Five disciplines, one chain.

The system that tells the rig where a performer is, and the work of making that system dependable. Tracking decisions made late are tracking decisions made expensively, so the engagement starts in pre-production: specifying the right platform, planning anchor placement, and designing the calibration strategy. From there we own the integration through tech, previews, and the run, rather than handing a paper design to somebody else at load-in.

Flying sequences. Scenery that moves under a performer who has to stay lit. A look that has to follow a body rather than a mark on the deck. Also earlier than that: when the design assumes tracking before anyone has decided what to buy, when the room is awkward to cover with anchors, or when a system is already in and calibration will not hold from the top of the show to the bottom.

A platform recommendation across the tracking ecosystem, with the reasoning behind it rather than just the name. An anchor topology and a tracker assignment per performer. Console integration into Eos, grandMA, or Hog, built the way that console expects. Then programming, calibration, and run-of-show operation, so the same people who specified the system are the ones standing behind it when the show is running.

The connective work between systems that were never designed to speak to each other. When the show needs scenery position, encoder data, or tracking coordinates to drive lighting, video, and audio in lockstep, we build the bridge: TAIT LightStrike, custom OSC routing, sACN merge logic, PSN tunneling, whatever the protocols on either side demand. The result is one set of numbers that every department downstream can agree on.

Automation knows exactly where the deck is and lighting does not. Two departments both claim their data is right and the cue misses either way. A designer wants content to sit on a piece of moving scenery, or a light to hold a position the automation system has already measured. Or the two ends of a handoff speak different protocols and nobody on the production owns the conversion between them.

Bridges from automation into lighting and video, built and proven on the rig rather than in theory. Conversion between sACN, OSC, PSN, OTP, and MIDI, in whichever direction the two ends require. Encoder ingest with the coordinate transforms that make a position mean the same thing on both sides of the link. Where it belongs on TAIT LightStrike or a comparable platform, custom integration written for this show.

Tracking, lighting, video, and audio share the same Ethernet fabric on a modern rig, which makes the network a production department rather than an afterthought. We design the VLAN structure, plan multicast filtering, size PoE budgets, and commission the switches. The goal is a network nobody on the production has to think about, and no department spending a work call troubleshooting somebody else's traffic.

Four departments are about to share one fabric and nobody has drawn the VLANs. A rig has grown by accretion until multicast reaches everything and consoles fall off under load. A venue hands over a house network with no IP plan behind it. Or a system is going in that will be handed to a crew who did not build it and will have to keep it alive without you.

A VLAN and multicast architecture, and a switch specification in entertainment-grade hardware, whether that lands on Luminex, Pathway, Netgear AV Line, or Ubiquiti. An IP plan with redundancy and segmentation defined rather than assumed. On-site commissioning of the switches once the gear is in the building, and documentation that leaves the network readable to whoever inherits it after we are gone.

Independent engagements for the questions that come before installation: not install this, but what should we install, or whether to install anything at all. Vendor-agnostic work scoped flat-rate or by retainer, covering feasibility, vendor selection, evaluation of systems proposed or already in place, and analysis after something has gone wrong.

A producer wants a number before the design is anywhere near fixed. Two vendors have quoted the same scope and the bids are not comparable. Somebody in the room is advocating hard for a system and everyone advising you has a stake in the outcome. An RFP has to go out and nobody has written the technical requirement. Or a show has had a failure and needs an account of why.

Pre-production strategy and a feasibility read you can budget against. RFP language written to the technical requirement rather than to a manufacturer datasheet. Independent evaluation of a system with the reasoning shown, so the conclusion can be argued with rather than taken on faith. After an incident, a post-mortem that establishes what happened and what prevents it next time, written to be read by production.

Production rehearsals and tour prep are where tracking either becomes reliable or does not. We embed for the duration, taking programming, calibration, and operator training from tech tables through production rehearsals into the first city, then hand off to the road crew with documentation tight enough that a sub can run the show after one watch, and stay on call through the run.

The show techs in one city and opens in another. The operator who will run it on the road is not the person who programmed it. Rehearsals are compressed and calibration is being redone every day instead of holding overnight. A crew is about to inherit a system nobody has written down. Or the run is long enough that the people who built the show will not be in the building for most of it.

Continuous coverage across tech tables, production rehearsals, and the first city, rather than a specialist who appears for a week and leaves. Operator training and documentation held to a sub-ready standard. A calibration drift management routine the road crew can carry out on their own once the show is moving. And on-call support through the run, so the first problem after handoff is not theirs alone.