most of these competitions had concerts, and I would annoy the light and sound team with questions all day while my parents cooked. I knew then that I wanted to be behind a console!

Describe your career path within this industry.
I started in the summer of 2010 at TLS. Back then, I was still in high school and called TLS every other day asking for a gig until they finally hired me as a general "shop kid." I cleaned, painted, organized, and eventually was allowed to help pull gear for shows. I tagged along to a few local load-ins and tried to learn everything I could from the road guys.

After 4Wall acquired TLS, I became head of the conventional department in Nashville and second to the electronics department. I stayed late teaching myself how to program on an MA2 with a few lights on the moving light test rig. Eventually, I worked my way up to road staff and got my first tour as an LD! It was an exciting and humbling time.

After figuring out my first few tours with 4Wall, I started getting calls to design other tours and decided to go freelance. Becoming an independent LD was a huge accomplishment for me, something I had always dreamed of. I toured heavily from 2016-2023 (aside from the COVID era). Through it all, I maintained my relationship with 4Wall-they were always my go-to whenever I needed gear for a tour I had designed. I was fortunate enough to work with a few international bands and travel the world in my early 20s, working with the best in the business. I still keep in touch with many of these folks and always try to see them when they come through Nashville.

Towards the end of 2023, I proposed to my then-girlfriend, Kristen! I felt a big shift in my personal versus professional life and wanted a change-being home with her. I reached out to my old friends at 4Wall and was welcomed back in January of 2024 with open arms and big smiles. With my prior experience in the shop, then as a tech, followed by Lighting Director, and then Designer, my current role as a Project Manager was a perfect fit.

What's the most unexpected or bizarre thing that has happened to you on the job?
Creed Bratton (from The Office) came out to do a song with Mt. Joy at The Greek in LA!

What's one thing people think is easy about your job-but in reality, it's way harder?
Juggling multiple projects and keeping those wires from getting crossed. When I was touring, I was responsible for executing a single show every night. My job now requires me to stay on top of multiple tours and shows happening at the same time!

If you could trade jobs with one person at 4Wall for a day, who would it be and why?
I'd trade jobs with one of our festival FOH techs for a day. I'd love to be back behind a console, punting good EDM, meeting tour LDs, and nerding out (or complaining) about the latest software release.

What's your secret weapon on a long, hectic day?
Celsius™ + Drum and combo always slaps.

What's a project you worked on that made you the proudest?
Bonnaroo 2024 - The Other Stage. Bonnaroo has always held a special place in my heart. It was the first festival I went to when I was 18 and had just moved to Nashville. I've attended as a fan, worked shows with bands, and now PM'd a stage with a vendor. We faced a few challenges, but in the end, it turned out to be a killer weekend.

What's the wildest request you've ever gotten from a client, and how did you make it happen?
Executing a large show in a VERY short time span. We made it happen by putting the right people in the right roles.

How do you stay on top of evolving technology in the industry?
I like to scroll PLSN, LiveDesign, and a few other industry publications. I also lurk in a few social media lighting groups.

What's one trend with equipment that excites you?
IP-rated lighting fixtures seem to be the hot trend. While the tradeoff is typically added weight, not having to worry about a festival rig getting drenched overnight is really great.

What's a skill you've developed on this job that you never expected to need?
Effectively over-communicating without disparaging anyone's ego. It takes skill to explain something in great detail without offending someone who's been doing this for a long time.

What's the best part of working at 4Wall?
It's cliché, but definitely the people. My job wouldn't be half as fun without the amazing team inside these 4Walls. Get it? lol

Thanks for sharing your journey, Max! Stay tuned for more Faces of 4Wall features, where we introduce the incredible people who keep the show going.

Although not officially employed at 4Wall, Gustavo Campos is an integral part of our team. We're proud to introduce him as our Web Developer, ensuring our sites stay up and running!

How long have you been with 4Wall/UsedLighting.com?

I've been working with the 4Wall team since 2006, initially through the company I was with at the time. In late 2008, I launched my own business, and soon after, the owner and CEO (at that time) reached out for some work. We've been collaborating ever since, and I'm grateful to be considered part of the team!

Tell us about a professional success story that you're proud of.

I'd like to think my professional success story is still being written. A major part of that journey has been the opportunity to work on incredible and challenging projects. For that, I owe a great deal of gratitude to the 4Wall team, first to Michael Cannon, for trusting a young, up-and-coming web developer, and now and always to Wes Bailey and Luke Lytle, who have continuously placed their trust in me and my team, giving us the latitude to make key decisions on their projects.

I'm proud to have grown professionally alongside the 4Wall family.

What is your favorite memory working here?

Well, while I don't technically work for 4Wall, sometimes it sure feels like it! 😜 I have so many great memories, from brainstorming new projects and meeting up just to catch up, to those legendary parties they throw from time to time (you know who you are!). It's been an incredible journey, and I'm grateful to be part of it.

Do you have any background in the lighting industry?

I do not.

Who are some of your biggest influences?

My mom was and will always be my greatest influence. My wife, Gaby, is also a tremendous inspiration in my life, along with the amazing people around me, especially my children. I learn from them every day, it's refreshing and keeps me growing.

Describe an interesting hobby or pastime that you have.

I'm not sure if it's interesting, but I love building (and rebuilding) things, especially cars. Whenever I get the chance, I buy a crashed car from an auction and work on it tirelessly. I won't stop until it's fully repaired, safe, and ready to hit the road.

I also love video games, and lately, I've been able to play them with my kids, which is really cool!

What is something surprising that not many people know about you?

Maybe the fact that I'm actually pretty good at sports, especially soccer and basketball!

What is one thing you can't live without?

My family, though I'm not sure they count as a 'thing'! 😁 That, and Tic Tacs!

What is something that you've always wanted to try or learn?

I always wanted to learn to play the guitar, I still do.

Tell us about a favorite memory from childhood.

I have so many, but one that stands out is a simple yet unforgettable moment. I was four years old, and snow was rare in my hometown. That day, it was snowing. I sat next to my mom in her room, watching the snow settle on a big tree before melting into the ground. It felt as if time had stopped and nothing else mattered.

Get acquainted with Mark Shakeshaft from our UK location!

How long have you been with 4Wall/UsedLighting.com?

I have been with 4Wall/UsedLighting.com for 5 years.

Tell us about a professional success story that you're proud of.

Selling most of the old HSL stock.

Do you have any background in the lighting industry?

Before joining 4Wall/UsedLighting.com, I worked in cables/Lighting and Rigging at HSL Group before moving into sales.

Describe an interesting hobby or pastime that you have.

Outside of work, I enjoy Fell running.

What is one thing you can't live without?

I can't live without air and family.

What is something that you've always wanted to try or learn?

I've always wanted to learn a different language.

Get to know Todd Hafer, helping drive excellence from our Pennsylvania office.

How long have you been with 4Wall/UsedLighting.com?

I have been with 4Wall/UsedLighting.com for 8 years.

Tell us about a professional success story that you're proud of.

I'm proud of maintaining a happy and inviting personality while being successful in this high-stress industry.

What is your favorite memory working here?

My favorite memories are working with all the strong and wild personalities we have under the 4Wall/UsedLighting.com umbrella.

Do you have any background in the lighting industry?

I did not. I came from management in the food service industry, so over the last 8 years, I have learned a lot.

Who are some of your biggest influences?

I cannot narrow this down because I truly believe there is something to learn from everyone you meet. You learn either a positive or negative lesson from every interaction. So, with that way of thinking, I guess my biggest influence is everyone I have ever interacted with.

Describe an interesting hobby or pastime that you have.

I love going to concerts. I have seen Jimmy Buffett live over 45 times, and any grouping of the Grateful Dead is my favorite. I also miss bartending. I was a bartender in college, and I loved the interaction with the customers, but there were bills that needed to be paid, maybe because I was not that good of a bartender, so I needed to move on with my career goals. So, with those two I guess my real hobby is and always was trying to avoid growing up. 

What is something surprising that not many people know about you?

I am a huge professional wrestling fan. I really enjoy learning everything there is to know about the history and present-day behind-the-scenes of the wrestling industry.

What is one thing you can't live without?

I know this is an easy answer, but it happens to be true: my wife, Aimee, and my son, Donovan.

What is something that you've always wanted to try or learn?

I always wanted to try to be an auctioneer. I don't know why; just always looked fun!

Tell us about a favorite memory from childhood.

My favorite childhood memories come from hanging out in my basement with my friends. Most weekends, multiple people would crash at my house, and my mom would make everyone food. A lot of great memories come from those hangouts.

What do LED display acronyms like SMD, COB, and GOB mean? DIP (Dual In-line Package) is the oldest type, used in large stadium screens. SMD (Surface Mounted Device) combines RGB LEDs in small packages and is the standard for rental and staging. IMD (Integrated Matrix Device) groups four RGB sets in a 2x2 matrix with 2.5x more solder bonding area than SMD for greater durability. COB (Chip on Board) mounts LEDs directly onto a substrate, enabling sub-1mm pixel pitches with wider viewing angles but higher cost and near-impossible field repair. GOB (Glue on Board) coats SMD modules in resin for bump protection. COG (Chip on Glass) mounts LEDs on glass substrate, pointing toward next-generation MicroLED displays.

Lions and Tiger and Bears! Oh my! I always think of this scene from The Wizard of Oz when I walk around trade shows and hear the acronyms and terminology being dropped by LED sales agents. GOB. COB. GOE. COG. SMD. IMD. DIP. 

Does the potential customer feel lost in the LED forest, daunted by these strange-sounding creatures? Or does the inevitable follow-up sales pitch, "This is the best technology for you," put them at ease? 

One could take a Socratic approach and repeatedly ask the sales agent, "Why?" until they get to the root answer. Or I could just tell you the meanings.

Spoiler alert: Some of the definitions will raise questions of, "Now, what the heck does that mean?" or "Why?" But I will try to keep the explanations simple and non-scientific.

BATCH 
LEDs are grown in batches or bins. Much like baking Christmas Cookies, any variance in the "growth" process, such as atmospheric conditions or input ingredients, will create variances in the wavelengths of light that the LEDs produce. LEDs are measured and binned according to their performance parameters. Color calibration methods have advanced significantly. Depending on your processing platform, the difference between batches of LED can be compensated for through calibration to an almost negligible effect depending on your application.

LED (Light Emitting Diode)
Electrical current passes through a semiconductor material causing it to emit light through a process known as electroluminescence (photons are involved!). There are 4 basic types used in LED Video Displays.  DIP, SMD, IMD and COB.

DIP (Dual In-line Package)

 These are essentially the first LEDs and resemble a traditional lightbulb in design. It's a single-color LED encapsulated in plastic with two pins protruding from the package. The pins are pushed through a PCB (printed Circuit Board). They have typically been used as indicator lights, simple digital arrays (think old-school calculators), or very large LED screens (think sports stadiums) that need high brightness but not a fine pixel pitch. 

SMD (Surface Mounted Device)

These combine multiple-color LEDs, usually RGB, mounted on a PCB and encapsulated in a package called a pixel. These packages are arranged in an array and soldered onto a larger PCB. These devices are much smaller and allow for higher-resolution video screens to be created. Most LED products used for Rental and Staging are SMD.

SHADER (Or Mask)
I'm going to slip this item in here. A shader or mask serves two purposes. It prevents ambient light or light from an adjacent pixel from spilling, "washing out" the light output. It also "masks" the PCB surface in between the pixels. Oh - shaders are also made in batches, and color will vary. Mask design will affect your viewing angle.

IMD (Integrated Matrix Device)

Also called 4 in One. Four groupings of RGB chips are mounted on a single substrate in a 2 x 2 matrix. Like SMD, these are then mounted onto a larger PCB. Because of the packaging, there is approximately 2.5x more solder bonding area than SMD, making these a very durable product. But they do not have a typical "shader" mask-like SMD. They are very smooth and clean looking when showing black. But without a shader, they are also subject to being washed out and having less contrast due to ambient light spill.

COB (Chip on Board)

Rather than using individual packages, the LEDs are mounted directly onto a substrate, eliminating the need for wire bonds and "packaging" you have with SMD and IMD. This technology allows us to dive deep into sub-1 mm pixel pitches. It has many benefits, including no black lines between pixels, a wider viewing angle, better uniformity of color, and more resistance to bump damage than SMD. However, it is also more expensive and very difficult (near impossible) to repair when LEDs are damaged. With time, both factors should improve. It can be made outdoor rated very easily. 

FLIP CHIP

This is an alternative method of "wiring" LEDs to the substrate. Traditionally, wires are attached to solder bumps on the surface of the LED to connect the P and N electrical conductors to the substrate. With flip chip, the LED is "flipped" over so the solder bumps are on the bottom and connect directly to the substrate. This makes a very strong bond and improves the thermal properties and efficiency of the circuit. 

GOB (Glue on Board)

As we dive into sub 2mm screens with SMD-type packaging, bump damage increases dramatically. We even see this issue in 2mm screens. Glue on Board covers the entire surface of the module with a resin that encases the SMD package, protecting it from weather and edge damage.

However, it is also extremely difficult to repair and nearly impossible for the repair to look perfect. But it does make a very attractive, flat, uniform screen, similar to how a COB product looks.

GOE (Glue on Edge)
Not a widely discussed option, but it exists, nonetheless. This takes the GOB technology and applies it to the outer edge of the module only. The theory is that with those SMD packages essential glued into place, they are stronger and you will incur less bump damage. 

COG (Chip on Glass)
This is what it sounds like. The LED are mounted on glass, a silica-based material, and the paths are etched into the glass. This is not something we will likely see in Rental and Staging the way we think of current LED video screens. But if you think of large screen monitors....now you see a path to the next generation. 

COG works well with another newish technology, MicroLED, which is similar to OLED.......hmmmmm.....

But I will discuss that in my next blog post as we delve into the electronic design and construction of LED displays. Get your electrical engineering hat ready for that one! AND MORE ACRONYMS! YAY!
 

We are excited to introduce Becky Harrison, representing our Los Angeles office.

How long have you been with 4Wall/UsedLighting.com?

I joined the company at the beginning of 2016 from the ELS acquisition, where I had worked for the previous 16 years.

Tell us about a professional success story that you're proud of.

Overall, I am proud of my communications with my customers. I feel that I am very strong at customer service and at exceeding my customers' expectations.

What is your favorite memory working here?

It's more of an overall feel, which is my favorite thing about 4Wall. I like the camaraderie of the entire team, from the shop all the way to the CEO. Also, I can contact anyone in any position from this company at any time with a question or a concern, and it will be addressed.

Do you have any background in the lighting industry?

I did an internship with ELS in the summer of 1999 for my college honors program, then came back in January 2000 and was hired full-time. I had so many jobs while at ELS that I had an ongoing joke with the person who printed the business cards that my title should be JOAT (jack of all trades), which they did put on one set of my business cards. I was the crewing coordinator or the backup for that position for almost the entire time I was at ELS.  I also did the billing, missing and damaged, used gear sales, was a production assistant to the VP, was part of the team designing and creating the rental catalog, managing all the changes to our rental program along with troubleshooting and training, marketing, and electrical permitting. If there was a need, they would create a position for me, and I would move into that position while usually maintaining other roles that I was doing. I learned a ton, but I am very happy that I just have one role at 4Wall where I can excel!

Who are some of your biggest influences?

My mom is a huge influence. At one point, she worked two jobs while going to college and did incredibly well at all of them. She is an inspiration.

Describe an interesting hobby or pastime that you have.

I love to do what I call "adventuring" in Los Angeles. I go out every weekend, and I may go to a movie, a museum, the zoo, a theatrical production, or a concert. Or I go out and do something I've never done before. During this adventuring, I've gone to Bubble World, a monster truck rally, the Jet Propulsion Laboratory, deep sea fishing, glass blowing and throwing pottery, etc. I'll try anything at least once.

What is something surprising that not many people know about you?

I'm pretty much an open book, so I don't really think anything surprises people. Maybe how much I curse and yell when I am driving in LA traffic? That comes as a surprise to most of my passengers.

What is one thing you can't live without?

Having a pet. Right now, I have two cats, Jack and Toby, who are almost 3 years old. My previous cat, Leo, was almost 18 when he passed away. I cannot ever imagine not having a pet.

What is something that you've always wanted to try or learn?

I went skydiving for my 40th birthday and took a hot-air balloon ride last year, so my next bucket list item is hang gliding. 

Tell us about a favorite memory from childhood.

Probably my earliest memory. The Disney Channel had just started, and they had a show called Mommy and Me, where there were "teams" of moms and their kids in different colors. They would do an exercise, like the kid sitting between the mom's legs and them stretching together, and everything ended with a hug. I was 2 or 3.

Space Considerations: Throw Distance vs. Depth Requirements
Rear projection requires throw distance to achieve a large image, while LED requires much less depth behind the screen to achieve any size image.

Weight Matters: Lightweight Projection Screens vs. Heavy LED Walls
Projection screens are much lighter than LED walls, making them easier to handle and install.
 

Resolution on Smaller Screens: A Win for Projectors
Projectors can deliver higher resolution on smaller screens compared to LED video tiles.

Brightness Battle: LED Outshines Projection
LED is much brighter because you are looking directly at the light source, whereas projection relies on the reflection of light.

Aesthetic Impact: Ephemeral Projection vs. Visible LED Structures
Projection can disappear when not in use, making it more ephemeral, while LED is a large physical structure that remains visible.

Cost Efficiency: Covering Large Areas with Projection
Projection can be more cost-effective for covering large surface areas compared to LED video tiles.

Outdoor Visibility: LED Triumphs in Daylight
Projection is ineffective outdoors during the day, whereas outdoor LED products excel in daylight visibility.

The Winner? It Depends on Your Needs
Choosing between a projector and an LED video wall comes down to factors like budget, intended use, and environment. Let the experts at 4Wall help you select the best solution tailored to your specific requirements. Reach out today to get started!

With great joy, we would like to present Joel Sherman from our Detroit location.

How long have you been with 4Wall/UsedLighting.com?

I have been with 4Wall/UsedLighting.com for 13 (my lucky number) years!

Tell us about a professional success story that you're proud of.

I find success anytime a customer takes the time to thank me for a job well done.

What is your favorite memory working here?

My favorite memories are the people, the friendships, and watching 4Wall grow from just a few locations scattered across the United States.

Do you have any background in the lighting industry?

Indeed, I do. I have about 30 years of experience in the lighting industry. I started in the shop coiling cable, then moved into focusing "old school" Altman ellipsoidal fixtures. After that, I moved to gigging on the backlots, and my career took off from there.

Who are some of your biggest influences?

My biggest influences are Artists and anyone who contributes to making the world a better place.

Describe an interesting hobby or pastime that you have.

I'm a big kid at heart! I enjoy building and painting monster model kits and restoring neglected features in old homes.

What is something surprising that not many people know about you?

I'm an introvert by nature. I also worked for an interior designer in Los Angeles before starting my career in the lighting industry.

What is one thing you can't live without?

I can't live without my family, friends, and a killer cheeseburger.

What is something that you've always wanted to try or learn?

I wish I had the patience to learn the guitar or piano.

Tell us about a favorite memory from childhood.

Cell phones didn't exist 😊