"Luminous Traces" is a multimedia/laser mapping show produced with very limited technical resources. Only one single laser projector, a few LED PARs, and some LED hemispheres where available for the show design. Nevertheless, every effort was made to get the most out of the available equipment. The particle effects were entirely animated in 3D software to achieve the most natural effect possible, based on real physics. The lighting was programmed to be perfectly synchronized with the mapping show.

Credit: Martin Nowosad
Music: Lindsey Stirling, "Elements"; Rex Banner, "Ride of the Valkyries"

A large-scale linear laser mapping on a historic facade, created using advanced beam brush techniques. Precise line work enhances architectural details while fluid transitions introduce motion and depth, transforming the structure into a dynamic visual experience.

Credits: Laser Designers: Jakub Marcinek, Anna Nadolna
Music: Orchestral Dubstep, “CoffeeMusic”

A large-scale linear laser mapping on an architectural facade, created using beam brush techniques. Precise line work enhances structural details while dynamic compositions introduce motion and depth. The show was presented as part of a large urban light festival.

Credits: Laser Designers: Jakub Marcinek, Anna Nadolna
Music: Cinematic_Alex, “Epic Dark Dubstep”

For this year’s New Years Show in Esklistuna, Sweden, all was about the band Kent as it is their hometown. After the show opening with some introduction to the city, the guests were tranformed into a Kent concert-like 20 minute show with all their hits. The show itself is a mixture of beam, graphics and mapping elements, always playing with each other and not just staying as a single effect, and some additional light elements.

Credits: Laserdesign, Lightprogramming & Laseroperating: Merlin Schaadt on behalf of Laserimage AB; 3D Design: Merlin Schaadt, Tilmann Finner, Bas Verstraelen; Gear, System & Technical Installation: Laserimage AB (Anders Edström, Kristoffer Abrante, Adrian Gabrielsson)
Music: Otto Nilsson, "Zero Hour"; Joakim Berg/ Kent, various songs

We deployed 48 laser projectors to achieve full visual coverage across three skyscrapers. The custom laser design echoes and blends harmoniously with the visual elements on the on-site LED screens. It artistically interprets oriental water culture, traditional heritage and cultural inheritance. Integrated with Swire Properties’ long-term vision, the performance endows Beijing Taikoo Palace with brand-new vitality and promising prospects for the future.

Credits: Lasershow Designer & Programmer: Leon.Ren; Lasershow Director: Alex Pally; Lasershow Scripter: Gwen; Lasershow Project Manager: Sylvia
Music: WB,"Orignal soundtrack for BeiJing Taikoo Palace"

We delivered customized laser design and professional technical support for this large-scale live commercial show. With brilliant laser beams illuminating the screens, lasers are transformed into vivid light sprites, crafting diverse stunning visual effects across the stage and display screens.

Credits: Lasershow Designer & Programmer: Leon.Ren; Lasershow Programmer: ZX
Music: SuperBonFire,"Original Soundtrack"

This entry was performed at a national music competition broadcast on live television. The aim was to create a laser design that elevated the performance and connected with the electronic, high-energy nature of the track. Working within the constraints of a live broadcast environment, the focus was on crafting striking visual effects that highlighted the artist while complementing the overall stage production and maintaining a captivating experience for both the arena and TV audiences.

Credits: Programming & Operator: Anders Edström; Laser Tech & Laser Safety Officer: Johan Lindell; Laser Tech: Henrik Hoffman
Music: Felicia, "My System"

This show was performed at a national music competition and live TV broadcast. The goal was to enhance the artist's performance with a dynamic laser display that matched the energy and aesthetic of her act. The challenge was seamlessly integrating the lasers within the strict technical requirements of a live television production. The creative approach focused on using laser effects to frame the artist and amplify key moments, adding depth and visual excitement for both the arena audience and TV viewers.

Credits: Programming & Operator: Anders Edström; Programming & Operator: Pieterjan Ruysch; Laser Tech & Laser Safety Officer: Johan Lindell; Laser Tech: Henrik Hoffman
Music: AleXa, "Tongue Tied"

Live show: Light, laser, fireworks, flame, smoke, and drones. This show was broadcast live on all Belgian national TV channels and worldwide via TV5Monde. It took place in the presence of the King and Queen, the Royal Family, and an audience of 100,000 people.

Credits: Creative Designer: Nathan Awouters; Laser Programmer: Lara Giovanni; Light Programmers: Theo Frick, Tanguy Kopzewski, Florian De Clercq
Music: Lost Frequencies, "Black Thunderclouds, Love Is The Only Thing, ELTS LON, Here With You, Are You With Me, The Feeling, Freestyler, Where Are You Now, Jours Meilleur, Sweet Disposition"; Netsky "Nopus, Give & Take Short v2, Rio Outro, Come Alive, Satisfaction, Higher - Would You TML, Black Friday"

The Norwegian DJ and producer duo Kream have over the last years released a number of livestreams with millions of views. Their visual signature has always been minimalistic and clean, yet majestic, with locations all over the world. This time the old power plant Vemork, which played a key role in the Second World War, was chosen as a venue. In this huge industrial building with water turbines over 100 years old, fourteen RGB arrays gave us a laser installation that aligned very well with the venue, projecting loads of parallel beams across the hall, aligning with the artistic visions.

Credits: Laser Design: Jan Martin Svensson Vågen; Laser Design: Kristoffer Abrante; Lighting Designer: Kenneth Tangen
Music: Kream, “Liquid : Lab Vol. 12 at Vemork”

This film is a 45 minute psychedelic journey that draws parallels between the Grateful Dead and the flow states of extreme athletes at night. It's shown to audiences with an additional 45 minute behind-the-scenes/making-of documentary. The film originally had no intention to use lasers. I was brought on to help with custom LEDs, but I brought a laser to a scouting trip and we all fell in love with the look of lasers in snow and climbing chalk. The challenge would be getting them to these remote locations. The cues used had to be kept simple to scan at >240 FPS for slow motion capture.

Credits: Laser Designer and LSO: Jeff Vyduna; Laser Technician: Bradford Kellogg
Music: Grateful Dead, ”Morning Dew (Live at Barton Hall, Cornell University, Ithaca, NY 05/08/77)", “New, New Minglewood Blues (Live at Gizah Sound and Light Theater, Cairo, Egypt, September 16, 1978)”. Additional behind-the-scenes music cleared through MusicBed.com.

TV commercial created for the start of the 2025 Australian Football League season.

Credits: Director: Arthur Ipsaros; Technical Director; Jarod Lugowski
Music: N/A

This was the official night show of the Universal Expo at Osaka 2025. Multimedia show where laser took an important status for graphics and effects. The show ran every night over a period of six months. For this, we created a special effect using RGBY lasers with a movable lens to produce a rainbow effect over the arch. The rainbow effect was done using a movable lens fitted on the central laser. The perfect sync between video and laser was so precise that the audience could not distinguish whether it was the laser or the video playing.

Credits: Laser Programmer: Tara Winona; Multimedia Design & Coordination: James Thomson; Original Idea: Naoki Tanaka; Design & Production: ECA2
Music: Yoko Kanno, "Under the Midnight Rainbow"

“Dystopia” is an immersive sensory experience in which the human element gives way to the absolute dominance of visuals generated by artificial intelligence and synthetic laser-designed structures. It is a work that does not explain, but evokes sensations in the viewer, who moves from a sense of cold solitude through a feeling of constraint to a desire to escape from a dystopian present. In this scenario, technology becomes the only language capable of shaping a future in which the boundary between the real and the artificial is becoming ever more blurred.

Credits: Producer: Alberto Kellner; Laser Programmer: Lorenzo Pompei; Videomakers: Mattia Diomedi and Lorenzo Pompei
Music: Klergy & Beginners, “Will You Fight”; Enrico Condelli, “Pink Soldiers Orchestral Version”

The history of advertising is the history of humanity. From ancient Egypt, with hieroglyphs carved into stone reliefs, through ancient Greece where amphorae depicted events and achievements, to the Victorian era and the Industrial Revolution that transformed mass communication. Then came the first computers, launching the digital age—and a step into the near future, where artificial intelligence is reshaping the rules. We realized this show for the conference of the new MTC ADS (Advertising) division of a large mobile communication company.

Credits: Laser Graphics & Video Design: Kirill Nikitochkin,; Technical Director & Project Manager: Taras Viter; Laser Operator: Mikhail Smirnov
Music: Nathan Lanier, "Time"

"Living In America" is first and foremost a celebration of the United States' 250th anniversary. Secondly, it's an homage to the popular Rocky films—specifically, Rocky IV—in which Apollo Creed battles a formidable Russian championship boxer. Images throughout reflect the power, fortitude, and perseverance of the American spirit. We wanted to leave the audience with a sense of pride, energized and, as James Brown says in the song, “feeling good.”

Credit: Imagery and Beams: Brian Adams
Music: James Brown, "Living In America"

This show was heavily inspired by the “Smooth Criminal” music video’s crime noir esthetic and atmosphere including searchlights, shoot outs, smoke, police lights, silhouettes, and mafia fedoras. The pacing follows the song’s tension, going from mysterious searches to shoot outs synced to the music. A central design choice was using negative space and silhouettes both to fit the mysterious tone of the track and video as well as create a unique look and style that I previously have never tried. I also feel like the negative space in some ways revealed even more detail than simple line art.

Credits: Imagery: Bjorn Hjohlman; Beams: Brian Adams
Music: Michael Jackson, "Smooth Criminal"

The main set-piece for "Billie Jean" is a 3-D animated Michael Jackson model, which was created using techniques new to us. The dance sequences were directly inspired by Jackson's live performances, with special emphasis on his iconic "moonwalk". Stitching those sequences together are portraits of Michael and a mysterious woman, mirroring the emotional struggle depicted in the official music video.

Credits: Imagery: Brian Adams, Ron Proctor, Derek Mackey; Beams: Brian Adams
Music: Michael Jackson, "Billie Jean"

A large-scale laser show created for one of the biggest trance music festivals, featuring a setup of 102 laser projectors. The performance delivers an intense, immersive visual experience, synchronized with music to build energy, rhythm and a powerful atmosphere across the entire venue.

Credits: Laser Designers: Jarosław Nadolny, Maciej Łukaszewski, Jakub Marcinek, Michał Gaborski
Music: Various artists

With this tribute, we honored our fallen father. He was a true icon, a pioneer, and his name will never be forgotten. Today, on his birthday, we remember him even more. Show your final respect for the great DJ Bass-D. Besides the tribute show we provided a laser performance for the anthem show as well.

Credits: Laser Programming: Merlin Schaadt on behalf of Laserfabrik GmbH; Show-Creative & Calling: TWOFIFTYK™; Gear, System & Technical Installation: Laserfabrik GmbH
Music: Bass-D, "Trip To Paradise (In Memory of Bass-D)”; Master of Hardcore & D-Fence, "Anthem"

In a desolate world where the sun scorches the earth, a city of metal and rust rose from the dust. With a total of 22 lasers we supported the final show of a weekend full of energy and hardstyle.

Credits: Laser Programming: Merlin Schaadt on behalf of Laserfabrik GmbH; Show-Creative & Calling: TWOFIFTYK™; Gear, System & Technical Installation: Laserfabrik GmbH
Music: The Supreme Team, "Carnival Of Doom”; Evil Activities & The Viper, "Raw To The Floor”; Tha Playah, "Why So Serious”; Angerfist, “Incoming"; DJ Neophyte & Evil Activities, "Alles Naar De Klote (Remix - Euromasters)”; Angerfist, "No Time To Lose Mcs & Djs (Remix)”; Angerfist & Outblast & Tha Watcher, "Cast Of Catastrophe (Edit)”; Angerfist & Tha Playah, "Temple Of Disease (Remix)”; The Supreme Team, "Lead By Example"

This year’s K.I.Z (a German Hip-Hop formation) tour was all about lasers. We created a lot of unique effects on a tour using laser mapping, atmospherics, laser sculptures, downshot projections and many other effects; everything in symbiosis with light and visuals.

Credits: Laser Programming: Merlin Schaadt on behalf of Laserfabrik GmbH; Production/ Show: Landstreicher; System, Gear, Tour Handling, Operating: Laserfabrik GmbH
Music: K.I.Z, various songs

The show “A.I. The Future is Here” is one of the major technological innovations to have been staged at the Gardaland Theatre during the 2025 season. The show combines acrobatic choreography, live singing and extensive use of special effects, including lasers and state-of-the-art projections. The journey explores the birth of extraordinary universes and the relationship between humans and artificial intelligence. The show was directed by Paolo Carta, a renowned illusionist and art director, who has given the production a dynamic and futuristic feel.

Credits: Art Director: Paolo Carta; Lighting: Jerry Romani; Laser Programmer and Kinetic Ball Setup: Pompei Lorenzo and Donato Tranquillino; Videomaker: Mattia Diomedi
Music: Various artists

A stop on our outdoors-only tour in California with Rebelution.

Credits: Shane Martz, Thaddeus Tompkins
Music: Rebelution "So High”, "Safe and Sound"

The show was created for the opening ceremony of new hyperbowling cantre "Skylane". The intent was to use the bowling lanes and opposite walls for both graphic and atmospheric effects. Luckily we could spend a few days there for preparation as some graphics (lane borders, moving balls on the lanes) took a lot of time. We also created and used some 3D graphic elements for this show like bowling balls and pins. A bit challenging was to make it all safe considering laser positions and very shiny surfaces, but we managed it.

Credits: Laser Programming and Timeline: Kullar Laiapea; Project Manager and 3D Graphic Elements: Caspar Lootsmann
Music: Various artists; Trad.Attack!, “Pass-pass"

This show came after the the success of the 2025 event (which won 2025 First Place ILDA Award, Corporate Show). The client (Australian Football League) wanted to go bigger and better this year and create different laser shows for each of the 4-night sport festival at the Adelaide Oval. We designed a full field laser show with customized animations for the teams playing each night. The show was challenging to recreate the magic of the first year. We increased the detail and complexity, used a new style of kinetic typography, and tried new animation techniques. The show was a big success.

Credits: Design: Soulstorm Lasers (Ben Lawrence) and Nisha Ramnath (Phase Designs); Laser supplier: Lumina Visual Productions; Flames: Foti Fireworks; Video: KOJO
Music: N/A

The biggest challenge with this show was the arrangement of the laser projectors, which, due to the extremely low roof structure, didn't allow for "normal" projection angles. Eight laser projectors were crossed out and geometrically corrected to achieve seamless projection and mapping. The show was completely custom-animated (no stock footage) and choreographed to the team's entrance music. The show was performed before every home game of the 2026 playoffs. Fun fact: The team went undefeated in the playoffs and won the trophy.

Credits: Laser Mapping, Logos and Show Arrangement: Martin Nowosad; Custom Animations and 3D Laser Content: Jörg Isermann
Music: Darude, "Sandstorm"; Knife Party, "Bonfire"

This experimental show was filmed for our promotion of lasershows especially for rock-themed event companies and artists. Here we used 38 atmospheric laser systems and flames to create a fast and powerful show.

Credits: Programmer of Lasers and FX: Markus Voggenberger; Setup and Operation of Equipment: Jarosław Nadolny & Team; Camera: Markus Voggenberger; Video Editing: Helmut Gruber
Music: Nightwish, “Planet Hell (Instrumental)”

This customized booth performance was created for laser manufacturer LightSpace for the 2026 GETshow exhibition. For many years, traditional laser animations have mostly relied on simple outline graphics with insufficient details. We aim to integrate richer details and more realistic, natural motion into future laser creations. This show serves as a valuable exploration in this innovative direction.

Credit: Lasershow Designer & Programmer: Leon.Ren
Music: David Guetta,"Titanium"

“Levitating” is one of the most popular songs of all time. This show creates a love story between a stylized moon and star. The uplifting song is paired with rainbows and colorful beam hits to match the mood.

Credits: Laser Programmer: Nisha Ramnath; Show Producer: Pinnacle Lasers; Laser Hardware: MaxTENN
Music: Dua Lipa, “Levitating"

A whimsical tale about Tosia, Maks and Kaja, who discover Ulinek – a playful dragon hiding in an abandoned mine. What begins as simple curiosity turns into a magical adventure filled with light and surprises, as the children uncover the secrets of their new friend, who takes them into a world of dragon legends.

Credits: Laser Designers: Anna Nadolna, Bartosz Łukaszewski, Jakub Marcinek
Music: Kyle Preston, “Adrift”; Shahead Mostafafar, “Freedom”; Adi Goldstein, “Under the Blanket”; Anthony Vega, “My Memories”

A story of the Mycielski family and the heirs of Kobylepole, exploring growing up, relationships and everyday moments that turn into lasting memories. As the legend goes, even Napoleon Bonaparte once visited these walls, adding a touch of mystery and history to the narrative. The story unfolds into a warm, at times nostalgic journey, showing how ordinary moments can become something truly meaningful.


Credits: Laser Designers: Anna Nadolna, Jakub Marcinek
Music: AudioCopper, “Movie”

This shows the graphic part of a multimedia laser show on a water screen for a city holiday, Graduation Day. Children come to school and step-by-step begin the process of learning all the elements of life: history, culture, sciences. For them, the road to adulthood begins on the day they graduate from school.

Credits: Laser Graphics: Kirill Nikitochkin; Project Manager: Taras Viter; Laser Operators and Technicians: Mikhail Smirnov, Ilja Kolesnikov, Mikhail Noskov
Music: BlueWhaleMusic, “Cinematic epic music - Inspiring”

This song is the 2026 UK Eurovision entry. It's about a man trapped in a cubicle who discovers freedom by learning to count in German. The artist made his own synths and props for the song and, in that spirit, I wrote code to render some of the custom laser effects. The call and response nature of the song gave it big energy and doldrums of a day job make it way too relatable. It’s visually frenetic, and loud, and just kind of fun.

Credit: Christopher Short
Music: Look Mum No Computer, "Eins, Zewi, Drei"

This was a fun bit of music with lots of little flourishes and 8-bit accents so I incorporated early style CGI/video game elements like animated green squares oscilloscope animations. It was intended to be a super simple and basic show, but it grew in complexity as the music became more fun to work with. It’s a song about taking of the world and stealing your girl, so you know it’s going to be fun. It switches styles a number of times, but it’s still kinetic and mesmerizing. I worked in a quick nod to the Boing ball as a tribute to the Amiga computer that helped establish the laser show industry.

Credit: Christopher Short
Music: I Don't Know How But They Found Me, "Do It All The Time"

The concept is this: "What if Battlestar Galactica took place in a trailer park ... with drunk rednecks." I stumbled across this delightfully stupid bit of music and it clearly needed a laser show. Lots of geometrics and drunken 3D shapes flying through space warp tunnels. Some symmetrical oscillator driven effects and some traveling mattes. Like the song, there’s nothing deep here. Just some fun candy to turn off your brain for a few minutes.

Credit: Christopher Short
Music: Neural Derp Music, "Frak the Odds"

Beyond the reach of civilization, only the raw power remains. “Savage” is a visceral exploration of light in its most untamed form—fast, unpredictable and relentless.

Credit: Igor Vlasenko
Music: Paul Flint, "Savage" (Shortened mix)

Steel for humans, silver for monsters... and the Wild Hunt is at your heels. This show transforms laser beams into ethereal blades, cutting through the void with the precision of a Witcher’s strike. Experience the relentless energy of the Hunt, where light and shadow collide in a dance of magic and new technologies.

Credit: Igor Vlasenko
Music: OST The Witcher 3: Wild Hunt, "The Trail"; OST The Witcher 3: Wild Hunt, "Silver for monsters". Special mix of two tracks.

This show is a tribute from the show designer to the interpretation of the song and it's genre, happy hardcore. The show designer perfectly captured the colorful and fast-paced nature of the song in the usage of color and effects in the beams.

Credit: Show Designer: Philipp-Daniel Wendt
Music: DJ S3RL, "Virtual Rave"

The show visualizes the music perfectly in its beam effects. From the menacing and roaring, to the ever-moving parts of the song, the designer managed to create the matching effects to capture the right feeling of the music in the show.

Credit: Show Designer: Philipp-Daniel Wendt
Music: Carpenter Brut, "Turbo Killer"

We were fascinated by the “KSHMR & The Golden Army” Remix for the “Game Of Thrones” theme to create a really impressive beamshow with beautiful precisely timed geometric shapes with dynamic color gradients.

Credits: Programmer of Lasers: Markus Voggenberger; Setup & Operation of Equipment, Camera & Video Editing: Helmut Gruber
Music: KSHMR & The Golden Army Remix, “Game of Thrones (cut)”

Originally performed by Guru Josh in 1989, the song “Infinity“ was a techno hit single. We used a special remixed version from DJ Klaas to create a mix of perfectly visualized effects and movements on time, and a great color mixing.

Credits: Programmer of Lasers: Markus Voggenberger; Setup & Operation of Equipment, Camera & Video Editing: Helmut Gruber
Music: Guru Josh Project, “ Infinity 2008 (Klaas Vocal Edit)”

This show was originally created for a light festival performance. We had an idea to make a performance in church with just lasers. The first song is instrumental and the second song was written for our song festival. It was a challenge and we worked quite a long time several months going every weekend for couple of nights with our gear to church. This particular show was redesigned for a pretty small church and the challenge was to make it all work in smaller space. But people liked it and so did we.


Credits: Ordinary Laser Programming and Timeline: Kullar Laiapea; DMX-Controlled Fat Beam Moving Head Laser Programming: Toomas Liiv; Project Manager: Casspar Lootsmann
Music: Robert Jüriendal, "Then the Days a Lighter Than White"

This project redefines the relationship between architecture, light, and urban identity. Unlike temporary projections or decorative façades, we transformed the world's tallest building into a permanent light instrument—establishing a new category of infrastructural art that operates continuously as part of Dubai's urban fabric. We were tasked with designing a programmable, weather-resistant light system operating at 828 meters. We responded by integrating 70 laser systems and 250 laser-sourced beam fixtures directly into the tower’s façade, synchronized with nine surrounding towers.

Credits: Martin Gabco; Designer, Programmer & Laser Operator: Roman Bacul
Music: Unknown artists & unknown songs (custom made music)

An immersive sound and light experience sharing the heritage of the installation site.

Credits: Programming: Derek Garbos & Nicolas Squire; Installation: Nicolas Squire
Music: Custom tracks

Step into SCADstory — an immersive 4D experience that tells a universal tale of the dreamer in us all. Designed for SCAD, the University for Creative Careers, the lasers bring magic in the form of sparkles. The content is seamlessly integrated into the project to the point where the lasers are barely noticeable. Unique uses include creating the look of pinpoint LEDs on the frames, animating the car blueprint, illuminating the acrylic acorn, creating window and airline building lights on the city background, lightning, and the SCAD Sign neon illuminating at the end of the SCAD magic sequence.

Credits: Laser Programmer: Nisha Ramnath; Show Producer: BRC; Laser Hardware: X-Laser; Creative Director: Edward Hodge
Music: Ears Up Sound Design, original track

Site-specific laser installation during the contemporary art festival Biela Noc. A minimalist yet monumental landscape of lasers and light. During White Night, the Old Market Hall was transformed by an innovative laser mapping. Lines and light surfaces surrounded visitors, and in dialogue with the architecture, created a unique immersive experience. Tailored to the venue’s interior, the installation offered shifting perspectives and constant visual surprises. The video projector in the center was intended to imitate laser projection, although it projected purely video content.

Credits: Martin Gabco: Designer, Programmer & Laser Operator
Music: Alva Noto, "Uni Mia”, "Hybr ID Oval P-dance"

The Museum of Change (MoC) is the world's first AI art museum in public space. The MoC aims to unite opposites: historical architecture with innovative media art. Media artist and perception researcher "SHA" explains: "I use lasers in the MoC to create a special 'Liquid Sky,' a new spatial dimension: a floating canopy of light that stretches over the multimedia courtyard and, depending on the installation, can be experienced as either 'sky' or 'underwater world.' Dramaturgically, I use lasers as immersive highlights every full hour - moments that visibly fascinate people."

Credits: Laser Design: Martin Nowosad; Idea, Content Development: SHA
Music: SHA, "AI Generated Binaural Recorded Music"

This behind-the-scenes edit shows how I operated lasers in remote, cold, wet locations for a film production. I built custom lightweight enclosures to operate at -25C. When helicopters or snowmobiles couldn't go further, our team carried 30-90 lb lasers through steep avalanche terrain on our backs. We'd place lasers from 5 pm-12 midnight, film until 5 am, then ski them all down, every night, often camping in the backcountry. Just keeping laptops and fingers working was hard, let alone tracing terrain.

Credits: Laser Designer and LSO: Jeff Vyduna; Laser Technician: Bradford Kellogg
Music: Untitled behind-the-scenes music cleared through MusicBed.com

After months of testing, we deployed our custom, ultra-high-powered RGB laser from the centre of the UK’s largest particle accelerator to celebrate a large government grant they had received to build the worlds’ most powerful research laser. We believe our laser to be the most powerful display laser in the UK with “The Beam” being visible over 37 miles away in neighboring regions, gaining national news and press coverage.

Credits: Laser Operators: Alex Johnson, Joseph Cranham
Music: Ryan Taubert, "Starfall"

Arcadia Dragonfly is a unique 360° DJ stage arena performing above crowds of 50,000 people nightly at Glastonbury Festival. Lasers form the Dragonfly’s wings, defining the creature itself and bringing it to life. The ceremony, Waraloo, tells the story of transformation from nymph to fully grown dragonfly through unfolding animated laser wings. Acknowledging it's origins as a Falklands War Navy helicopter, lasers turn into rotating helicopter blades. DJs perform from within the Dragonfly’s head while the laser wings are operated live, flying in sync with the tempo and energy of each performance.

Credits: Production: Arcadia Spectacular; Laser & SFX: Aardvark FX; Laser Engineer: Stanwax Laser; Software: Liberation

See photo above

This meditative shape is a harmonic relationship of two circles with the size of each circle being controlled by low frequency oscillators. I was experimenting with color and intensity modulation effects, and as I was creating, this beautiful thing took form. I photographed it over a slightly reflective surface to add context and scale. It's a reminder that simple and elegant can be more powerful than high tech complexity.

Credit: Christopher Short

When viewed from outer space, Earth's blue appearance sets it apart from all other celestial bodies. Presented here through a spectacular laser tunnel, our blue marble truly is a blue marvel that should never be taken for granted.

Credits: Creative Director and Photographer: Matthias Müller-Quernheim; Laser Design: Werner Most

Laser wings designed for a sculpture built from a repurposed military helicopter that served in the Falklands War. The Waraloo ceremony traces the dragonfly life cycle, from nymph to full flight. The laser wings slowly come alive, expanding and growing. A moment of transformation sees the lasers become spinning helicopter blades, honouring the machine's origins. The wings are not just an effect, they are the soul of the sculpture, without them it does not exist. It transitioned to live laser operation during the DJ set over three nights.

Credits: Photographer: ShotAway; Production: Arcadia Spectacular; Laser & SFX: Aardvark FX; Laser Engineer: Stanwax Laser; Software: Liberation