Stage Designs

Hyper Techno Dots

Eric Bradley from Life Center Church in Spokane, WA, brings us this epic wall of dots and lights.

The team was inspired by the Hillsong Chapel DVD as well as a set they saw (don’t tell anyone!) on Glee.

They welded together 3 sections of steel tubing (2 20’x20′ and 1 12’x20′) with cross bracing and then welded all-thread in 2″, 4″, 6″, and 8″ increments to create their grid. Off the grid, they hung OSB drilled with 2″, 3″, and random hole sizes in 2′ increments. They sanded and stained the OSB.

Then they backed the OSB with Coroplast. Mixed in with the OSB panels, they put 23 2’x’2 light boxes made from OSB and loaded with 16 65W floodlights. Each light box was wired individually, which allowed them to do some cool chases. The entire wall was backlit with 16 ETC Seledor Vivid R’s.

The light bulbs you see in some of the pictures were an extra element they added for their Christmas Eve services.

Download the design drawings.

Planning a Perforated OSB and Light-Box Backdrop

The strength of this design is the contrast between a rough wood surface and clean points of colored light. The holes create a repeating pattern, while the square light boxes interrupt that pattern with larger blocks of brightness. Because the wood remains visible, the backdrop can have texture even during a restrained speaking cue. For an adaptation, decide which layer should lead: the small illuminated circles, the larger boxes, or the stained wood. Giving each layer a distinct role keeps the whole wall from becoming visually busy.

Start with a scaled drawing that shows your usable stage width, musicians, screens, and normal speaker positions. The submitted installation used very large welded sections; those dimensions describe this particular room, not a minimum size for the idea. A smaller layout can still combine perforated panels and square accents. Draw the panel boundaries before laying out the circles, and check that joints do not create unintended gaps in the pattern. Keep access to electrical connections and lighting fixtures in the plan rather than treating the back of the set as leftover space.

Test the Hole Pattern and Diffusion Before Building

Make one sample panel with several hole sizes before cutting a complete set. Mark the layout on a template so volunteers can repeat it consistently, while preserving the variation that makes the pattern interesting. Clamp the work securely, use appropriate cutting tools and dust control, and smooth the cut edges. Apply your proposed stain to the sample as well: OSB texture and finish can look quite different under colored light than under work lights. Check the sample from the rear seats, where small circles may visually merge.

The original team backed the OSB with Coroplast. Test your actual sheet material with the fixtures you plan to use, since opacity, color, and distance from the source affect the result. Compare the sample with the light closer and farther away, looking for individual bright spots, unwanted shadows, and light escaping around panel edges. Build a representative light-box sample too. Keep materials within their permitted temperature conditions, preserve fixture ventilation, and follow the fixture manufacturer’s clearance requirements. A glowing surface should not depend on trapping heat inside a wooden box.

Organize Lighting and Assembly as Separate Jobs

The original light boxes were individually circuited, which allowed the team to create chases. Before planning a similar effect, map every box to a circuit or control channel and label both ends of its cable. Have a qualified electrician review the proposed loads, distribution, protection, and equipment compatibility. The incandescent lamps described in the submission are part of the original build, not a requirement for recreating the look. If considering LED alternatives, test diffusion, dimming, and camera appearance with the actual products before buying a complete package.

Program a simple still look before adding movement. Bring up the circular pattern, then introduce the square boxes, checking whether either layer distracts from faces or lyrics. Save separate speaking and music looks, and try a slow chase before faster movement. Review the result through the main camera as well as from the room. For the physical installation, have a qualified scenic or rigging professional review the support structure, connections, and venue requirements; photographs and the downloadable drawings do not establish a safe load rating for a different installation.

Pro Tips for a Glowing Dot Wall

  1. Approve one complete sample: Evaluate the wood finish, hole spacing, backing, and light together before repeating the assembly.
  2. Label every module: Match panel labels to a layout drawing and circuit map so setup and troubleshooting do not depend on memory.
  3. Budget beyond the face panels: Include support, hardware, diffusion, wiring, finishing supplies, and storage when comparing design options.
  4. Protect the visual hierarchy: Keep a calmer lighting cue ready for speaking moments so the bright pattern supports rather than competes with people.

Related Designs

  • Stacked Carefully – Compare an arcade-inspired backdrop with repeated rounded shapes and LED borders.
  • Dots Between Projection – Explore another way to combine repeated light sources with larger scenic surfaces.
  • LED Wave Pattern – See how Coroplast walls and LED tape create large areas of diffused color.
  • Rough Snow – Compare a different OSB cutting project with decorative lights and backlighting.
  • So Fresh and So Clean – Explore fabric-masked light boxes built from repurposed end tables.

Related: Jesus, Light it Up – Compare an illuminated Jesus sign with a Coroplast backdrop and textured, color-lit metal-screen columns.

Offset Shine

19 responses to “Hyper Techno Dots”

  1. Steven Hall says:

    Awesome Job guys. Props on figuring out how to do the hardware so well. My second though was, how the heck did they hang all of that so well. My first thought of course was wow this is amazing, I hope they don’t mind if I re-create it. Phenomenal work for the kingdom, Keep it up!

    ,Steven

  2. Brady_ADV says:

    Amazing!!! Great job guys!

  3. Jake says:

    As an amateur LD, I love this set. It looks like it was very versatile and effective in capturing awe. How many people did you have working on the project?

    • Eric says:

      Thanks Jake! We have an amazing volunteer set crew that just did a great job on this set. We had three welders to make the frame and then anywhere from 10 to 15 staff, volunteers, and interns working on the project.

  4. Jon Bert says:

    This is one of the best stage designs I have seen. LOVE IT. Any chance you could link a video clip of the service?

  5. Liz Withers says:

    This is sick. I love it. Probably the best I’ve ever seen as far as church stages and stages in general. Keep it up!! Do you have a photoblog or anything with past stage designs?

    • Eric says:

      Thanks Liz! Not yet but we are working on getting our website up and running with these kinds of resources. Hopefully we will be able to put a few more up on CSDI.

  6. Ryan Spencer says:

    My favorite part is the light boxes with the flood lights mounted. Very nice and cheap idea to bring some pop too the background. Well done.

  7. Van Metschke says:

    This is a FANTASTIC stage! Way to think of a whole new concept. Great job guys.

  8. Louis Tagliaboschi says:

    This set is an incredible use of space, and flexibility. Did you guys do wiring diagrams on the installed lighting sections? As one who loves order in design, I really like the neat-ness of the build.

    thank you for sharing it with us.

    • Eric says:

      Thanks Louis! The light boxes are just 16 ceramic key-less lighting bases tied together by 16 gauge 2 wire crimped with spade connectors. Hope that helps!

  9. Danny Isom says:

    Phenomenal job! What is the average age of your congregation?

    • Eric says:

      Thanks Danny! That is a good question I don’t quite know the answer to. I’m going to guess between 35 and 45. We have a pretty strong early 20’s influence, especially on our staff.

  10. By far one of the most creative and beautiful sets I’ve seen on here! Love when the church mirrors the image of our creative God (Genesis 1:26, 27)! Great job Life Center Church!

  11. Johnny Guevin says:

    Amazing this has got to be one of the best set’s I’ve seen at Life Center in a while

  12. Andrew says:

    So I have to ask- from what episode of Glee was the inspiration born?

  13. Bob says:

    Eric, do you know where you guys got your coroplast at locally?

  14. Brad says:

    Very nice work from start to finish. I enjoyed seeing your drawings as well. Thanks for sharing!

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