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oldneon
sam roots
light designer & vj
@thegroundmiami • @objectsdontdance • @floydmiami • @clubspace
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
moments from the ODD 📦 at @iiipoints :: thanks again @cardinallabs and @laurenmorelll for the chance to document this grand experiment 🧪 🌀 🚨
moments from the ODD 📦 at @iiipoints :: thanks again @cardinallabs and @laurenmorelll for the chance to document this grand experiment 🧪 🌀 🚨
moments from the ODD 📦 at @iiipoints :: thanks again @cardinallabs and @laurenmorelll for the chance to document this grand experiment 🧪 🌀 🚨
moments from the ODD 📦 at @iiipoints :: thanks again @cardinallabs and @laurenmorelll for the chance to document this grand experiment 🧪 🌀 🚨
moments from the ODD 📦 at @iiipoints :: thanks again @cardinallabs and @laurenmorelll for the chance to document this grand experiment 🧪 🌀 🚨
lately i have been going back to my roots and incorporating visuals into my lighting designs at @thegroundmiami. big shout out to @photosbybrendabrooks for capturing it perfectly.
lately i have been going back to my roots and incorporating visuals into my lighting designs at @thegroundmiami. big shout out to @photosbybrendabrooks for capturing it perfectly.
lately i have been going back to my roots and incorporating visuals into my lighting designs at @thegroundmiami. big shout out to @photosbybrendabrooks for capturing it perfectly.
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
February 15, 2026 - My Friend Misty (@friendsofmisty) at @museumofsex
My friends keep telling me to post and document more so here we go:
Doing lights in the Museum of Sex is surprisingly as easy as it is fun. They have a giant chandelier made out of RGB bulbs in the center of the room, which you can call the definition of eye candy. There is also a lot of conventional fixtures spread around the room for sight lighting and some fixtures for the stage, but those are going to get lost in the mix when you have (to put bluntly) a giant fucking chandelier in the middle of the damn room.
Programming the chandelier is a little unconventional. Their in-house lighting designer made a patch in his friend’s software called Lightjams LED Mapper where you can place videos and animations on both a top view and a front view of the chandelier. So I had the idea to use Resolume Arena to make animated patterns (stuff like spirals, lines going across the screen, random particles, etc) and then send those videos to LED Mapper via Spout, an open source software that allows you to send videos from one software to another with minimal latency. You can see it in action in slide 3.
Now with all that, I could just automate some videos and call it a day, but what would be the fun in that? To make it more fun for both myself and the audience, I mapped an APC 40 to effectively be an instrument for live manipulation. Buttons to trigger new videos. Knobs to affect the video effects. Faders to tune the master brightness of each clip. On slide 2, you can see me use the APC 40 in real time (thank you @sarapanelo for the clip). If you look closely on the bottom right of screen, you can see how the clip is being manipulated before being sent to LED Mapper.
That’s really all there is to it. If you made it all the way to the bottom of this, feel free to like and comment with any questions you have regarding lights, visuals, my cats, etc.
-sam roots
February 15, 2026 - My Friend Misty (@friendsofmisty) at @museumofsex
My friends keep telling me to post and document more so here we go:
Doing lights in the Museum of Sex is surprisingly as easy as it is fun. They have a giant chandelier made out of RGB bulbs in the center of the room, which you can call the definition of eye candy. There is also a lot of conventional fixtures spread around the room for sight lighting and some fixtures for the stage, but those are going to get lost in the mix when you have (to put bluntly) a giant fucking chandelier in the middle of the damn room.
Programming the chandelier is a little unconventional. Their in-house lighting designer made a patch in his friend’s software called Lightjams LED Mapper where you can place videos and animations on both a top view and a front view of the chandelier. So I had the idea to use Resolume Arena to make animated patterns (stuff like spirals, lines going across the screen, random particles, etc) and then send those videos to LED Mapper via Spout, an open source software that allows you to send videos from one software to another with minimal latency. You can see it in action in slide 3.
Now with all that, I could just automate some videos and call it a day, but what would be the fun in that? To make it more fun for both myself and the audience, I mapped an APC 40 to effectively be an instrument for live manipulation. Buttons to trigger new videos. Knobs to affect the video effects. Faders to tune the master brightness of each clip. On slide 2, you can see me use the APC 40 in real time (thank you @sarapanelo for the clip). If you look closely on the bottom right of screen, you can see how the clip is being manipulated before being sent to LED Mapper.
That’s really all there is to it. If you made it all the way to the bottom of this, feel free to like and comment with any questions you have regarding lights, visuals, my cats, etc.
-sam roots
February 15, 2026 - My Friend Misty (@friendsofmisty) at @museumofsex
My friends keep telling me to post and document more so here we go:
Doing lights in the Museum of Sex is surprisingly as easy as it is fun. They have a giant chandelier made out of RGB bulbs in the center of the room, which you can call the definition of eye candy. There is also a lot of conventional fixtures spread around the room for sight lighting and some fixtures for the stage, but those are going to get lost in the mix when you have (to put bluntly) a giant fucking chandelier in the middle of the damn room.
Programming the chandelier is a little unconventional. Their in-house lighting designer made a patch in his friend’s software called Lightjams LED Mapper where you can place videos and animations on both a top view and a front view of the chandelier. So I had the idea to use Resolume Arena to make animated patterns (stuff like spirals, lines going across the screen, random particles, etc) and then send those videos to LED Mapper via Spout, an open source software that allows you to send videos from one software to another with minimal latency. You can see it in action in slide 3.
Now with all that, I could just automate some videos and call it a day, but what would be the fun in that? To make it more fun for both myself and the audience, I mapped an APC 40 to effectively be an instrument for live manipulation. Buttons to trigger new videos. Knobs to affect the video effects. Faders to tune the master brightness of each clip. On slide 2, you can see me use the APC 40 in real time (thank you @sarapanelo for the clip). If you look closely on the bottom right of screen, you can see how the clip is being manipulated before being sent to LED Mapper.
That’s really all there is to it. If you made it all the way to the bottom of this, feel free to like and comment with any questions you have regarding lights, visuals, my cats, etc.
-sam roots
February 15, 2026 - My Friend Misty (@friendsofmisty) at @museumofsex
My friends keep telling me to post and document more so here we go:
Doing lights in the Museum of Sex is surprisingly as easy as it is fun. They have a giant chandelier made out of RGB bulbs in the center of the room, which you can call the definition of eye candy. There is also a lot of conventional fixtures spread around the room for sight lighting and some fixtures for the stage, but those are going to get lost in the mix when you have (to put bluntly) a giant fucking chandelier in the middle of the damn room.
Programming the chandelier is a little unconventional. Their in-house lighting designer made a patch in his friend’s software called Lightjams LED Mapper where you can place videos and animations on both a top view and a front view of the chandelier. So I had the idea to use Resolume Arena to make animated patterns (stuff like spirals, lines going across the screen, random particles, etc) and then send those videos to LED Mapper via Spout, an open source software that allows you to send videos from one software to another with minimal latency. You can see it in action in slide 3.
Now with all that, I could just automate some videos and call it a day, but what would be the fun in that? To make it more fun for both myself and the audience, I mapped an APC 40 to effectively be an instrument for live manipulation. Buttons to trigger new videos. Knobs to affect the video effects. Faders to tune the master brightness of each clip. On slide 2, you can see me use the APC 40 in real time (thank you @sarapanelo for the clip). If you look closely on the bottom right of screen, you can see how the clip is being manipulated before being sent to LED Mapper.
That’s really all there is to it. If you made it all the way to the bottom of this, feel free to like and comment with any questions you have regarding lights, visuals, my cats, etc.
-sam roots
OUT NOW!!! …. on Flamingo Park we’ve got @ctrl.opt with the “Power” EP … 4 banging tracks for the dancefloor. Here’s “Turn It Up” …. Grab the full EP on our bandcamp.
📹: @oldneon
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
Celebrating my 32nd birthday at the Art Basel afters at Club Bed playing b2b with DJ Pillow and Steve and Misty. This year was a wild ride. I was officially added to the @spacemiami team as a full time light designer and video dj, achieving one of my life dreams. I lost my dear cat Sima, but i gained two beautiful cats Steve and Misty. Me and the @objectsdontdance team had our very own stage for @iiipoints. Many other things happen, but best of all, I am simply living my best life in Miami and what more can a nerdy light and video guy can ask?
Celebrating my 32nd birthday at the Art Basel afters at Club Bed playing b2b with DJ Pillow and Steve and Misty. This year was a wild ride. I was officially added to the @spacemiami team as a full time light designer and video dj, achieving one of my life dreams. I lost my dear cat Sima, but i gained two beautiful cats Steve and Misty. Me and the @objectsdontdance team had our very own stage for @iiipoints. Many other things happen, but best of all, I am simply living my best life in Miami and what more can a nerdy light and video guy can ask?
Celebrating my 32nd birthday at the Art Basel afters at Club Bed playing b2b with DJ Pillow and Steve and Misty. This year was a wild ride. I was officially added to the @spacemiami team as a full time light designer and video dj, achieving one of my life dreams. I lost my dear cat Sima, but i gained two beautiful cats Steve and Misty. Me and the @objectsdontdance team had our very own stage for @iiipoints. Many other things happen, but best of all, I am simply living my best life in Miami and what more can a nerdy light and video guy can ask?
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.