Uzume — Features

Named after Ame-no-Uzume-no-Mikoto, the Japanese Shinto goddess of dawn, mirth, and performing arts — the deity who performed the first show in recorded mythology, dancing outside Amaterasu's cave until the sun goddess was lured out to restore light to the world — Uzume is the Oshun platform for everything that happens between "the doors open" and "the last cable is struck."

Overview#

Uzume is the comprehensive live entertainment production platform. The domain's mission is to unify what the live entertainment industry currently fragments across 7–10 incompatible tools: lighting consoles, audio systems, video servers, automation controllers, stage management software, production management platforms, and safety systems. Uzume provides a single API surface spanning all of them — 22 interconnected libraries (21 TypeScript + 1 Rust/WASM workspace, implemented in TODO Phase 62) covering lighting, audio, video, rigging, special effects, staging, costume, scheduling, safety, and AI assistance.

The platform serves theater, concert touring, arena spectacle, broadcast events, theme parks, corporate events, and immersive experiences. Uzume ships as a library-only domain: it exposes no standalone applications or HTTP APIs. Consuming applications build their own service and UI layers on top of the Uzume library surface.

Technology architecture: TypeScript (primary), Rust (real-time protocol engines compiled to WASM for browser-based control surfaces), Node.js, PostgreSQL with Drizzle ORM, Redis for real-time state, NATS for low-latency protocol bridging.

Domain Libraries#

The table below maps every library to its npm package name and one-line description. Each subsystem is a flat collection of independent *-engine.ts modules that are coordinated through the NATS event bus in @uzume/core rather than through direct imports — a design that keeps library updates independent.

Core Framework (@uzume/core)#

@uzume/core is the root dependency consumed by every other Uzume library. It provides typed configuration, a shared database schema, a typed event bus, a structured error hierarchy, and a set of protocol math utilities. Subsystem libraries declare @uzume/core as a peerDependency so they can be consumed independently without bundling the core infrastructure themselves.

Configuration Management#

• Typed configuration schema: A single Zod environment schema (UzumeConfigSchema) covering the database, Redis, NATS, and S3-compatible object storage, so misconfiguration is caught at startup rather than mid-show.
• Feature flags: 13 boolean feature flags (lighting, audio, video, automation, effects, scenic, stage management, show control, production management, safety, audience experience, previz, AI) gate which subsystems are active.
• Schema validation: Configuration is parsed and cached at startup (loadUzumeConfig); validation failures throw an aggregated, descriptive error.

Database and Persistence#

• Drizzle ORM integration: A single PostgreSQL uzume schema with 24 tables and 19 enums, covering venues, shows, departments, cues, equipment, crew, budgets, contracts, safety, and audit records.
• Optional time-series store: An optional UZUME_TIMESCALE_URL config setting points show data at a TimescaleDB instance; when unset it falls back to the primary database URL.
• Migration management: A bootstrap migration with full up/down SQL, run through the @oshun/database migration runner.
• Seed data: A reference dataset generator (generateUzumeSeedDataset).

Event Bus#

• NATS event bus: Event publishing and subscription across subsystems — lighting can respond to audio events, show control to stage management cues. The bus runs over a real NATS connection or an in-process transport.
• Six typed event types: cue trigger, device status changed, safety alert, schedule updated, equipment status changed, and crew notification. Each event carries a Zod-validated payload — no untyped strings.
• Priority-based delivery: Events are classed informational, operational, or safety-critical; the bus picks best-effort or guaranteed (request/ack with retry) delivery from the event priority.
• Loose coupling: Subsystems coordinate through events without direct dependencies, enabling any component to be swapped or upgraded independently.

Show Control Bridge (@uzume/nexus)#

The show control bridge is the layer that coordinates every department simultaneously from a single master timeline. Lighting, audio, automation, and effects all receive cue triggers from the same sequencer, so a single "Go" command fans out to every subsystem at the same sub-millisecond moment.

The Nexus is that bridge — the single point of control intended to coordinate every department simultaneously. The @uzume/nexus TypeScript package itself currently carries only library metadata; the protocol engines, master timeline, and cross-subsystem cue sequencing below are implemented in the Rust uzume-protocol-engines workspace and reached through its Node.js native module and WASM control surface.

Protocol Engine#

• DMX512: 512 channels per universe, multi-source merging with HTP, LTP, and priority modes, plus DMX recording, timecode-locked playback, and live-vs- recorded A/B comparison.
• Art-Net 4: IP-based DMX transport with output and discovery engines (UDP port 6454, ArtDmx/ArtPoll/ArtPollReply/ArtSync packets).
• sACN (E1.31): streaming DMX with priority (0–200) and a universe discovery engine (UDP port 5568).
• OSC (Open Sound Control): an OSC engine with message/bundle parsing and dispatch routing.
• MIDI and MIDI Show Control (MSC): a MIDI engine (clock, inbound events, port info) and a dedicated MIDI Show Control engine.
• SMPTE Timecode (LTC/MTC): a high-precision timecode counter and sync engine driven by system clock, external LTC, or external MTC. Supported frame rates are 24, 25, 29.97, and 30 fps.
• GPIO: GPIO edges feed the cue sequencer and the protocol-translation engine as cue-trigger and translation inputs.

Show Control Orchestration#

• Cross-subsystem cue sequencer: a master timeline and cue sequencer dispatch cross-subsystem cue plans, so a single cue can fan out to multiple subsystems.
• Show state snapshots: a show-state snapshot engine captures and restores subsystem state, with show-file commit/merge support.
• Protocol translation: a rule-based protocol-translation engine maps between protocols (with visual mapping graphs and reverse mappings).

Rust/WASM Protocol Engines (uzume-protocol-engines)#

Show control protocols operate at precision levels that TypeScript's event loop cannot guarantee. A SMPTE timecode engine that fires one frame late (33 ms at 30 fps) causes visible mis-syncs between lighting, video, and effects. A DMX512 universe that drops a packet causes a flicker the audience will see. These constraints demand native-code performance — hence the Rust workspace.

Performance-critical protocol implementations written in Rust, compiled to both native binaries and WebAssembly.

Protocol Crates#

• uzume-protocol-types: Core protocol types and engines shared across the workspace — the DMX universe manager (HTP/LTP/priority merging), the RDM discovery engine, DMX recording and timecode-locked playback, and the MIDI, OSC, and SMPTE timecode primitives.
• uzume-timing-core: High-precision timing — a clock and timer wheel, the SMPTE timecode counter and sync engine (system clock, external LTC, external MTC; 24/25/29.97/30 fps including 29.97 drop-frame), the master timeline, cross-subsystem cue sequencer, show-state snapshots, and the protocol- translation engine.
• uzume-network-io: Low-latency UDP/TCP network I/O with Art-Net, sACN, and OSC packet parsing plus output and discovery engines, a MIDI engine, and a MIDI Show Control engine.

Test Crate#

• uzume-integration-tests: cross-crate integration test suite for the protocol engines.

Platform Bridges#

• uzume-node-bridge: native Node.js module via napi-rs (published as @uzume/protocol-native) — exposing DMX I/O, device discovery, timecode sync, and OSC/MIDI message handling to TypeScript.
• uzume-control-surface-wasm: a WebAssembly control surface for browser-based show operation — exposing a DMX universe plus MIDI, OSC, and timecode constructors so a touring production can use a tablet as a control surface without installing software.

Lighting Design and Control (@uzume/lumina)#

Lighting design for a major live production spans three distinct phases: the design phase (selecting fixtures, creating the plot, programming cues), the technical phase (patching fixtures to DMX addresses, testing in previz), and the performance phase (executing cue lists in real time). Lumina covers all three.

Lumina is the most protocol-rich library in Uzume, covering the complete lifecycle of lighting design from fixture selection through live performance.

Protocol Implementation#

Lumina speaks every major lighting control protocol. The table below maps each protocol to its industry standard and Lumina's capability level. Protocols lower in the stack (DMX, Art-Net, sACN) carry channel data to fixtures; protocols higher in the stack (RDM, GDTF, MVR) carry metadata about the fixtures themselves.

Fixture Library#

• Manufacturer fixture profiles: Moving lights, LED fixtures, conventional dimmers, strobes, pixel mapping fixtures — all major manufacturers represented.
• Attribute mapping: Every fixture attribute (pan, tilt, color, gobo, iris, focus, zoom, prism) mapped to DMX channels with correct value ranges.
• Personality management: Managing multiple DMX footprint variants per fixture (extended mode vs. basic mode).
• DMX footprint calculation: Automatic universe allocation to avoid channel overlaps in complex plots.
• GDTF import: Industry-standard fixture profile import — any manufacturer can provide a GDTF file and it will be correctly interpreted.

Cue Programming and Playback#

• Cue lists: Sequences of cues with individual timing (fade time, delay time), follow/link behavior, and comments.
• Fade curves: Linear, square, square-root, logarithmic, and custom bezier fades — different fade curves create dramatically different visual effects.
• Group and palette management: Organizing fixtures into groups (all movers, all floor fixtures, stage left) and palettes (predefined positions, colors, beams) for fast programming.
• Effects engine: Chase effects (sequential stepping through fixtures), random effects (random values within a range), and wave effects (sinusoidal waves propagating through fixture groups) — the building blocks of automated lighting looks.

Pixel Mapping#

• Media server integration: Mapping video content (from Resolume, Disguise, TouchDesigner) to LED fixture arrays — allowing video content to drive the lighting rig.
• Content-driven lighting: LED fixtures displaying sections of video content, creating a seamless integration between the lighting rig and video displays.

Lighting Pre-visualization#

• 3D fixture placement: Placing fixtures in a virtual 3D representation of the venue.
• Beam simulation: Visualizing exactly where each fixture's beam will land, including beam angle, color, and gobo projection.
• Cue playback in previz: Running the full show cue list in simulation before ever touching physical equipment.

Audio Engineering (@uzume/sonos)#

Live audio engineering encompasses a wide range of disciplines that don't naturally fit in a single tool: mixing console programming and recall, speaker system design and optimization, RF (radio frequency) spectrum management for wireless microphones and in-ear monitors, and the increasingly complex domain of network audio. Sonos provides a unified API surface across all of them.

Console Integration#

• DiGiCo SD/Quantum/S-Series: One of the most common professional mixing consoles in live touring — parameter read/write, scene recall, channel control.
• Yamaha CL/QL/PM Series: Industry-standard for theater and broadcast; full OSC and Dante control.
• Avid VENUE (S6L, S4L, S3L): Used widely in major touring and broadcast environments.
• Generic protocols: OSC and MIDI control for any console not directly supported.

Speaker System Management#

• Line array design: Configuration and optimization of line array loudspeaker systems — the curved column arrays that provide consistent coverage in arenas and theaters.
• System optimization: Delay alignment (ensuring sound from all speakers arrives at the listener simultaneously), EQ (equalizing the combined response), and level calibration.
• Prediction integration: Interfacing with acoustic prediction software (L-Acoustics Soundvision, d&b ArrayCalc, Meyer MAPP) for pre-show system design.

Immersive Audio for Live Events#

• L-ISA (L-Acoustics Immersive Sound for Artists): Object-based spatial audio system — placing individual sound sources at any position in the audience-facing soundfield.
• d&b Soundscape: Competing object-based system from d&b audiotechnik using DS100 signal engine.
• Meyer Spacemap Go: Meyer Sound's object-based system.
• Dante/AES67 network audio: The standard protocols for network audio in professional live sound — enabling audio routing via standard Ethernet rather than dedicated copper cabling.

RF Wireless Management#

• Wireless microphone frequency coordination: Calculating and assigning wireless microphone frequencies to avoid intermodulation distortion — the single most complex technical challenge in busy RF environments.
• IEM (in-ear monitor) coordination: Wireless personal monitoring systems for performers.
• RF spectrum analysis: Real-time monitoring of RF spectrum to detect interference and unlicensed transmitters.
• Interference detection: Automated alerts when interference appears on a critical frequency.

Orchestral and Classical Performance#

• Signal chain management: Managing the complex routing requirements of orchestral performance — dozens of microphones, spatial recording techniques (Decca Tree, AB, XY), hall playback systems.
• Mixing console integration: Specialized integration for classical mixing workflows.

Playback Systems and Orchestra Pit Management#

• Multi-track playback: Click track and guide track distribution, stem playback management, and virtual soundcheck recording, with redundant playback system monitoring.
• Orchestra pit management: Pit configuration management and a pit communication system.
• Principal monitoring: Musician personal monitor management, music stand displays, and a conductor camera management system.

Video, Projection, and LED Systems (@uzume/prism)#

Video in live entertainment has evolved into a complex pipeline. A modern arena show might drive a 20-meter LED wall from a Disguise media server, relay IMAG (image magnification) camera feeds through an NDI network, and map projection content onto a sculptural scenic element — all simultaneously, all pixel-perfectly synchronized. Prism manages this pipeline.

Media Server Integration#

• Disguise (d3): The industry-leading media server for large-scale LED and projection shows — full control of compositions, layers, and 3D mapping.
• Resolume Arena: Widely used VJ and media server software — control via OSC.
• TouchDesigner: Real-time visual programming environment — bidirectional control for complex generative content.
• Notch VFX: Real-time motion graphics and visual effects — integration for effect triggering and parameter control.
• Generic VDMX/MadMapper adapters: Covering the broader media server market.

LED Wall Systems#

• LED wall layout designer: Planning panel placement and total resolution — calculating pixel counts, seam positions, and service access requirements.
• Brompton Tessera management: The most widely used LED processor in touring and rental — color calibration, seamless/tessellation mode, panel status monitoring.
• NDI video routing: Network Device Interface — IP-based video routing for flexible signal distribution.
• SDI video routing: Serial Digital Interface — the traditional broadcast standard for uncompressed HD video.

Projection Mapping#

• 3D projection mapping: Mapping video content onto irregular surfaces — architecture, set pieces, custom sculptural elements.
• Auto-alignment: Automatic projector alignment using structured light calibration patterns — reducing setup time from hours to minutes.
• Multi-projector blending: Seamless edge-blending across multiple projectors covering a single surface.

Video Pipeline#

• Video routing matrix: Any-to-any signal routing between sources and destinations.
• Content playback scheduling: Queuing and triggering video content on precise timecode cues.
• Pixel-accurate synchronization: Ensuring all displays receive identical frames simultaneously.
• Colorspace management: Handling Rec.709, Rec.2020, DCI-P3, and HDR content correctly.

Rigging, Flying, and Motion Control (@uzume/kinesis)#

Rigging is where live production most directly intersects with life safety. Every load hanging above an audience has a certified safe working load (SWL), and the structural engineer who signs off on the rig relies on accurate load calculations. Automation adds a second dimension: moving elements must follow choreographed paths without colliding with performers, crew, or other moving elements.

Kinesis is the most extensive library in Uzume — governing everything that moves in the air or on the stage floor.

Structural Rigging#

• Point load calculations: Computing the force on each hanging point based on load weight, rigging geometry, and dynamic load factors — essential for structural approval and insurance requirements.
• Chain hoist management: Assignment of loads to individual chain hoists, weight limits per hoist, and speed profiles for synchronized lifts.
• Ground support systems: Truss tower configuration, base plate specifications, and load path documentation for shows without fixed rigging points.
• Rigging permit documentation: Generating the load documentation required by venues, local authorities, and insurance companies.

Flying Systems and Automation#

• Flying system integration: TAIT (the world's leading automation company for large-scale productions), Kinesys, and Show Control Systems flying hardware — performer flying, scenic flying, and aerial effects.
• Turntable and lift control: Motorized turntable programming (speed, direction, sync with music) and stage lift positioning.
• Automated scenery: Complex multi-axis scenic element programming — set pieces that move, transform, or reconfigure during the performance.
• Show stop and E-stop integration: Safety-critical stopping in controlled sequences that bring all automation to a safe halt.

Robotics and Kinetic Systems#

• Cable cam systems: Motorized camera systems suspended on cables that can traverse the full width and length of a venue.
• Robotic camera arms: Industrial robot arms adapted for camera work — providing precise, repeatable camera moves.
• Kinetic lighting: Moving lighting fixtures on motorized tracks and winches for dynamic spatial effects.
• Animatronics: Character animatronic motion control — servos, pneumatics, and stepper motor systems.

Stage Robotics and Advanced Kinetics#

• Industrial robotics: Industrial robot arm control integration, robot choreography timeline editing, and robot show synchronization.
• Robot safety: Robot safety zone management and a kinetic anti-collision system.
• Kinetic systems: Kinetic winch system control, kinetic element load monitoring, kinetic content synchronization, and a kinetic formation editor.

Special Effects and Atmospherics (@uzume/pyra)#

Special effects are subject to some of the strictest regulatory requirements in live entertainment: NFPA 1126 governs pyrotechnics, laser safety follows ANSI Z136 and the relevant FDA CFR sections, and every CO2 or propane system has pressure vessel regulations. Pyra tracks compliance requirements alongside the operational controls, ensuring safety documentation is generated at the same time as firing sequences.

The table below summarizes the nine effect types Pyra manages, along with their respective control capabilities:

Set Design, Scenic, and Props (@uzume/scena)#

Scenic management spans from the designer's CAD drawings through fabrication, transportation, and finally the daily tracking of every set piece during a run. The touring dimension adds significant complexity: every piece must fit in a truck, and the loading sequence for that truck must reverse-order the unloading sequence at the next venue so that what comes off last is what gets set up last.

• CAD import: AutoCAD DXF/DWG and Vectorworks VWX import for scenic elements designed by scenic designers.
• Scenic element catalog: Complete inventory of every set piece with dimensions, weight, material, rigging points, and power requirements.
• Construction documentation: Shop drawings, material lists, and fabrication instructions sent to scenic fabrication companies.
• Props tracking: Props from build through load-in, tracking their location in each scene and their storage position during the performance.
• Paint elevation management: Color elevations and finish specifications for painters.
• Truck pack optimization: Calculating how to fit all set pieces, equipment, and supplies into the minimum number of trucks — a significant touring cost driver.
• Scenic change scheduling: Sequence planning for scene changes, including which crew members are responsible for each piece and the order of operations.
• Sustainability tracking (planned): Eco-rating per material (recyclability, embodied carbon, sourcing origin) as part of the domain's environmental responsibility features.

Stage Management and Show Calling (@uzume/koru)#

Stage management is the discipline that coordinates every element of a production during rehearsals and performances. The stage manager is the single point of authority during a performance: they call every cue to every department simultaneously over the intercom, track the show's timing, and make real-time decisions about holding or cutting when something goes wrong. Koru provides the digital infrastructure for this discipline.

Cue Calling System#

• Digital prompt book: Complete digital cue sheet with cue numbers, departments (lighting/sound/automation/video), standby warnings, and trigger timing.
• Multi-department cue delivery: Simultaneous cue delivery to all departments via the intercom system — "LX go, sound go, video go" as a single operation.
• Cue confirmation: Each department confirms cue execution, giving the stage manager complete situational awareness.

Rehearsal Management#

• Rehearsal scheduling: Room booking with calendar integration; call sheet generation (specifying which cast and crew are called for each rehearsal).
• Notes distribution: Automated rehearsal notes distributed to all departments after each session.
• Progress tracking: Scene-by-scene and moment-by-moment tracking of where rehearsals have reached.
• Blocking notation: Digital recording of actor positions (blocking) using stage position notation (upstage left, center stage, etc.) and relative notation ("3 steps toward DSL").
• Production reports: Automated generation of rehearsal reports and performance reports — documenting what was covered, notes, and issues for all departments.

Run-of-Show Management#

• Dynamic run-of-show: Real-time editable run-of-show documents synchronized to all departments' mobile devices.
• Timing tracking: Actual vs. scheduled timing comparison, with alerts when the show is running long.

Production and Tour Management (@uzume/atlas)#

Production management for a major tour is a planning and financial exercise on the scale of a mid-size construction project: budgets in the millions of dollars, crews of 50–200 people, equipment inventories worth tens of millions, and logistics that span multiple countries. Atlas is the largest planning subsystem in Uzume, covering every logistical and financial dimension of producing a live event or tour.

Budget Management#

• Detailed line-item budgeting: Full budget with line items per department, phase, and expense category.
• Actuals tracking: Recording actual expenditures against budget as they occur.
• Variance reporting: Flagging over/under-budget items with trend analysis.
• Cash flow projection: Forecasting when expenses and revenues occur across the production timeline.

Crew Management#

• Crew roster and contracts: All crew members with roles, rates, contract terms, and contact information.
• IATSE union tracking: For US productions, tracking union call times, meal breaks, overtime thresholds, and turnaround requirements — violations are expensive and damaging to crew relations.
• Per diems and expenses: Tracking daily allowances and expense reimbursements for touring crew.
• Day-of-show crew calls: Generating daily crew call sheets with call times per department.

Equipment Management#

• Equipment inventory: Every piece of owned equipment with purchase date, value, and maintenance history.
• Rental tracking: Rental equipment from vendors with return deadlines and rental costs.
• Logistics: Equipment transport scheduling, freight coordination, and customs documentation for international tours.

Venue Database#

• Technical specifications: Stage dimensions, wing space, fly tower height, power capacity, loading dock access, and loading bay dimensions for every venue.
• Contact management: Venue technical directors, production managers, and booking contacts.
• Show history: What productions have previously played the venue, and any outstanding notes or issues.

Touring Logistics#

• Multi-city tour routing: Optimizing routing to minimize travel distance and time, accounting for production load-in and load-out times at each venue.
• Travel management: Tour bus and air travel for all touring personnel.
• Accommodation: Hotel blocks per city with budget tracking.

Sustainability and Environmental Intelligence#

• Carbon footprint tracking: A carbon footprint calculator for touring (transport, power, materials).
• Green rider compliance: A green rider and sustainability policy management engine for tracking compliance with artist environmental riders.
• Energy and waste: Renewable energy integration monitoring and a waste management tracking system.

Scheduling (@uzume/chronos)#

A production's schedule is not a single calendar — it is a layered set of interdependent timelines: the overall production calendar (design through strike), the rehearsal schedule (rooms, cast, crew), the load-in sequence (which departments arrive in which order), and the day-of-show crew calls. Chronos manages all of these layers in a single system, with resource-conflict detection across all of them.

• Master production timeline: From first production meeting through final strike — with every phase (design, fabrication, pre-production, load-in, tech rehearsals, performances, load-out) planned on a single timeline.
• Rehearsal scheduling: Room booking, call sheet generation, and conflict detection (preventing the same actor or crew member from being double-booked).
• Load-in scheduling: Sequencing venue load-in — departments arriving in the right order (rigging first, then lighting, then audio, then video) and crew calls optimized to minimize waiting time.
• Resource leveling: Identifying scheduling conflicts where the same person or piece of equipment is needed in two places simultaneously, and automatically suggesting resolutions.
• Calendar integration: iCal/Google Calendar export for all crew call schedules.
• Milestone tracking: Key production milestones against the master schedule, with critical path analysis.

Safety and Compliance (@uzume/aegis)#

Live entertainment has a significant safety record challenge: stage collapses, rigging failures, crowd crushes, and pyrotechnic incidents have caused fatalities at major events. OSHA, NFPA, and local authority compliance requirements are substantial, and insurance companies now require documented risk assessments, inspection logs, and incident reports as a condition of coverage. Aegis exists because the cost of a safety failure is not just financial — it is measured in lives.

Aegis is the most comprehensive safety system in the platform.

Risk Assessment#

• Site-specific risk assessment: Hazard identification, risk scoring (probability × severity), and control measure documentation for every production.
• Safety inspections: Daily pre-show safety inspection checklists with mandatory sign-off from department heads before the audience enters.

Weather Monitoring#

• Real-time weather monitoring: Wind speed, precipitation, lightning proximity, temperature, and humidity for outdoor events.
• Wind speed alerts: Automatic alerts when wind exceeds safe thresholds for rigging, automation, and pyrotechnics — each with separate thresholds.
• Lightning detection: Detection of lightning within configurable radius with automatic escalation protocols.

Crowd Safety#

• Crowd density modeling: Calculating crowd density in each zone based on ticket sales and observed flow.
• Egress capacity analysis: Ensuring exits have sufficient capacity to evacuate the venue within required timeframes.
• Crush risk detection: Flagging dangerous density concentrations that could lead to crowd crush incidents.

Compliance Tracking#

• OSHA 1926 construction standards: Compliance tracking for load-in and installation work.
• NFPA 101 Life Safety Code: Occupant load limits, emergency lighting, and egress requirements.
• BGV-D8+ and EN 17206: German and European rigging standards for flying systems.
• ANSI/ESTA standards: Entertainment industry technical standards.

Incident Management#

• Incident and near-miss reporting: Digital reporting with investigation workflow, corrective action tracking, and regulatory notification triggers.
• Emergency action plans: Creating and distributing emergency action plans to all venue staff and production crew.
• Structural certification: Rigging and structural certification document management.
• Contractor safety qualification: Tracking contractor safety certifications and insurance documentation.

Extended Reality (@uzume/aurora)#

Aurora covers the emerging class of production technologies that blur the boundary between physical and digital: LED volumes where performers act inside a virtual world, drone shows where hundreds of autonomous aircraft form shapes in the sky, and real-time location systems that track every person on a large stage. These technologies share a common requirement: sub-centimeter spatial precision in real time.

LED Volume Stages#

LED volume (also called "xR stage" or "virtual production") stages surround performers with LED walls on all sides, displaying photo-realistic computer-generated environments tracked to camera position — eliminating the need for green screen and enabling real-time virtual production.

• LED volume configuration: Wall layout, pixel pitch, resolution, and tracking calibration for the volume.
• Camera tracking integration: Real-time camera position and lens data fed to the render engine for correct perspective rendering of the virtual background.
• Real-time compositing: Integrating the camera feed with the rendered background in real time.

Drone Shows#

• Drone fleet choreography: Programming hundreds or thousands of drones to form shapes, logos, and animations in the sky.
• GPS/GNSS positioning: Precise positioning using differential GPS with RTK correction for sub-decimeter accuracy.
• Light programming: Each drone's RGB LED programmed per-frame to create pixel-art animations.
• Safety zone management: Automatic exclusion zones preventing drones from flying over audience areas or within restricted airspace.
• FAA/regulatory compliance: Generating the documentation required for drone show regulatory approval.

Digital Twin#

• Live-synced digital replica: A real-time 3D model of the physical venue and production that reflects the actual state of every system — lighting positions, set positions, performer locations — updated in real time during the show.
• Remote monitoring: Production managers can monitor show status from any location with internet access.
• Simulation: Testing show states before executing them on the actual production.

RTLS (Real-Time Location System)#

• Sub-meter performer tracking: Tracking all performers, crew members, and equipment using UWB (Ultra-Wideband) radio or optical systems.
• Safety interlocking: Preventing automation from activating when a performer is within the danger zone.
• Blocking documentation: Automatically recording performer positions for later blocking documentation.
• Equipment tracking: Never losing track of where expensive equipment is located in a large venue.

Virtual Performers / Digital Human Technology#

• Holographic performer systems: Holographic display management for volumetric and pepper's-ghost-style holographic performer appearances.
• Real-time digital human rendering: A digital human rendering pipeline management engine for photo-realistic digital performers.
• Virtual performer interaction: A virtual performer interaction engine for digital performers that respond to live performers.

Audience Engagement and Accessibility (@uzume/echo)#

Modern live events treat the audience as a participant rather than a passive spectator. LED wristbands turn 50,000 people into a synchronized light show. Mobile apps deliver synchronized content to every phone in the arena. And accessibility technology — captioning, assistive listening, audio description — ensures that d/Deaf, hard-of-hearing, and blind audience members can access the same experience as any other ticket holder.

Audience Technology#

• LED wristband control: The PixMob, Xylobands, and similar systems that turn the audience into part of the lighting show — each wristband controlled individually via infrared or radio, enabling pixel-art animations across the entire crowd.
• Mobile app integration: Real-time show-synchronized content pushed to audience mobile devices — lyrics, setlist, visual content, interactive polls.
• Audience participation systems: Live voting, real-time polls, crowd noise meters, and interactive challenges.

Accessibility#

• Live captioning: Real-time speech-to-text captioning for the deaf and hard-of-hearing, displayed on screens, delivered to mobile devices, or shown on captioning units.
• Assistive listening systems: Hearing loop (T-coil / telecoil), infrared, and FM systems for audience members with hearing aids.
• Audio description: Live audio description for visually impaired audience members.
• Multi-language subtitles: Real-time translated subtitles in multiple languages — essential for international tours and multilingual audiences.
• ADA/accessibility compliance tracking: Documenting accessibility features and compliance with local regulations.
• Haptic feedback: A comprehensive haptic/tactile feedback system and haptic feedback wearable integration, delivering a tactile representation of music to audience members with profound hearing loss.

Audience Analytics#

• Engagement measurement: Tracking applause levels, participation rates, and crowd energy throughout the show.
• Crowd density monitoring: Real-time density tracking per zone for safety and logistics.
• Demographic insights: Post-show analysis of audience demographics and engagement patterns.

Surtitles and Immersive Theatre#

• Opera/theatre surtitle system: A surtitle/supertitle management system for real-time lyric and dialogue display in opera and foreign-language performances.
• Immersive theatre support: An immersive theatre audience flow management engine for promenade and immersive productions where audience members are scattered throughout a non-traditional space.

Costume and Wardrobe Management (@uzume/vestis)#

A Broadway show might have 300 costume pieces across 30 cast members, with some performers changing costume in under 30 seconds between scenes. Tracking every item — from the fitting room through the laundry through the wing — and coordinating the team of dressers who assist quick-changes requires precise, real-time information. Vestis provides that infrastructure.

Costume Plot Management#

• Complete costume-per-actor-per-scene tracking: Every costume change documented — who wears what in each scene, including quick-changes between scenes.
• Fitting schedules: Actor fitting calendar with alteration tracking and fitting notes.
• Quick-change coordination: Sequence planning for rapid costume changes — some quick-changes have under 30 seconds, requiring precisely choreographed assistance from dressers.

Inventory Tracking#

• RFID inventory: Every costume item tagged with RFID for automatic tracking in and out of wardrobe storage.
• Barcode scanning: Fallback barcode system for items too delicate for RFID tags.
• Location tracking: Knowing exactly where every item is at all times — onstage, in the wing, in the laundry, or in storage.
• Rental management: Tracking rental items with return deadlines and rental cost tracking.

Maintenance and Care#

• Laundry and dry-cleaning scheduling: Which items need cleaning and when, based on performance schedule.
• Repair tracking: Documenting damage and alterations with repair status.
• Specialty care instructions: Per-item care instructions for fragile, historical, or specially constructed pieces.

LED Costume Control#

• Integrated costume electronics: An LED costume control engine for LED strips, EL wire, and other light sources integrated into costumes — synchronized to show cues.
• Wearable technology testing: A wearable technology testing and maintenance system covering battery and device health for costume electronics.

Pre-Visualization (@uzume/previz)#

Pre-visualization ("previz") is the process of simulating a production in a computer before any physical equipment is installed — reducing costly setup time in the venue and enabling creative exploration without risking expensive equipment. For a major production, venue time is the most expensive resource: an arena load-in that runs over schedule costs thousands of dollars per hour. Decisions made in previz cost nothing; decisions made on the venue floor cost everything.

• 3D venue rendering: Photo-realistic 3D rendering of venue configurations, equipment placement, and sight lines — showing the production team exactly what the show will look like from any seat in the house.
• Lighting previz: Fixture placement, beam angles, cue playback, and gobo projection — the entire lighting design visualized in three dimensions.
• Video previz: LED wall content placement, projection mapping preview, and media server output simulation.
• Audio previz: Loudspeaker placement visualization with coverage prediction overlays.
• Automation previz: Flying automation paths and velocities visualized in three dimensions.
• VR walkthroughs: Immersive VR walkthroughs for client presentations and production planning meetings — stakeholders can experience the production in VR before it is built.
• Collaborative previz: Multi-user real-time previz with role-based editing — designer and client can explore the virtual production simultaneously.
• Export to Unreal Engine 5: High-fidelity cinematic previz for marketing materials and client presentations.

Power Distribution (@uzume/tesla)#

A major concert tour carries 500–2,000 kW of electrical load — enough to power hundreds of homes. This load arrives at venues via the building's utility connection or portable generators, and must be safely distributed to dozens of departments across a venue the size of an arena. The single most common cause of production delays is an electrical fault, and the single most common cause of an electrical fault is a circuit loaded beyond its rated capacity. Tesla prevents that.

• One-line diagrams: Creating and managing power distribution one-line diagrams — the electrical schematic showing how power flows from the generator or building supply through distribution to individual departments.
• Load calculations: Circuit-by-circuit load calculations with safety margin tracking — ensuring no circuit exceeds 80% of its rated capacity.
• Generator management: Generator capacity planning, load shedding sequences, and fuel consumption monitoring for portable power on outdoor sites.
• Real-time monitoring: Live current, voltage, and power consumption monitoring per circuit.
• Fault detection: Ground fault (GFCI) and overcurrent detection with automatic alerting.
• Cable management: Cable route planning and feeder schedule documentation — tracking which cables run where to prevent tripping hazards and enable efficient troubleshooting.

Network Infrastructure (@uzume/forge)#

Modern live productions run entirely on networks — audio travels over Dante (AES67), video over NDI or SDI-over-fiber, lighting control over Art-Net or sACN, show control over OSC, and crew communications over IP intercom. All of these systems share the same underlying IP switches, which means a configuration error (a missing VLAN, a misconfigured PTP grandmaster, or insufficient bandwidth on a trunk link) can take down multiple systems at once. Forge manages the network that everything else depends on.

• Network topology design: Planning the production network architecture — which devices are on which segments, where switches are located, and how traffic is isolated.
• VLAN management: Departmental VLAN segmentation — audio on one VLAN, lighting on another, video on a third — preventing traffic storms in one department from affecting others.
• PTP (Precision Time Protocol, IEEE 1588): Sub-microsecond clock synchronization across all AV devices on the network — essential for AES67 audio and multi-camera video timing.
• Bandwidth monitoring: Real-time bandwidth utilization per link and per device.
• Wi-Fi management: Access point placement, channel planning, and interference mitigation for reliable Wi-Fi throughout the venue.
• Network security: Segmentation preventing unauthorized access to production-critical systems.

Crew Communication (@uzume/hermes)#

During a performance, dozens of crew members in physically separate locations — the lighting position, the sound board, the fly floor, the stage manager's desk — must communicate instantly and reliably. A missed cue call or a delayed warning during an automation sequence can be dangerous. Hermes manages the intercom systems and messaging infrastructure that keep the crew connected.

Intercom Integration#

• Clear-Com integration: The dominant intercom brand in touring and theater — full beltpack assignment, party line (channel) management, and speaker station control.
• RTS integration: Competing intercom manufacturer with wide theater penetration.
• IP intercom: Modern IP-based intercom systems using standard network infrastructure.
• Party line management: Creating and managing the channels that groups of crew members share — "all-call," "lighting," "sound," "fly," "stage management."

Communication Tools#

• Video monitoring: Crew confidence monitor management — what each crew position sees on their monitor (stage feed, conductor feed, cue sheet, etc.).
• Production messaging: Structured team messaging with department tagging — messages automatically routed to relevant department heads.
• Real-time translation: Crew communication translation for international productions with mixed-language crews.
• Communication analytics: Analyzing communication patterns for show operations review.

AI and Machine Intelligence Layer (@uzume/muse)#

Programming a lighting show for a 90-minute concert is a task that traditionally takes days: a lighting programmer listens to the music, identifies key moments, places cues, and iterates with the director. Muse accelerates this by analyzing the music structure automatically and suggesting cue placements, then goes further by enabling natural-language control ("add a 3-second chase effect on the moving lights starting on bar 17") and monitoring all production systems for anomalies during the live show.

Show Intelligence#

• AI cue placement: Analyzing the music track to suggest optimal lighting, video, and effects cue positions — identifying builds, drops, key changes, and emotional peaks.
• Musical analysis: Real-time BPM detection, key detection, energy analysis, and section identification from audio input.
• Generative lighting: Creating lighting content from audio analysis — the AI generates lighting looks that respond to the musical structure in real time.
• Anomaly detection: Monitoring all production systems for anomalies during the show — detecting fixture failures, audio dropouts, or automation position drift before they become visible to the audience.

Natural Language Programming#

• NLP show control: Natural language commands for show programming — "make the LED wall pulse blue in time with the kick drum" or "add a 3-second chase effect on the moving lights starting on bar 17."
• Voice control: Hands-free control of show systems for operators who need both hands for other tasks.
• AI set design assistance: Suggesting scenic arrangements based on the artistic concept and practical constraints.
• Predictive maintenance: Analyzing equipment performance data to predict failures before they occur — scheduling preventive maintenance at the most convenient time rather than responding to emergency failures during performances.

Production AI Tools#

• Budget optimization: Analyzing production budgets and suggesting cost savings while maintaining artistic goals.
• Show report generation: Automated drafting of show reports from collected data.
• Scheduling optimization: AI-assisted scheduling that considers dependencies, crew fatigue, and equipment availability.

Broadcast, Streaming, and Multi-Venue Distribution (@uzume/broadcast)#

A live event that draws 20,000 people to an arena may simultaneously reach millions more through streaming platforms. The broadcast pipeline — camera switching, graphics, streaming encoding, CDN delivery — is a parallel production running alongside the live show, with its own engineering team and its own failure modes. Broadcast manages this pipeline, including the specialized needs of esports tournament broadcasting.

Video Switching#

• Broadcast switcher integration: Control of broadcast-grade video switchers (Blackmagic ATEM, Ross Video) for live source switching.
• Mix/Effect block control: Multiple M/E (Mix/Effect) blocks with cut, dissolve, and wipe transitions.
• Auxiliary output routing: Routing sources to confidence monitors, recording systems, and broadcast feeds.
• Multiviewer management: Configuring multi-viewer displays showing all sources simultaneously for at-a-glance monitoring.

Recording and Replay#

• ISO recording management: Per-camera isolated recording — every camera recorded to its own track for post-production edit options.
• Replay system integration: Slow-motion replay system control for live event broadcast.

Live Streaming and Distribution#

• Multi-platform streaming: Simultaneous streaming to YouTube Live, Twitch, Facebook Live, and custom RTMP endpoints — a single production feeding multiple platforms.
• Stream health monitoring: Real-time bitrate, frame drop rate, encoder health, and CDN connectivity monitoring with automatic alerting.
• SRT contribution feeds: The SRT (Secure Reliable Transport) protocol for contribution feeds from remote venues or remote camera positions.
• Multi-venue simulcast: Synchronized content distribution to multiple venues simultaneously — the same live event experienced in multiple cities at the same moment.

Broadcast Graphics#

• Lower thirds: Name and title graphics in broadcast format.
• Scoreboards: Real-time sports score displays.
• Ticker overlays: Scrolling text for news-style information delivery.

V2 Esports Broadcast Pipeline#

The V2 esports tooling package (@v2/esports-tools) consumes @uzume/broadcast as the primary broadcast pipeline for tournament events. The policies below govern how this integration works and what V2 delegates back to Uzume versus what V2 handles itself. Both bridges expose mayInfluenceRollback: false, meaning their state is presentation-only and cannot affect deterministic match simulation.

• Primary V2 bridge: @v2/esports-tools maps apps/v2/esports-tools/ to @uzume/broadcast for tournament switching, graphics, multiviewer, replay, SRT contribution feeds, stream health, and destinations.
• OBS / NDI / vMix policy: standalone OBS / NDI / vMix glue is not a primary V2 broadcast path. OBS WebSocket remains only for streamer-mode notification suppression; NDI routing is delegated to @uzume/prism.
• Rollback isolation: broadcast operations are presentation-only and expose mayInfluenceRollback: false.

V2 In-Arena LED + Projection Integration#

For in-arena esports events, V2 also needs to drive LED walls and projectors in the venue. Rather than duplicating Uzume's lighting and video capabilities, @v2/esports-tools composes @uzume/lumina and @uzume/prism directly.

• Arena production bridge: @v2/esports-tools composes @uzume/lumina and @uzume/prism for live tournament in-arena LED wall layout, lighting pixel maps, projector mapping, structured-light alignment, arena video routes, and show-cue events.
• Rollback isolation: LED, lighting, projection, and video-route operations are presentation/show-control state only and expose mayInfluenceRollback: false.

Cross-Domain Relationships#

Uzume owns live performance, broadcast, stagecraft, venue, show-control, and multi-venue operations. The boundary exists because live-event production is a distinct enough discipline — with its own protocols, regulatory frameworks, and professional practices — that it warrants its own isolated library surface. Other Oshun domains are expected to integrate with Uzume's capability surface, though no cross-domain code wiring exists in libs/uzume/ today beyond the V2 esports tooling described above:

• Neith (audio/DJ/engine-runtime domain — DOMAINS/neith, libs/neith): positioned to provide low-level audio runtime, DJ workstation, and engine audio systems that Uzume could drive during a show. Uzume co-owns the show side of Phase 132 (sovereign audio runtime — live-audio device negotiation, latency budgets, show-control transport sync via Ableton Link/MTC/LTC) and Phase 148 (DJ workstation — deck/mixer/timecode plus lighting/stage sync driven from Uzume's show-control surface), and Phase 167 (engine audio architecture depth — Uzume drives spatial/bus mixing and audio-source playback through the @neith/audio-* engine stack for interactive-venue and installation shows). (planned integration)
• Gaia (weather domain — DOMAINS/gaia): positioned to provide nowcast, lightning, wind, precipitation, and severe-weather products for Uzume outdoor-event risk dashboards and stage/rigging weather gates. (planned integration)

Consuming domains such as Yemaya, Calliope, and Aphrodite may build on Uzume's live-event and stagecraft surface, but Uzume owns the stagecraft and broadcast capability itself.