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Photo & Text by Steve Jennings ST Lil’ Wayne Venue Various (Tour) Crew Lighting Designer/Media Designer: Daniel K. Boland Set Designer: Justin Collie Lighting Director/Video Programmer: Matt Shimamoto Lighting Programmer: Benny Kirkham Lighting Crew Chief: Kevin Cassidy Lighting Techs: Storm Sollars, Armando Figueroa, Desirae Brownlee, Jason Taylor Video Director: Ben Johnson Tour Manager: Tina Farris Production Manager: Curtis Battles Production Assistant: Debra Putnam Stage Manager: Gary McLean Show Stage Manager: Tony Moore Staging: All Access Staging & Production Video Company: Upstream Multimedia Pyro Company: Pyrotek Special Effects Strictly FX/Mark Grega Rigging: SGPS Gear 2 grandMA 1 consoles 3 grandMA NSPs 2 Barco High End Systems Catalyst media servers 23 Vari*Lite VL3000 Spot fixtures 9 Vari*Lite VL3500 Spot fixtures 22 Vari*Lite VL3500 Wash fixtures 15 Martin MAC 2000 Wash XBs w/ beam lens 7 Martin MAC 2000 Wash fixtures 12 Elation Impressions 9 Martin Stagebar 54s 48 Coemar ParLite Silvers 25 Philips Color Kinetics ColorBlaze 72s 37 Martin Atomic 3000 Strobes with Atomic Color Changers 2 Lycian M2 Followspot 10 8-Light Mole PAR 36 10 Doug Fleenor Design 5-way optos 2 Reel EFX DF-50 Diffusion hazers 2 Martin AF-1 fans For more tour photos, go to plsn.com/current-issue Lighting Co Epic Production Technologies Queens of the Stone Age ST Venue Various (Tour) Crew Lighting Designer/Director/Programmer: Scott Holthaus Lighting Tech: Graham Jelly Tour Manager: Dennis Sharp Production Manager: Bill Rahmy Gear 1 Avolites Pearl console 5 Nar Nars pipe base crosses w/4 PAR 64 NSP each) 15 PAR 64 floor fixtures 60 LED Christmas festoon lights 2 Reel EFX DF-50 Diffusion hazers Lighting Co Neg Earth/Delicate Productions Photo & Text by Steve Jennings 2011 JUNE PLSN 19
INSTALLATIONS P R O J E C T I O N L I G H T S & S TA G I N G N E W S 4Wall Hits the Beach Nine DMX Universes for Club Nikki at the Tropicana in Las Vegas all photos by hew burney By Kevin M.Mitchell The Nikki Beach organization wanted to bring the best of their South Beach, Marbella, and St. Tropez-inspired designs to the dual attractions at the newly-renovated Tropicana Las Vegas. They include Nikki Beach Club, occupying four acres of the resort’s pool area, and Club Nikki, a 15,000 square foot nightclub. For Club Nikki, Tropicana and Nikki Beach execs set out to create what they hoped would become “the sexiest dance floor on the Vegas Strip.” 4Wall was originally contracted to handle the dimming and control integration. As the project progressed, 4Wall’s role expanded — they would be designing the lighting for the dance floor as well. John Fernandez, 4Wall Systems project manager, has been with the company since it first opened its doors in 1999. 4Wall has worked on quite a few clubs in Las Vegas including the Chateau, the Marquee, “and quite a few others who have since changed names,” Fernandez laughs, noting the fluid nature of the business. Victor Sutter, GM of the club, provided 4Wall with drawings of the dance floor area, and the only instructions were to reinforce with the “South Beach” feel that is the organization’s theme. The owners were much happier with what 4Wall came up with — much more so than the original company, and awarded them the gig. Shaun Ballew was the programmer. “The hardest part was getting all these parts to talk to each other,” Fernandez says. “We ended up using nine universes of DMX to make it work. When you’re working with multiple fixtures that are all DMX, there are small differences between the varieties of brands of product. We were able to work through it, though.” Work on the project got heavy beginning in March with a grand opening on Memorial Day weekend looming. The soft opening was just a week before, and Fernandez, who has been spending pretty much every night at the club, says it was going well. Lots of Toys plsn The oval-shaped dance floor occupies a good-sized area, about 30 by 50 feet, and, being Vegas, it needed a lot toys to coverage. Most striking is the center, where the team hung three 3D LED chandeliers that came from China-based Seekway Technology Ltd. “These are basically four-foot by five-foot cubes,” Fernandez says, noting the immersive, 3D visual effect of the technology, which is only about three years old. Dance floor-focused B-roll content flies across the cubes, adding to the energy level of the club. “They do letters, shapes — basically any 3D effect you can think of. For example, they put a 3D globe on the center one that looks like a mirror ball as two other cubes show waves or fireworks.” Along with the cubes, 4Wall provided 24 Martin MAC 101s, six MAC 350 Entours, four Atomic 3000 Strobes and 20 Elation Opti Tri Par 30s. “These units are popular for a reason,” Fernandez says, of the MAC 101s, crediting their compact size and high output. The Elation Opti Tri Par 30s, meanwhile, were chosen for their color changing abilities, and a pair of JEM K1 hazers were thrown in for good measure. 4Wall also provided the system that controls gear provided by other vendors, including more than 250 feet of DMX-controlled, color-changing Lumenpulse LEDs, more than 50 DMX-controlled white LED downlight fixtures from GVA Lighting, and more than 20 colorchanging, DMX-controlled LED fixtures from Renaissance Lighting. Expanding Universes plsn The integration was the challenge. “Because everything in the venue, down to smallest architectural lights, were DMX controlled LED fixtures, we had to put an Ethernet system in to handle it all.” They opted for an HP TouchSmart All In One PC with Maxxyz PC software to keep it all under control. “We wanted to go with a PC-based system, and we already had so many Martin products, we went with theirs. It’s nice to stick with one vendor.” DMX-wise, it was an evolving process. “It started out as a small system comprised of only a couple DMX universes, but grew more complex every week as we worked out new lighting designs, fixtures and methods of control with ownership throughout the build of the project,” Fernandez says. “Although it was challenging, we kept up with the everchanging whims and demands of, not only lighting design, but also integrating new system control methods and coordinating with the multiple electrical contractors to ensure the infrastructure made it into place where needed — all of this on the fly.” He adds that the various DMX products were hand-picked based on their specific features and niches that they fill. The control gear includes two DMX merger boxes from Doug Fleenor Design, one Martin EtherDMX8 box, one Pathport Octo box and one Pathport eDIN 16-way Demultiplexer. For dimming and architectural lighting control there are, from ETC, three Paradigm processors, two ETC Sensor+ SR24 dimmer racks, two Sensor+ SR12 dimmer racks, two ETC Smartpack dimmer packs and four Paradigm LCD touchsceens. “Pathport makes high quality, reliable devices and, as with ETC and Doug Fleenor, the factory support for their products is top-notch,” Fernandez says. “It’s always good to have that kind of insurance policy for system-critical components.” He also credits the Pathport Octo as a “very flexible device” when it comes to managing various Ethernet based DMX protocols. “It can easily be configured from the front panel to make any last-minute changes that happen during these installations. Its role in this system is routing the sACN and hard line DMX portion of the ETC architectural control equipment.” Fernandez adds that the Doug Fleenor merger boxes are managing two of the DMX universes that are in use at this venue. Universes 1 and 2 on the A side of the merger boxes are inputs from a Lumenpulse Lumentouch controller. This was provided and programmed by Trizart Alliance out of Canada, which has a Las Vegas office, as a secondary user interface for all of the DMX-controlled, LED architectural lighting throughout the venue. “On Universes 1 and 2 of the B side of the mergers are outputs from the Maxxyz PC that allow the console operator to grab full control over the entire venue by a simple button-push” at the ETC Paradigm station,” he adds. 20 PLSN JUNE 2011
Page 2: Road Test: Clay Paky Sharpy, page 3
Page 6 and 7: ADVERTORIAL P R O J E C T I O N L I
Page 9 and 10: NEWS P R O J E C T I O N L I G H T
Page 11 and 12: NEWS P R O J E C T I O N L I G H T
Page 13: INTERNATIONAL NEWS P R O J E C T I
Page 16 and 17: Screenworks & Daktronics… Leading
Page 18 and 19: P R O J E C T I O N L I G H T S & S
Page 20 and 21: P R O J E C T I O N L I G H T S & S
Page 24 and 25: The number of DMX universes grew as
Page 26 and 27: In all, there were 101 LED fixtures
Page 28 and 29: Jim Fackert Parnelli Visionary Awar
Page 31 and 32: INSTALLATIONS P R O J E C T I O N L
Page 33 and 34: PRODUCTION PROFILE Pacquiao vs. Mos
Page 35 and 36: COMPANY 411 P R O J E C T I O N L I
Page 37 and 38: BUYERS GUIDE Company Model Lamp Sou
Page 39 and 40: ROAD TEST P R O J E C T I O N L I G
Page 41 and 42: NEWS Student Center at Clarkson Uni
Page 43 and 44: NEWS Tsinghua University Marks 100
Page 45: VIDEO WORLD P R O J E C T I O N L I
Page 49 and 50: ROUNDTABLE INTERVIEW P R O J E C T
Page 51 and 52: FEEDING THE MACHINES P R O J E C T
Page 53 and 54: To Advertise in Marketplace, Contac
Page 55: LD-AT-LARGE P R O J E C T I O N L I

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