Event Lighting Rental in Los Angeles

Four event types, one rig philosophy.

We light from a 12-fixture wedding ballroom to a 400-fixture festival mainstage from the same shop. Every rig ships with the dimmer racks, signal, control surface, and operator who has built it before. No sub-rentals, no freelance pickups for the show op.

Concerts & Touring

Mainstage rigs from 80 to 400 fixtures. Festival redundancy on dimmers, DMX, and power. Touring-ready truss packs and case carts. Followspot crews with comms and RoboSpot remote ops. Programmers who have worked the room before.

Corporate Events

Keynote washes that hit accurate skin tone on broadcast camera. Logo gobos cut to your brand mark, dimmable to match speaker eye line. Stage wash, podium key, audience separation. Cues programmed to the run-of-show, not improvised live.

Brand Activations

Pop-up and experiential builds where lighting is the brand expression. Programmable kinetic battens, audience-reactive cues, BlackTrax-tracked spots on talent. We pre-vis the activation in 3D before truck call so the brand sees the look weeks before doors.

Weddings & Premieres

Uplighting in your brand or wedding palette, pin spots on every centerpiece, gobos at the dance floor entry, ambient ceiling wash, and a clean cue stack synced to the DJ. Premiere step-and-repeat lighting that flatters every camera angle on red carpet.

Fixture Catalog

Twenty-five fixtures across seven groups.

The full working inventory at our LA shop. Every fixture listed is on stock today — not a brochure aspiration. When a rig calls for it, it goes on the truck. Brands and models matter because they map directly to the look your designer specced.

── Group 01

Moving Heads

RobeMegaPointe

The workhorse beam-spot-wash hybrid. 470W lamp, 1.8° beam tightens to a hard column visible at 100 m, opens to a wash for stage flood. Rotating prisms, gobos, and a frost flag that turns the same fixture into a key light. We deploy MegaPointes on every touring rig — they replace three older fixtures in one head and survive the road.

RobeSpiider

LED wash with a tight center beam — the eye-candy fixture for audience-facing rigs. Independently controllable inner and outer pixels create chase patterns and color bursts. Fast pan and tilt, dead silent on the truss. Pairs with MegaPointes for the beam-and-wash split that defines a working concert plot.

MartinMAC Aura PXL

Pixel-mappable LED wash with sixty-one individually addressable cells. Color saturation that reads through a fog field and stays true on broadcast camera. Used for keynote stages, fashion runways, and any show where the wash needs to do double duty as an effect. Quieter than older Auras and lighter for ceiling rigs.

MartinMAC Viper

1000W discharge profile with a CMY color mixing system that holds up under broadcast lights. Sharp gobo work, fast strobe, framing shutters cut to a hard square or hexagon for logo plots. The fixture we reach for when the show needs a hard-edged beam and a soft wash from the same head, on cue from one console.

ChauvetMaverick

LED moving head built for road life — fast pan, low power draw, IP65 versions for outdoor runs. We stock Maverick Force 1 Spots and Maverick Storm 1 Washes. Lower price-point than Robe or Martin, which lets us scale a corporate or wedding rig without blowing the budget on names you don't need to flex.

ElationProteus Hybrid

IP66-rated weather-sealed hybrid spot-beam-wash. The fixture for outdoor festivals where rain is a real possibility and you cannot afford to lose a head mid-show. 470W lamp, 1° beam, and a frost flag for soft wash work. Same console profile as MegaPointe so the programmer doesn't need to relearn a fixture for one outdoor show.

── Group 02

Beam / Wash / Profile

RobeBMFL

The big-stage profile. 1700W lamp, framing shutters, full gobo wheel, and a beam bright enough to compete with daylight at outdoor festivals. We deploy BMFLs as long-throw key lights on mainstage rigs, as followspots when paired with RoboSpot remote, and as logo-hits on the back wall. Heavy, hot, and indispensable.

Clay PakySharpy

The original tight-beam fixture. 0° aperture beam visible from a kilometer away, fast spinning prisms, instant strobe. The Sharpy is what makes the iconic concert "spear-of-light" look. We mix Sharpys with Spiider washes for a clean signature on any concert or club rig.

Vari-LiteVL3500

Workhorse wash from the broadcast world. CMY mixing, hard color filters, and a wide zoom range that covers a 20-foot stage from a 30-foot trim height. Used heavily on theater and TV-style corporate stages where color accuracy matters more than gobo work. We keep a touring pack of twelve in rotation.

── Group 03

LED Wash

ChauvetCOLORado

Battery-optional LED uplight, IP65-rated. Twelve-hour battery runtime per charge, wireless DMX, magnetic mounting plates. The fixture for weddings where running a power cable along the wall is not an option. We program preset color stories that shift across the night without anyone touching the console.

MartinRUSH PAR 2

Compact LED par with RGBW emitters and a sixteen-degree beam. The general-purpose color wash that fills out a rig — front truss for stage wash, side truss for cross-light, audience wash from the FOH position. Quiet enough for theater and corporate, bright enough for festival side-stages.

ADJHydro Wash

IP65 LED wash built for outdoor brand activations and festival side-stages. Wide-zoom RGBW that fills a sponsor zone from a low truss trim. Lighter and cheaper than full moving heads when the activation just needs color saturation, not movement. Survives rain and direct sun without a panel cover.

── Group 04

Followspots

Robert JuliatLancelot

The gold standard for awards, theater, and concert followspots. 4000W HMI source, smooth iris, gel frame, color boomerang. Operator sits in a perch with comms to the calling stage manager. We send three to four Lancelots to any awards show or large concert, with operators on staff who have run the rig before.

RobeRoboSpot

Remote-operated followspot control. The operator runs a BMFL or Forte from a remote position with a video feed and a joystick — no perch climb, no body in the audience sightline. We use RoboSpot for venues where house followspots don't exist, or where the show needs follows from positions no operator can physically reach.

── Group 05

Atmosphere

Look SolutionsViper

High-output haze machine — the fixture that makes beams visible. The Viper puts up a steady, even haze field that holds for 20 minutes per fill, supports DMX, and won't trigger smoke alarms when paired with a venue dispensation letter. We bring two on every rig — one main, one redundancy.

Smoke FactoryTour Hazer II

The road-tested haze for touring and festival work. Larger reservoir than the Viper, oil-based fluid for longer hang time in outdoor wind, DMX control with timed fills. Used on every touring concert rig in our shop because it survives the truck, primes fast on cold load-in, and never disappears mid-act.

MDGATMe

The atmosphere reference fixture — heavy-duty CO2-based haze with the cleanest output spec in the industry. Used for broadcast and high-end fashion work where the wash and beams need to read on camera with zero fluid residue on lenses or clothing. Costs more per show day but pays back when the camera op stops complaining.

── Group 06

Audience Lighting

GenericLED PAR 64

The classic audience blinder. We rig eight to sixteen of these on the front truss aimed at the crowd, programmed to flash on hype moments — drops, builds, encores. RGBA emitters let the cue match the stage color story. Bright, cheap to scale, and lifetime-rated for road work.

CASTBlackTrax

Real-time stage tracking system. Tags on talent and props get followed by automated fixtures — moving heads, video walls, even cameras. We use BlackTrax for brand activations with mascots or talent walks, for theatrical productions where a key needs to follow a moving actor, and for product reveals where the spot has to hit the object the moment it moves.

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Control Surfaces

MA LightinggrandMA3

The console for any rig above 40 fixtures. Full-size or light command wing, MA Onyx integration, pre-vis through MA 3D. Our staff programmers have all logged hundreds of show hours on grandMA3 — this is not a console we sub-rent or send an operator to learn on the day.

MA LightingOnyx

Mid-size console for corporate, wedding, and small concert rigs. Easier learning curve than grandMA3 with the same MA console DNA underneath. Works as a touring backup for grandMA3 shows. We send Onyx with a programmer for any rig from 12 to 40 fixtures where a full MA setup would be overkill.

MagicQCompulite

Backup console for grandMA3-driven shows and standalone control for theatrical and DJ-style events. ChamSys MagicQ wing or full console. Stores show files in a format that imports cleanly to MA in case of console failure. Used as the redundant console on touring acts where a single MA failure cannot end the show.

Five lighting moves that turn a room.

The wedding rig in our shop runs from 16 fixtures for an intimate ceremony up to 120 fixtures for a ballroom with a 12-piece band and a step-and-repeat. We pull from the same inventory as our concert work — Robe, Martin, Chauvet — but we tune the cue stack for a slower show clock. Below are the five lighting moves we deploy on almost every wedding and private event in LA.

Uplighting. Sixteen to thirty-two wireless Chauvet COLORados placed against perimeter walls, tuned to a single brand or wedding color, programmable to shift across courses.

Pin spots. A narrow-beam ETC Source Four ellipsoidal aimed at every centerpiece. Each pin is dimmable and gobo-cuttable. They make the room photograph the way it feels.

Gobos. Custom-cut metal or glass gobos with your monogram, brand mark, or pattern projected onto the dance floor, ceiling, or step-and-repeat. Two-color gobos available with the right fixture.

Dance floor wash. Moving heads on a short truss above the floor, programmed to shift through colors keyed to the DJ's set list. We coordinate with your DJ during pre-pro to lock cue triggers.

Ambient ceiling. A soft wash of color across the ceiling — usually a deep amber or wedding-color amber-mix — that ties the room together when shot wide on photo or video.

For the full wedding production breakdown, see our weddings & private events page. We also pair lighting with audio, draping, and dance floor on a single bid — no vendor coordination, one team on radios.

Festival-grade redundancy on every concert call.

Concert and touring rigs run on different rules from a one-night corporate or wedding job. Failures during a packed festival set are not recoverable in real time — there is no "do over" between songs three and four. So we build every concert rig with full redundancy on the dimmer rack, DMX signal path, and console layer. A single fault on any of those layers gets covered by a hot-standby that the operator switches in without the audience ever seeing it. The same logic extends to power: we bring distribution rated 25 percent over peak draw and split the rig across two phases of company switch so a single tripped breaker can never dark the whole stage.

Followspot crews work on comms with the lighting director and the calling stage manager. For touring acts we send a road-trained spot crew — three to four operators who travel with the rig, know the cues, and can drop into any venue without re-training. RoboSpot remote operation handles positions where a physical operator can't reach, like center-rear truss spots over a festival audience. Our on-truck inventory is sized for the rig plus 5 percent spares on every fixture type, so a mid-show fixture failure gets swapped at the next break rather than rolled into the next day's strike.

For the full concert and touring service breakdown, see concerts & touring. Pair the lighting rig with our LED wall rental and we operate the wall, lighting, and signal from one production design — one designer, one console pre-vis, one cue stack.

Every show is engineered to its room.

We don't publish a rate card because two events with the same square footage rarely cost the same. What drives the number: pixel pitch (for LED), fixture density (for lighting), engine + camera count (for XR), permitting (for SFX), and how much load-in lives inside our 24-hour window. Tell us what you're building and we'll come back with a number engineered to it.

Want a directional estimate before you brief us? Run the LED Wall Calculator — it returns panel count, weight, power draw, and a band you can sense-check internally before you send us a brief.

Three reasons crews book us back.

── 01

Integrated stack — no vendor stitching

We own the lighting, audio, LED, rigging, power, and playback. One vendor, one bill, one crew on radios at load-in. You don't spend the day mediating between a lighting house, a sound house, and a freelance programmer who all blame each other for missed cues. Full service list.

── 02

Staff programmers, not freelance pickups

Every grandMA3 and Onyx operator on our roster is on staff and has logged hundreds of show hours on the same console family. The bid you sign assigns a named programmer who pre-builds the rig in MA 3D, runs the show live, and stays through strike. How we work.

── 03

24-hour response

Send venue, dates, and a rough fixture count. You get a real bid inside 24 hours on a business day — not a brochure, not a sales call. We respect that you're running a show clock, and we keep our side of that clock fast. Inspired? Let's work together..

Eight questions we answer every week.

Q1How do you scope a project like this?

We start with discovery — a 20-minute call to understand the room, the run-of-show, and the look you're after. From there we do a site visit (or virtual walkthrough) to verify load-in, power, rigging points, and sightlines. That feeds an engineering document with fixture or panel counts, crew, transport, and any permitting. The fixed quote follows the engineering doc, line-itemed so you can see exactly where each number lands. No surprise add-ons after signature.

Q2Where can I find uplighting rental near me in Los Angeles?

AnyDay Live stocks Chauvet COLORado and ADJ Hydro Wash uplights at our LA warehouse. We deliver uplighting to weddings, galas, and private events across DTLA, Hollywood, Burbank, Beverly Hills, Santa Monica, and Pasadena. A standard wedding package is 16 to 32 wireless uplights placed against perimeter walls, tuned to a single brand color or programmed to shift across the night. Same-day uplight delivery is available within 72 hours of booking confirmation.

Q3Do you provide grandMA3 operators and lighting designers?

Yes. Every rig ships with a programmer who has run that console in production. We staff grandMA3, MA Onyx, and MagicQ operators full-time on staff — they are not freelance pickups. For touring acts the same operator can travel with the rig. For corporate and wedding work we send a designer to walk the room with you the week before, build the cue stack from your run-of-show, and stay through strike. Pre-vis in MA 3D is available on request, scoped per project.

Q4What fixture combinations do you recommend for a concert stage?

A working club or theater stage runs 24 to 48 moving heads — split roughly half wash and half beam — plus 8 followspots, 12 audience blinders, two hazers, and a 16-fixture truss-mounted strip wash for color fields. Mainstage festival rigs scale up to 80 to 160 moving heads with Robe MegaPointe or BMFL as the workhorse. Wash is usually Martin MAC Aura PXL for color saturation; beam work is Clay Paky Sharpy or Robe MegaPointe; followspots are Robert Juliat Lancelot with RoboSpot remote operation.

Q5How do you design a lighting plot for an event?

We start with the room or stage CAD, the run-of-show, and the audio plot. The designer plans truss positions, fixture types, and angles to hit the looks called out in the brief — wash for keynote, beams for intros, spots for awards, blinders for hype moments. We render the plot in Vectorworks, share a 3D pre-vis pass for sign-off, then build the rig to that drawing on load-in day. Plot revisions during build are free; structural changes after truss is in the air get re-quoted.

Q6Can you do same-day load-in for an LA event?

Yes for rigs under 80 fixtures, in venues that allow truck access by 9am and have an existing truss or rigging point set. We have done full-stage same-day builds at The Wiltern, Avalon, and the Hollywood Roosevelt. Above 80 fixtures or when ground-supported truss is needed, we strongly recommend prior-day load-in to leave runtime margin for focus and programming. Same-day strike is standard on every rental — the rig is out by midnight unless the venue runs overnight.

Q7Do you supply dimmer racks and signal distribution?

Yes. Every rental ships with the dimmer racks, Sensor3 or equivalent, sized for the rig. We also supply DMX signal distribution — Pathway Pathport nodes for Art-Net and sACN, fiber for runs over 500 feet, and full opto-isolated DMX splitters. Power tails are rated to the rig with 25 percent headroom. If the venue cannot provide enough company switch power, we add quiet generators at cost. No surprise add-ons after the bid is signed.

Q8What if the venue does not have enough power for the rig?

We bring our own. AnyDay Live keeps Whisperwatt-style quiet generators staged at our LA shop — 65 kW, 125 kW, and 250 kW units. For an outdoor or warehouse activation we run the math on power draw during pre-pro, then spec a generator plus distribution rated at 25 percent headroom over peak draw. Fuel, delivery, and the generator tech are line-itemed at cost. Pair this with our lighting rig and you have one vendor for power and lights, on radios together at load-in.

Light, addressed.

Four event types, one rig philosophy.