Vario-Lite KineticPower fixtures, Tait kinetic spheres, Kinesys winch rigs, motion-control choreography programmed in MA3 and Notch. Certified rigging, redundant motor drives, BGV-D8 Plus standard. 24-hour response.
Touring-concert kinetic moving heads, fashion-launch sphere arrays, brand-install kinetic walls, and custom-fabricated kinetic geometry for one-off shows. Every kinetic rig ships with certified rigging, redundant motor drives, and the motion-control operator who programmed the show.
Vario-Lite KineticPower fixtures — moving heads on synchronized winch lines that drop and rise during the show. 12 to 48 fixture arrays. The touring concert and arena standard for a synchronized kinetic moment.
Illuminated spheres on individual winch lines, programmed in 3D space to form changing geometry — flat planes, curved waves, expanding spheres. Fashion-launch and immersive-install signature. 25 to 250 sphere arrays.
LED strip or kinetic-tile walls that physically morph — surfaces that move and breathe. Custom-fabricated rigs for brand reveals, immersive installs, and corporate keynote big-moments. Each tile or strip on its own motor drive.
Kinesys Vector and Mover winch systems for truss-flown lighting that travels mid-show. Used for reveals (truss drops a wall, reveals talent), reconfigurations (truss splits between acts), and choreographed structural motion in fashion and award show formats.
Every kinetic system has a load rating, a programming language, and a safety pedigree. Here's what we stock.
The touring-concert standard for synchronized kinetic moving heads. KineticPower fixtures combine a moving head with a high-precision winch line — drop and rise speeds tuned to the show, synchronized across an entire array. 12 to 48 fixture arrays typical, scalable to 96 on stadium tours. Programs from MA3 with motion control or from Kinesys K2.
Tait kinetic spheres — illuminated DMX-addressable spheres on individual winch lines, programmed in 3D space. We stock arrays from 25 spheres up to 250 for major fashion and immersive install builds. Tait kinetic pixel for tighter pixel densities — small kinetic tiles that form moving graphic surfaces.
Kinesys Vector winches (250 kg working load) and Mover winches (500 kg) — the European-engineered automation standard for entertainment. Each winch is a sealed motor drive with built-in load monitoring and over-travel limits. Kinesys K2 software runs the motion show file, time-codes with the lighting console, and includes a hardware kill-switch on every operator console.
For shows where kinetic light needs to follow a performer or a camera position (not run on a pre-programmed cue), we run BlackTrax or Mo-Sys live position tracking. The tracking system feeds real-time XYZ coordinates to the motion control software so the kinetic rig adapts to the human in the space. Used in fashion runways and immersive performance work.
Kinetic shows live or die on the pre-production phase. The shop time is the show.
Choreography and storyboarding. Two months out we storyboard the kinetic moments — what the audience sees from front, three-quarter, and angles. Choreography gets blocked in 3D in Notch or Vectorworks, with every winch position simulated through the show timeline. The lighting designer, the motion-control programmer, and the show's creative director iterate the choreography in the model before any hardware moves.
Show file build. Motion programs in Kinesys K2 — every winch gets a target height, velocity, and acceleration per cue. Show file runs in parallel to the lighting cue list, triggered from MA3 or GrandMA3 via Art-Net or DMX. For time-coded shows (touring concerts), both files run on SMPTE or MTC. The motion-control operator runs the show alongside the lighting designer at FOH.
Rigging engineering. Every kinetic rig over audience or talent requires a certified rigger's engineering sign-off. We calculate working load on every winch line with a 10:1 safety factor, secondary safety cable on every fixture, redundant motor drives so a single failure doesn't drop the rig. Rigging plan gets reviewed by the venue's structural engineer and the show's safety officer before truck call. We rig to BGV-D8 Plus and SR Series standards.
Tech rehearsal and dry runs. Kinetic shows get more rehearsal time than lighting-only shows because the geometry has to be eye-checked from the audience perspective. We typically run two to four full tech rehearsals before doors, with the choreographer or creative director in the seats calling adjustments. Motion changes happen in the cue file, not the hardware, so iteration is fast.
Show op and safety. The motion-control operator runs the show from a dedicated position with a hardware kill-switch always in reach. Every kinetic show ships with a safety officer who monitors the rig in motion and has authority to stop the show if a fixture or winch flags an over-load or over-travel condition. Strike happens with the same rigging crew that built it.
We don't publish a rate card because two kinetic rigs with the same fixture count rarely cost the same. What drives the number: fixture count and motion complexity (synchronized waves vs. 3D geometry), rigging engineering and venue structural prep, motion-control programming hours, motor drive redundancy, certified rigger crew, tech rehearsal time, 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 view before you brief us? Browse the full service list — kinetic lighting pairs cleanly with our standard lighting and LED stacks for a full concert build.
Our LA dispatch covers every working venue with the structural rigging headroom for kinetic work, from the harbor up through Pasadena.
A touring-concert KineticPower drop, a fashion-launch sphere array, a brand-reveal moving wall, and a film premiere truss reveal use the same equipment categories with very different motion programs.
Every kinetic rig over audience gets a certified rigger's engineering sign-off, secondary safety cables on every fixture, redundant motor drives. Built to BGV-D8 Plus and SR Series standards. Full service list.
Motion blocked in Notch or Vectorworks two months out. Every winch position simulated through the show timeline before truck call. The shop time is the show. How we work.
Send venue, motion brief, and fixture count. Real bid back inside 24 hours on a business day. Inspired? Let's work together..
We start with the geometry — what shapes the kinetic rig forms in choreography, what the audience sees from the front and the angles, and the rigging headroom in the venue. From there we map fixture count, winch count, motion-control choreography, and the structural rigging plan. Every kinetic build needs a certified rigger and engineering sign-off because the rig is in motion above people. The quote follows the rigging plan and the programming scope.
Vario-Lite kinetic moving heads (the touring concert standard for synchronized motion), Tait Kinetic Spheres and Tait kinetic pixel arrays for high-end brand activations and fashion launches, Kinesys Vector winches and Mover winches for choreographed truss and prop motion, plus our own custom-fabricated kinetic geometry rigs for installs that don't fit a catalog product. All motion control runs through Kinesys K2 software or Notch with motion control.
Kinetic shows program the motion separately from the lighting cues. Motion runs through Kinesys K2 — every winch gets a target height and velocity per cue, sequenced into a show file that the operator triggers from the lighting console (MA3 or GrandMA3) via Art-Net or DMX. For free-form motion-control work with cameras and props, we run BlackTrax or Mo-Sys for live position tracking. The lighting cue list and motion cue list run on the same time-code on touring shows.
It can be — with the right rigging and the right inspections. Every kinetic rig over audience requires a certified rigger's sign-off, secondary safety cables on every fixture (so a primary cable failure doesn't drop the rig), redundant motor drives, and a calculated working load on every winch line. We rig to BGV-D8 Plus and SR Series standards. For audience-side kinetic effects, the rig usually lives behind or above the stage with the motion choreographed into safe envelopes — never directly over guests.
Standard moving heads rotate pan and tilt — the fixture body stays in one place. Kinetic lighting moves the fixture itself in space — up, down, side to side, sometimes in 3D coordinated swarms. The choreography is the show, not just the lighting cue. Vario-Lite KineticPower is the touring-concert example: 24 to 48 fixtures dropping and rising in synchronized waves. For fashion launches and brand installs, Tait kinetic spheres form moving 3D geometries that change shape during the show.
Same business day for any LA-area event with a known venue, fixture count, and motion brief (synchronized waves, 3D geometry, prop motion, etc.). You'll have a real bid back the same day. Complex motion-control choreography with custom fabrication or custom programming may need an extra 24 hours for the final rigging plan and cue list, but a budget range lands same-day.
