Meet Joshua Koffman

Lighting Designer and Programmer Joshua Koffman is a creator and problem-solver extraordinaire. His company Interrobang, Inc. provides services primarily in the entertainment industry, but also works in the architectural world, where he offers consulting on product design and development. Currently on tour with Coldplay, we caught up with Josh between shows to discuss his career stand-out projects and his advice for those getting started in live events. 

What sets you apart in the industry?  

Our approach and our knowledge sets us apart. Each job is different, so we tailor what we offer specifically to the situation. Sometimes that means a lighting or video design, sometimes a network layout, or sometimes that means redesigning a prop that wasn’t working properly. Once we start on a project we’re always looking for areas that can be improved and departments that can be assisted, even if they fall outside our original scope. Also, I’m known for always having snacks handy. People will sometimes visit my station when hungry as they know I can usually help with that.

What inspired you to pursue a career in live events?

In what other industry do you get to mix this level of creativity with some of the most advanced technology in the world? Live events have interested and inspired me since I was a child. Growing up I remember seeing live events and even recordings and thinking how amazing it must be to get to work on them.

Tell us the story of your journey to your current position

My journey doesn’t follow the usual path. I hold a BFA in Theatre, but my first job out of school was as an electronic engineer at a company that produced products for the lighting industry. I then worked in lighting software development. Both of these roles were a lot of fun, but I missed doing shows. When the opportunity came up to join the creation team on a new resident show for Cirque du Soleil, I jumped at the chance. When that opened, a good friend of mine asked me to take his spot on a Blue Man Group tour, and I’ve been working my way around the world ever since! 

I don’t think following the same path as I did is very likely, but it does illustrate there are a ton of ways to grow in our industry. It probably also helps that I was willing to take on new challenges and didn’t have a preset path in my mind. 

How did you first start working with Disguise?

I first heard about Disguise when Disguise founder Ash Nehru started talking to some colleagues of mine about a new product he was working on. I didn’t jump on board immediately, but looking back I wish I had!

How has Disguise supported you and your team?

Disguise has supported us in different ways depending on the project. From email tech support to advanced system planning and even direct connection with the product development team, we have worked closely together for several years. I love to know how the tools I use work, so being able to reach out to Disguise Support with questions and get detailed answers is hugely beneficial for me. 

What was a highlight project for you using Disguise?

Over the pandemic, we did an architectural installation in Macau called the Crystal Lobby at the Galaxy Hotel. The project had been fully specified before the world shut down, and suddenly we were facing the prospect of commissioning and programming from the other side of the world. And, of course, this wasn’t a standard video playback show, we were using the servers to push 1700 universes of DMX to over a quarter of a million LEDs. Luckily our team pivoted and worked out solutions that let us accomplish this task without being able to be on site. 

Another favourite was the Coldplay concert at the Al-Wasl Dome at the Dubai Expo. It was a very surreal setting for a show, and the projection on the dome was stunning. I think there is something really special about venues that are unique, and the 252 projectors on that dome were one of a kind!

Learn more about the Al Wasl Dome project

What have been some of your proudest moments working in the industry?

Live shows will always have a special place in my heart as I get to see reactions in a very immediate way. I’m proud any time we are involved in a project that evokes an emotional response in the audience. That might be someone blown away by a concert, or helping to support a dramatic moment in a play. If someone says “Hey that’s cool” when they see something we’ve touched, that’s very satisfying. 

At the end of a show, we sometimes have people come to thank us for helping to make their night a wonderful experience. It’s nice when people acknowledge the work that goes into these shows.  

What is the most important thing for you when working on a project?

On a technical level, reliability is key. The gear we choose needs to be reliable and has to perform when we need it. Artistically, I want to be able to create freely, so flexibility is very important. That includes flexibility in the gear, but also in the approaches we might take to creating whatever the event requires. 

What advice would you give to someone who is just starting out?

The number one rule is: Be Nice. Learning all about the gear and how to use it will be a huge asset, but if you aren’t nice to people they aren’t likely to want to have you around. Being good at your job is more than just tech knowledge, it’s about working together in situations that can be hard and hugely stressful. 

What does the future hold for you?

I feel very lucky to get to do the work that I do. I also love new experiences. Ten years ago I don’t think I would have expected to be where I am right now, and I wouldn’t be here if I hadn’t been open to new opportunities. In the future, I hope I get to continue to work on things that interest me. Exactly what that means will need to be figured out as they come up!

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