We spoke with Stefano Esposito, Head of Events & Special Projects at Clonwerk, about a cutting-edge technical solution developed to manage the graphic content of a major Italian television show—an ambitious and high-pressure production spanning roughly three months per year, with 9 episodes, over 400 individual graphics, and more than 800 renders managed in each cycle. At the heart of this solution TouchDesigner enabled the team to streamline workflows, enhance operational control, and raise the overall quality bar for both real-time and pre-rendered stage graphics.
Derivative: How did this project come about?
Alessio Pastorello: The idea originated with me, as I envisioned a platform capable of responding to the increasingly complex needs of modern broadcast scenography. Early on, Stefano Esposito, our Head of Events & Special Projects, recognized the value of this vision and chose to support it fully by coordinating its development and integrating it within our production workflow. The result is a technically advanced, flexible, and reliable system. The platform’s architecture and feature set have redefined how live show graphics are handled, quickly becoming a benchmark in the industry.
Derivative: Can you describe the team structure supporting the project?
Alessio Pastorello: Our operational team comprises four specialized roles:
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A Data Manager, responsible for asset consistency and flow.
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A Senior Operator dedicated to artistic rehearsals, ensuring quick execution and real-time creative problem-solving.
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Two Graphics Operators tasked with assembling multilayer content, updating graphics, and managing the render queue.
Graphics arrive in two main formats: a layered composite for the front LED panels and a separate layout for the LED floor. These elements are distributed across seven distinct LED surfaces, with real-time adjustments made for composition, color grading, and lighting alignment, based on live input from the artistic director. Once a scene achieves the desired look, it is saved and added to the render queue, while the team proceeds to the next one.
Derivative: How is the technical architecture designed, specifically in relation to TouchDesigner?
Alessio Pastorello: The system is built entirely on TouchDesigner, designed to centralize and protect the project's intellectual property. Portions of the environment remain intentionally inaccessible, ensuring operational integrity even when working with external collaborators. All workstations are connected to a shared central storage system. The main workstation houses the full scene database, while secondary machines access content as needed, supporting synchronized, non-redundant workflows without bottlenecks.
Derivative: What key features and innovations does the system offer?
Alessio Pastorello: We have several key features that enhance our workflow:
Previsualization and Setup
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Real-time 3D previews of cameras, LED panels, lifts, and scenic elements.
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Automated generation of optimal virtual perspectives from a central viewpoint.
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Ability to rehearse and fine-tune scenes offline, without physical studio access.
Graphic Production Tools
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Integrated color grading with a customizable, pro-grade controller.
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Advanced mask management with standalone saving and editing functions.
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Dynamic render queue with configurable output options (still, loop, timecode).
Version Control and Security
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Built-in "Time Machine" functionality for quick project rollbacks.
Efficiency and Expandability
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Centralized tasks enabling exceptional speed and responsiveness.
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Real-time synchronization across all workstations.
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Direct timecode input for accurate rehearsal alignment.
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Modular and easily expandable system architecture—no invasive changes required.
Derivative: What was your approach to designing the real-time 3D previsualization environment in TouchDesigner?
Alessio Pastorello: The 3D studio layout was initially built from CAD files provided by the set designer then exported as FBX. All LED screens were instead created directly in TouchDesigner, using GridSOPs. Thus, UV mapping was kept fully dynamic to allow modifications based on the studio’s pixel maps. Two separate control systems were developed: one for the mobile LED screens, enabling the loading, saving, and editing of movement presets for previsualization purposes, and one for the virtual camera, allowing quick inspection of graphics from multiple viewpoints.
Derivative: Can you elaborate on how you customized TouchDesigner’s UI or control interfaces to accommodate your team’s workflow?
Alessio Pastorello: In this project, we essentially used TouchDesigner as a real-time graphics compositing tool, assembling graphic scenes directly within the TV studio and streaming all necessary signals to the media server. This process is carried out during rehearsal sessions, allowing the final content to be rendered and exported as video clips ready for showtime.
The need for a dedicated system arose from the production’s high demand for graphical scenes. To keep up with the volume, we built a workflow that allows for on-site compositing and rapid rendering across multiple machines. TouchDesigner’s flexibility was key to developing this system.
The project is modular. We work with the network editor open (not in perform mode) to take full advantage of TouchDesigner’s toolset during studio operations.
For tasks that TouchDesigner couldn't perform fast enough in terms of real-time editing, we implemented a custom interface equipped with automation macros and MIDI controller support—entirely focused on optimizing execution speed.
The project is split into two main areas: a fixed section with tools and the 3D previsualization environment, and a dynamic workspace where individual scenes can be loaded or saved on demand. Scene data is versioned and archived, enabling recovery of earlier versions when needed. Once finalized, scenes can be added to a render queue for automated processing.
We’re managing a volume of several hundred compositions.
The system is deployed across multiple workstations. From each station, users can check whether a scene has been updated, is being worked on, transfer data between machines, and trigger rendering.
Derivative: How did you handle dynamic rendering queues within TouchDesigner? Was this done entirely with native tools or custom scripts?
Alessio Pastorello: The entire rendering system is realized directly in TouchDesigner, enhanced with Python scripting where necessary. Our custom interface dynamically builds control tables that drive a timed rendering queue. At the end of the pipeline, we use a Movie File Out TOP to export all videos in the required formats. As an additional feature, we developed a utility for automatically generating seamless video loops.
Derivative: What role did TouchDesigner’s integration capabilities (like timecode, external devices, or data inputs) play in syncing with lighting and stage automation?
Alessio Pastorello: We integrated external timecode control to drive our timeline, enabling synchronization with lighting and stage automation when required.
Derivative: Were there specific TouchDesigner operators or techniques that were essential to this project?
Alessio Pastorello: The system was designed to be as streamlined and user-friendly as possible for operators in the studio. During scene creation, we relied primarily on the TOP family for image processing and real-time compositing.
Derivative: How has TouchDesigner made a difference in your production process?
Alessio Pastorello: TouchDesigner has enabled us to consolidate previously fragmented processes into a single, cohesive operational environment. Tasks that once required separate tools—such as perspective corrections, real-time color grading, and batch rendering—can now be performed within one unified platform, dramatically accelerating production while maintaining top-tier quality.
Derivative: Finally, can you share your thoughts on the impact of this project and any future developments?
Alessio Pastorello: Thanks to a clear vision, strategic coordination, and technical excellence, Clonwerk’s TouchDesigner-based solution has set a new standard in live broadcast graphics management. It is a professional-grade, innovative system that exemplifies the potential of integrated real-time tools to reshape what is possible in modern televised scenography. We've already sparked many ideas for applying TouchDesigner to other areas of television production, and we look forward to expanding features for future iterations of this system.