What it actually decides.
A gobo sits at the focal point inside a profile fixture, where the beam is a tiny, sharp image. Whatever the template blocks, the fixture projects. It is how a flat ballroom wall acquires texture, how a dance floor gets a pattern and how a logo lands on a surface without a screen.
The material is the first decision. Steel gobos are cut from metal: durable, heat-tolerant and cheap, but any shape with an enclosed island — the middle of an O, the counter of an A — needs bridging tabs to hold it in place, and those tabs show in the projection. Glass gobos are etched or coated and carry fine detail and full colour with no bridges, at the cost of fragility and heat tolerance.
The size designation is where logo orders go wrong. A gobo size letter specifies the outside diameter — whether the disc physically fits the holder in that particular fixture — and a separate, smaller figure gives the maximum image diameter, the area the artwork can actually occupy. The two are routinely confused, and a gobo two millimetres oversize is one that does not go in. Moving heads mostly use their own diameters and do not follow the letter system at all.
Artwork has to be vector. A raster logo scaled up to a gate becomes a soft, stepped projection the size of a wall.
We own this equipment.
Event lighting — owned inventory, our own crew, and a site survey before anything is specified.