Between Advanced Laser Projection and his own company, Paul spent a short time at Portson, Inc. in Overland Park, Kansas, as Production Manager — producing dichromate hologram watch crystals for Fossil watches — before leaving to start Linden Laser Systems.
Paul continued and commercialized his work through Linden Laser Systems, based in Lampe, Missouri. The company described itself simply: “over 30 years of custom laser design, development, installation and show labor.”
What the company did
Under Linden Laser Systems, Paul offered custom laser projection systems, optics, holography, show control, and installations — the full range of what he had spent his career building. The work included:
- the ProFX and Taurus multi-plane laser video imagers, capable of full-color images up to thirty feet across with an exceptionally deep field of focus;
- the Stingray II, a self-contained YAG laser projector for aerial beams and fans, built to the ILDA standard so it could plug into a client’s own show-control computer; and
- lumia — abstract compositions of moving laser light, an art form Paul returned to throughout his life.
A worldwide client list
Paul’s own materials listed clients spanning corporate, entertainment, and international projects — among them IBM (U.S. and Korea), the Disney Channel, General Motors Design, Lucent Technologies, Major League Baseball, and the Kansai Electric Power Company of Osaka, Japan — with installations reaching as far as Wakayama.
Branson: a decade of live-theater shows
From 2003 to 2014, Paul worked in Branson, Missouri, providing laser service, installation, and programming for a roster of the town’s headline shows — among them Jim Stafford, Shoji Tabuchi, Jimmy Osmond, Yakov Smirnoff, and the Haygoods.
Out of that work came a broader idea about how a live show should run. Paul designed live-theater front-of-house (FOH) systems built so that a single operator could run sound, lighting, video, lasers, and pyrotechnics together — folding what normally took several booths of technicians into one integrated position.
He went on to serve as Production Manager and FOH technician for Jimmy Osmond’s American Jukebox Theater, and later at the Hamner Barber Theater, where he also designed and built several large-scale stage illusions for the theater’s productions.
It is the through-line of Paul’s whole story: the arcade technician who learned how entertainment behaves in the real world, grew into the show director who orchestrated it, and became the inventor who found a new way to project full-color video at enormous scale — and then spent decades doing it for clients around the world.