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oldneon
sam roots
light designer & vj
@thegroundmiami • @objectsdontdance • @floydmiami • @clubspace
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
Rarely has anyone ever captured a moment where @sister.system and I are super locked in making @objectsdontdance look perfect for you guys. Thank you @photosbybrendabrooks for capturing these vignettes of the ODD 📦
Many thanks to @iiipoints, @davidsinopoli @true.vine, @archangel, @jonnyfromspace, and everyone else on the team for making all of III Points something special.
February 15, 2026 - My Friend Misty (@friendsofmisty) at @museumofsex
My friends keep telling me to post and document more so here we go:
Doing lights in the Museum of Sex is surprisingly as easy as it is fun. They have a giant chandelier made out of RGB bulbs in the center of the room, which you can call the definition of eye candy. There is also a lot of conventional fixtures spread around the room for sight lighting and some fixtures for the stage, but those are going to get lost in the mix when you have (to put bluntly) a giant fucking chandelier in the middle of the damn room.
Programming the chandelier is a little unconventional. Their in-house lighting designer made a patch in his friend’s software called Lightjams LED Mapper where you can place videos and animations on both a top view and a front view of the chandelier. So I had the idea to use Resolume Arena to make animated patterns (stuff like spirals, lines going across the screen, random particles, etc) and then send those videos to LED Mapper via Spout, an open source software that allows you to send videos from one software to another with minimal latency. You can see it in action in slide 3.
Now with all that, I could just automate some videos and call it a day, but what would be the fun in that? To make it more fun for both myself and the audience, I mapped an APC 40 to effectively be an instrument for live manipulation. Buttons to trigger new videos. Knobs to affect the video effects. Faders to tune the master brightness of each clip. On slide 2, you can see me use the APC 40 in real time (thank you @sarapanelo for the clip). If you look closely on the bottom right of screen, you can see how the clip is being manipulated before being sent to LED Mapper.
That’s really all there is to it. If you made it all the way to the bottom of this, feel free to like and comment with any questions you have regarding lights, visuals, my cats, etc.
-sam roots
February 15, 2026 - My Friend Misty (@friendsofmisty) at @museumofsex
My friends keep telling me to post and document more so here we go:
Doing lights in the Museum of Sex is surprisingly as easy as it is fun. They have a giant chandelier made out of RGB bulbs in the center of the room, which you can call the definition of eye candy. There is also a lot of conventional fixtures spread around the room for sight lighting and some fixtures for the stage, but those are going to get lost in the mix when you have (to put bluntly) a giant fucking chandelier in the middle of the damn room.
Programming the chandelier is a little unconventional. Their in-house lighting designer made a patch in his friend’s software called Lightjams LED Mapper where you can place videos and animations on both a top view and a front view of the chandelier. So I had the idea to use Resolume Arena to make animated patterns (stuff like spirals, lines going across the screen, random particles, etc) and then send those videos to LED Mapper via Spout, an open source software that allows you to send videos from one software to another with minimal latency. You can see it in action in slide 3.
Now with all that, I could just automate some videos and call it a day, but what would be the fun in that? To make it more fun for both myself and the audience, I mapped an APC 40 to effectively be an instrument for live manipulation. Buttons to trigger new videos. Knobs to affect the video effects. Faders to tune the master brightness of each clip. On slide 2, you can see me use the APC 40 in real time (thank you @sarapanelo for the clip). If you look closely on the bottom right of screen, you can see how the clip is being manipulated before being sent to LED Mapper.
That’s really all there is to it. If you made it all the way to the bottom of this, feel free to like and comment with any questions you have regarding lights, visuals, my cats, etc.
-sam roots
February 15, 2026 - My Friend Misty (@friendsofmisty) at @museumofsex
My friends keep telling me to post and document more so here we go:
Doing lights in the Museum of Sex is surprisingly as easy as it is fun. They have a giant chandelier made out of RGB bulbs in the center of the room, which you can call the definition of eye candy. There is also a lot of conventional fixtures spread around the room for sight lighting and some fixtures for the stage, but those are going to get lost in the mix when you have (to put bluntly) a giant fucking chandelier in the middle of the damn room.
Programming the chandelier is a little unconventional. Their in-house lighting designer made a patch in his friend’s software called Lightjams LED Mapper where you can place videos and animations on both a top view and a front view of the chandelier. So I had the idea to use Resolume Arena to make animated patterns (stuff like spirals, lines going across the screen, random particles, etc) and then send those videos to LED Mapper via Spout, an open source software that allows you to send videos from one software to another with minimal latency. You can see it in action in slide 3.
Now with all that, I could just automate some videos and call it a day, but what would be the fun in that? To make it more fun for both myself and the audience, I mapped an APC 40 to effectively be an instrument for live manipulation. Buttons to trigger new videos. Knobs to affect the video effects. Faders to tune the master brightness of each clip. On slide 2, you can see me use the APC 40 in real time (thank you @sarapanelo for the clip). If you look closely on the bottom right of screen, you can see how the clip is being manipulated before being sent to LED Mapper.
That’s really all there is to it. If you made it all the way to the bottom of this, feel free to like and comment with any questions you have regarding lights, visuals, my cats, etc.
-sam roots
February 15, 2026 - My Friend Misty (@friendsofmisty) at @museumofsex
My friends keep telling me to post and document more so here we go:
Doing lights in the Museum of Sex is surprisingly as easy as it is fun. They have a giant chandelier made out of RGB bulbs in the center of the room, which you can call the definition of eye candy. There is also a lot of conventional fixtures spread around the room for sight lighting and some fixtures for the stage, but those are going to get lost in the mix when you have (to put bluntly) a giant fucking chandelier in the middle of the damn room.
Programming the chandelier is a little unconventional. Their in-house lighting designer made a patch in his friend’s software called Lightjams LED Mapper where you can place videos and animations on both a top view and a front view of the chandelier. So I had the idea to use Resolume Arena to make animated patterns (stuff like spirals, lines going across the screen, random particles, etc) and then send those videos to LED Mapper via Spout, an open source software that allows you to send videos from one software to another with minimal latency. You can see it in action in slide 3.
Now with all that, I could just automate some videos and call it a day, but what would be the fun in that? To make it more fun for both myself and the audience, I mapped an APC 40 to effectively be an instrument for live manipulation. Buttons to trigger new videos. Knobs to affect the video effects. Faders to tune the master brightness of each clip. On slide 2, you can see me use the APC 40 in real time (thank you @sarapanelo for the clip). If you look closely on the bottom right of screen, you can see how the clip is being manipulated before being sent to LED Mapper.
That’s really all there is to it. If you made it all the way to the bottom of this, feel free to like and comment with any questions you have regarding lights, visuals, my cats, etc.
-sam roots
We added a camera or four to the visuals in The Ground. Stay tuned for more.
We added a camera or four to the visuals in The Ground. Stay tuned for more.
We added a camera or four to the visuals in The Ground. Stay tuned for more.
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
March 13, 2026 - @objectsdontdance
Trying to catch up and post some documentation and I can’t believe this is already a month ago. Thank you so much everyone who came out to our first ODD of the year. This design was one of @sister.system and I’s favorite executions so I’m happy about all of the great feedback we got. More to come to stay tuned!
-sam roots
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
April 2022 - Present • @objectsdontdance
Where do I begin with ODD? Describing how I approach this show would be like asking a parent how they raised their favorite children.
At its heart, Objects Don’t Dance is the brainchild of @sister.system @true.vine @jonnyfromspace and myself. We all play our roles. In terms of the lights, it’s a 50/50 collab between myself and @sister.system (who I am going to call Alexis from now on for brevity’s sake).
Our approach for the ODD lighting is akin to the relationship between the architect and the engineer. When we meet up to build the lights, Alexis will draw out a design like in slide 4 and give it to me for my thoughts. I’ll usually augment it to fit the programming I already have plus whatever new programming I think of. Then, we build.
Well, I say we build, but it’s usually Alexis who does most of the building. She has a really good eye for balance and it allows me to get some programming work done. I’ll usually help the build by being an extra set of eyes, holding lights up in the air, and making game time decisions on changing the design to fit the room. Often, the design we come up with changes a lot by the end of the build.
The first thing I always program is the color palette. I’ll usually make 5 colors based off of the flyer, designed by @true.vine. I assign these 5 colors to the presets that contain all of the effects I already have programmed. This saves a lot of work and it’s a core element of good programming.
Then, I make new patterns, which we call “chases” in the lighting world. I already have over 50 chases programmed on the master ODD project, but each design I try to make at least 15 more chases that are specific to the design. What’s nice about that is those new chases sometimes look really good on other designs so if I am in a time crunch, I’ll use some old chases on the new design.
Lastly, I’ll make what I like to call “mute groups.” Basically, I have buttons that will black out certain areas of the design in order to emphasize different aspects of the 3D sculpture we made.
If you want to see this in action, our next ODD is this Friday. Flyer is on the last slide 😼
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
Works in Progress • Check out the last slide to see the real man behind the magic
music by @pablo.arrangoiz
OUT NOW!!! …. on Flamingo Park we’ve got @ctrl.opt with the “Power” EP … 4 banging tracks for the dancefloor. Here’s “Turn It Up” …. Grab the full EP on our bandcamp.
📹: @oldneon
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
33 years around the sun. Though my year has been defined by a crazy knee injury, I took the opportunity to get my health back in order and learn some new techniques to improve my light work. Sharing some of my favorite shows I’ve done all year (i specifically challenged myself to NOT post any @objectsdontdance set ups 🙈). Thank you all for your continued support 🫶
Story Save - Best free tool for saving Stories, Reels, Photos, Videos, Highlights, IGTV to your phone.
Story-save.com is an intuitive online tool that enables users to download and save a variety of content, including stories, photos, videos, and IGTV materials, directly from Instagram. With Story-Save, you can not only easily download diverse content from Instagram but also view it at your convenience, even without internet access. This tool is perfect for those moments when you come across something interesting on Instagram and want to save it for later viewing. Use Story-Save to ensure you don't miss the chance to take your favorite Instagram moments with you!
Our advantages:
No Need to Register
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Frequently Asked Questions
- 1. Go to the Instagram Story Downloader tool.
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