How BPM SFX used KVANT laser systems and Pangolin BEYOND software as part of the effects and lighting package on Chris Brown’s Breezy Bowl XX Tour. Working closely with Chris Brown’s creative and production teams, BPM SFX integrated high power laser aerial effects into a large scale touring show that combined choreography, video, lighting, pyrotechnics, and atmospheric effects across arenas and stadiums.
The Breezy Bowl XX Tour featured an extensive special effects package supplied by BPM SFX, with lasers forming a key part of the overall design. Lasers were delivered using a mix of KVANT Atom 42, Atom 58, and Elite 120 projectors deployed across the main stage, runway, and B stage. Pangolin's BEYOND software was used to control zoning, content mapping, and show playback, allowing the laser design to scale from large aerial looks in stadium environments to more controlled zone based effects for close proximity performance areas.
BPM SFX at a Glance
BPM SFX is a live events special effects company specializing in lasers, pyrotechnics, flame effects, atmospherics, and CO2 for touring, broadcast, and large scale live productions. The company provides design, programming, and on site operation, working closely with artists, production teams, and other departments to integrate effects safely and reliably into complex show environments. Their work can be seen on recent tours worldwide including Sleep Token, Lewis Capaldi, LSR City, Will Smith, and OneRepublic.
Show Design and Creative Collaboration
From early rehearsals through touring, the laser team worked directly with Chris Brown’s team on fixture placement and zone layout. Adjustments were made to the original laser design to account for choreography, dancer positions, and Chris Brown’s movement throughout the stage and runway. These changes ensured that laser effects remained safe while still supporting the visual intent of the show.
During the process, an additional B stage laser moment was developed. This required creating new laser content and adapting existing cues so that adjoining laser zones could be generated from a single projector on the square B stage. Content was flipped and remapped in BEYOND to create consistent visuals across the B stage while maintaining proper zoning and safety controls.
Laser Integration with Lighting and Video
Lasers were programmed to work in close coordination with the lighting and video content used throughout the show. For several songs, the lighting rig was split into two color palettes. The lasers matched these colors and chased them across multiple zones in time with the music extending the lighting looks into the air above the stage.
For camera critical moments, particularly close-up shots of Chris on the runway, BPM SFX used TV mode in Pangolin BEYOND to align laser output with camera frame rates. This was especially useful when running two runway zones from a single laser and helped reduce visible flicker on camera.
Laser Technology Used
Pangolin BEYOND software was used as the main platform for programming and control throughout the tour. The Universe View feature allowed BPM SFX to create a dedicated page for bounce mirror zones with content mapped to each mirror position. Individual zones could be muted quickly if a mirror shifted.
The tour featured a variety of lasers depending on venue and application. BPM SFX used Elite 120 watt and 42 watt lasers for large stage fills and aerial effects, and Atom 58 units for high brightness in larger venues. Smaller fixtures were also used for runway zones and mirrored effects. This combination of lasers allowed the team to scale looks appropriately for different arena and stadium environments and to create complex, layered visual effects throughout the show.
Notable Moments on Tour
One of the standout laser moments on the tour involved a DMX controlled UFO effect using wireless DMX receivers. This effect was configured in BEYOND during the U.S. leg of the tour and later enhanced through an upgrade to a KVANT Atom 58 system, which increased brightness and visibility in larger venues.
Certain songs such as 'Transform Ya' and 'Yeah 3x' featured large scale zone chases that benefited from the size of stadium venues. In locations like MetLife Stadium in New York and SoFi Stadium in Los Angeles, the available height and width allowed for taller and wider laser zones. Using a combination of 120 watt and 42 watt systems, these cues filled the stage and airspace more fully, resulting in strong visual impact and distinctive imagery for both the live audience and photography.
Laser Technology Used
- Pangolin BEYOND Software
- Pangolin FB4
- KVANT Atom Lasers
- Unity Elite Lasers
