Sulphur, LA — 30.23° N / 93.37° W
Built for the show, not the photo.
We build it, we rig it, we run it, and we take it down. Same crews, same trucks, same standard from first drawing to last load-out.
Some events need more than a stage and a sound system.
Some events need more than a stage and a sound system. They need something that doesn't come off a truck — a set piece, a facade, an entrance tunnel, a branded environment, a structure that exists because the show called for it. That's what custom structures, scenic and FX is for.
We build it, we rig it, we run it, and we take it down. Same crews, same trucks, same standard from first drawing to last load-out.
Custom structures
anything you need standing that a standard stage or riser doesn't cover. Ground support, custom platforms, backdrop structures, entry moments, set framing.
Scenic
the surfaces and set pieces the audience actually sees. Facades, walls, props, branded environments, the look of the room or the site.
FX
the moments layered on top of the show. What we can cover depends on your venue, your run of show and what's already locked. If it's on your rider or your creative brief, bring it to us early — feasibility, permits and rigging are part of the conversation, not an afterthought.
We build for festival main stages and hotel ballroom entrances
The scale changes; the standard doesn't.
A festival build might mean a custom stage surround, a video wall structure and a set designed to survive three days of weather. A corporate general session might mean an entrance piece, a stage environment and an executive reveal that has to work on cue, once, in front of the client's leadership. We do both. We've done both for more than 30 years of load-ins.
That matters because scenic and structural work doesn't live in isolation. It has to carry weight, pass inspection, survive rigging loads, and clear the LED video and lighting packages around it. A shop that only builds pretty things doesn't think about the line array hanging off the same structure. We do, because we hang the line array.
Built with the rest of the production, not bolted onto it
This is the difference between ordering a set and producing an event.
When we build the custom structure, we're also the ones supplying the staging, the rigging and truss, the LED video and the lighting. So the set and the video wall don't fight each other for the same sightlines. The truss legs don't land where the cable runs need to go. The load isn't distributed onto a structure that was never rated for it.
When something doesn't fit on site — and on custom work, sometimes it doesn't — the person with the saw and the person with the drawing are on the same payroll. That's usually the difference between a 20-minute fix and a missed show call.
One shop draws it, builds it and stands behind it
no handoff between a fabrication vendor and a production vendor, each pointing at the other when something doesn't fit
Owned inventory underneath it
staging, truss, LED video, lighting and audio come from our own warehouse, so the scenic build and the technical build are designed together
Our crews, our fleet
we truck it, we build it, we strike it. We're not coordinating arrival windows with someone else's driver
One company accountable
from the site survey to the last truck off the lot
How a custom build works
1. You tell us what the show needs. A creative brief, a designer's concept, a photo of something you saw somewhere, or a rough sketch on a napkin. All of those are legitimate starting points. 2. We do a site survey. Floor loads, rigging points, power, access doors, truck positions, ceiling heights. Custom work dies on site surveys that didn't happen. 3. You get a written scope and a number. Materials, build time, crew headcount, trucking, strike and disposal. Not a guess — a scope, priced. 4. We build, deliver, install and run it. Our crews handle the load-in alongside the audio, lighting and video teams, because they're often the same people. 5. We strike it and haul it out. Load-out is part of the scope, not a surprise line item.
If you have your own fabricator or scenic designer, we'll work with them — we've built other people's drawings plenty of times. The thing we'll insist on is seeing the structural side early. A beautiful piece that fails a rigging review the week of load-in helps nobody.
You tell us what the show needs
A creative brief, a designer's concept, a photo of something you saw somewhere, or a rough sketch on a napkin. All of those are legitimate starting points. 2. We do a site survey. Floor loads, rigging points, power, access doors, truck positions, ceiling heights. Custom work dies on site surveys that didn't happen. 3. You get a written scope and a number. Materials, build time, crew headcount, trucking, strike and disposal. Not a guess — a scope, priced. 4. We build, deliver, install and run it. Our crews handle the load-in alongside the audio, lighting and video teams, because they're often the same people. 5. We strike it and haul it out. Load-out is part of the scope, not a surprise line item.
Honest about what custom means
Custom work has real constraints, and we'd rather name them than hide them:
That's the deal: we'd rather lose a day of creativity in the design phase than an hour of it on show day.
It takes lead time
Fabrication isn't pulled off a shelf. Short-notice custom builds are sometimes possible — call us and we'll tell you straight — but the earlier we're in, the more the build can be.
It takes drawings
The more resolved your design, the tighter the number. A concept gets you a budget conversation; dimensions and finishes get you a firm one.
Site conditions decide things
We'll tell you if a floor can't take the load, if the freight door won't fit the piece, or if the venue's rigging plot changes the design. Better from us now than from a forklift later.
FAQ
What is scenic fabrication?
It's the design and construction of the physical set elements an audience sees — facades, backdrops, custom walls, props and branded environments — as opposed to the technical production (audio, lighting, video) that runs the show. On a produced event, scenic and technical have to be engineered together, which is why we keep both under one roof.
What does FX mean in event production?
FX covers the special-effect moments layered onto a show — the pieces that create impact beyond standard lighting and video. What's feasible depends heavily on the venue, the rigging and local permitting, so we treat FX as a design conversation first and a gear question second.
Can you build from our designer's drawings?
Yes. If your creative team has produced renderings or construction drawings, we can price and build from them. We'll review them against the site and the rigging plan before fabrication starts — that review is what keeps a design from becoming a show-day surprise.
How far ahead should we start a custom build?
Earlier than you think — fabrication, engineering review and trucking all need lead time, and the window tightens fast for anything engineered to carry loads. If your date is close, call the office rather than using the form; short-notice work is a real part of what we do, and the phone is faster.
Do you strike the build after the show?
Yes — strike, load-out and haul-away are scoped and priced up front, not added later. We build with load-out in mind from the start, because a piece that took twelve hours to install shouldn't take eighteen to get out of the building.
Do you handle the rigging for custom structures?
Yes — rigging and structural support are part of the same scope. Since we're also supplying the truss, line arrays and video elements, we engineer the loads as one system rather than three vendors meeting on site for the first time on load-in day.
Tell us
what the show needs built.
A date, a city and a rough idea of the piece is enough to start the conversation. You'll get a written scope and a number, from a real producer, not a form response.