A small practice for a precise job.
We work with production managers and general managers who need motion to be a solved problem, and with lighting designers who need the system to disappear into the show. That means being in the room early, when the question is still what to buy and whether to buy it at all, and staying through to the point where the run crew can hold the system without us. The standard is eight shows a week — the light lands where the performer already is, every night, with nobody in the audience any the wiser.
One chain, four links
Performer tracking
Beacons, vision, or RF — chosen for the show, calibrated in tech, and operated through the run.
Show data
PSN, sACN, and OSC speaking one language across lighting, media, and automation.
Show networks
Redundant, documented, and built to hold a schedule of eight shows a week.
Consulting
System selection, budgets, and shop-build planning — before the first truck loads.
The people at the tech table.
A short bench, on purpose. Everyone here has run a show — these are the faces that actually turn up at load-in.
Harrison Freni
Founder · Integration LeadBroadway lighting programmer and integration specialist. Credits include Stranger Things: The First Shadow, English, The Lost Boys, and Schmigadoon!. Guest lecturer at Rutgers Mason Gross. LDI panelist on performer tracking.
Automation Programmer
Collaborator · Per-showTAIT, Stage Tech, Niscon Raynok, Beckhoff, Kinesys. Brought in when the show's spine is automation and tracking has to ride the same encoder math.
Network Engineer
Collaborator · Per-showShow-network design and commissioning. VLAN architecture, multicast filtering, entertainment-grade switching. The kind of network nobody on the production has to think about.
Lighting Programmer
Collaborator · Per-showEos, grandMA3, Hog 4. The other half of every tracking integration — because tracking only matters if the desk it talks to can drive it cleanly.
Costume Designer
Collaborator · Per-showTrackers live on bodies. We work directly with costume designers and wardrobe teams on housing, mounting, and quick-change strategy so the technology disappears into the silhouette of the show.
The bench
We keep a short list of operators and programmers we trust. If you've held a schedule and want on it, write to us.
Introduce yourselfVendor-agnostic, always.
We don’t take vendor commissions, ever. When we recommend a system, it’s because it’s the right system for the show — not the contract we’re on.
Pre-production matters.
The best tracking integration is decided before the gear ships. We push to be in early, and we push back when we’re brought in late and asked to make impossible work.
Documentation is part of it.
A system that works on opening night but can’t be maintained through run isn’t finished. Every cable, every patch, every parameter, in formats the run crew can actually use.
Operators are part of the system.
Especially for assisted followspot and high-stakes cues, the human in the loop is a feature, not a problem to engineer around.