Event lighting in Houston that gives the room a point of view and the camera a confident image.
Space City Pro designs lighting for Houston general sessions, galas, awards, launches, receptions, and broadcasts. We connect the creative intent, room, scenic, content, cameras, cue structure, fixtures, control, rigging, power, rehearsal, and live operation.
Three planning ranges for different levels of creative and production complexity.
Ranges are per show day and include fixtures, control, rigging, power, a lighting director and programming. They are directional: your room, your camera plan and your rigging method move the final number, and the levers below explain how.
$4K–$9K
Uplighting, architectural wash, and branded gobos for receptions, breakout tracks, and sponsor spaces. Designed around the room’s bones, focused and set with the room still empty.
- Uplight & wash
- Gobos
- Ambient design
$9K–$22K
The corporate keynote default. Moving-head spot and wash, key and fill tuned to camera for IMAG, a lighting director on grandMA3, and a cue list built in design and rehearsed live on your set.
- Moving heads
- Camera key/fill
- LD + programming
$22K–$55K+
Full theatrical rig for galas, general sessions with entertainment, and awards shows. Beam looks, scenic wash, paddle-raise cues programmed to speaker beats, flown truss, multi-day with rehearsal built in.
- Theatrical rig
- Flown truss
- Cued to the show
Five decisions turn the desired look into a lighting system and a planning range.
Fixture count and type is the big one: an ambient wash of uplights and a stage full of moving-head spots live in different price classes. Programming is the lever nobody puts in the RFP, a lighting director building and rehearsing a cue list is the difference between a lit room and a designed show. Rigging swings on whether the rig flies from truss and motors or sits on the deck. Power and distribution follow the fixture load. And camera changes everything: a keynote with IMAG needs key and fill that hold a face without blowing out the lens, which is design time, not a bigger pile of lights.
Bring your run-of-show and your camera plan to the first call, or configure your event and identify the open inputs with us. The proposal then states the fixtures, control, rigging, power, programming, labor, venue assumptions, and show operation. For the full audio-and-lighting design service, see audio & lighting.
A lighting design that carries from the room to the screen.
Each proposal defines the lighting system, programming, staffing, preparation, venue interfaces, included services, exclusions, and optional elements before approval.
Automated & conventional
Robe, Ayrton, and Martin moving heads, spot, wash, and beam, plus uplights, washes, and branded gobos matched to your scenic.
Key & fill for camera
Key and fill engineered for the lens, tuned to camera ISO and white balance, so faces read clean on IMAG and the stream.
grandMA3 or Chamsys, with an LD
A lighting director on console, not just gear on a stand. The cue list is built during design and rehearsed live on your set before the audience is in the room.
Truss, motors, load-tested
Ground-support or flown truss with load-tested CM Lodestar or ChainMaster motors, current inspection tags, and a rigging plan the venue has signed off before move-in.
Distribution, scoped early
Power distribution scoped on the site survey, with cabling and a tie-in plan the venue engineer has signed off before load-in.
Cues built and rehearsed
Session-transition looks, speaker states, and paddle-raise beats programmed to your run-of-show and rehearsed, then operated live in comms.
An ambient reception or breakout wash typically runs $4K–$9K per show day, a camera-tuned general-session keynote rig $9K–$22K, and a concert-grade gala or awards build $22K–$55K and up, fixtures, control, rigging, power, a lighting director and programming included. The intake call pins the range down for your specific room and cue sheet, and the full engagement ranges are on the investment guide.
We program. A lighting director on grandMA3 or Chamsys runs pre-built cue stacks synced to the minute-by-minute. For galas we program paddle-raise lighting to key speaker beats; for general sessions we script session-transition looks. Programming is already in the number we quote you.
Yes. Key and fill are tuned to match camera ISO and white balance, and the lighting director programs looks that do not blow out the camera iris. When the wall, the cameras, and the lights run under one production team, the show reads cinematic on screen and clean in the room at the same time.
It depends on the room. Many Houston convention spaces can accommodate flown truss, while hotel ballrooms may call for ground support. The site survey confirms available points, load requirements, venue approvals, and the appropriate rigging method before the production plan is finalized.
Yes. Custom gobos, brand-matched uplight colors, and architectural washes are part of the design, extended from your brand guide. If you want the identity to carry across the screens and the print program too, our creative & content studio builds the whole system so the room arrives already matched.
Related for lighting decisions
Give the room a visual language that supports every moment the program needs to create.
Share the audience, desired atmosphere, room, scenic and content plan, camera requirements, date, and venue status. We will identify the decisions required to develop the lighting approach and planning range. Prefer the phone? Call +1 888-996-5667.