082 VENUE
affordable fixture, typically, and the output is appropriate. “The other thing we’re looking for is that we want to get as many features as possible. This fixture offers colour mixing, it offers zoom, it offers an iris, multiple rotating effects – from gobo wheels to effects wheels – and it’s also got wireless built into it. So there were a lot of great features that suited us for this particular project. Then you get into price point, and this fixture can hit our numbers. No matter how big a project is, even on a 50 or 60 million dollar nightclub such as this, there’s still a budget.” FDA married the information from SJ Lighting with that from FMS to design an integrated control package, which streamlines the dynamic and ambient lighting. Control comes from 336 ETC Sensor + dimmers, 120 ETC Smart-Switch relays, eight ETC Pradigm architectural control processors, ETC Net3 DMX gateways and Doug Fleenor Design DMX splitters. The MA Lighting grandMA2 lighting desk in the Main Room is connected to the system via ACN. Steve Lieberman explained the value that he puts on investing in the control desk. For him, there was only once choice: “For me, the grandMA offers the most tools possible and the most versatility. I love the console. I’ve been using it for a very long time and I’m very well versed in it. Keep in mind, with any nightclub, when problems pop up in the middle of the night or whenever they may happen, you’re going to get a phone call at two, three o’clock in the morning. You need to have the information and the background on whatever control system is in there to get the guys through it.” The 25ft by 32ft SenovvA-designed LED wall is constructed with 84 panels of GLIC 16mm Indoor Mesh 2.5, which creates a pixel map of 448 x 576 pixels. Power supply racks are integrated into the
www.mondodr.com
panels. The wall is split into nine segments; three 128 x 192 pixel segments on either side flank the three larger 192 x 192 centre strip segments. SenovvA has designed the centre segment with a drawbridge mechanism, which when folded down becomes a performance area for dancers. SenovvA’s Simon Anaya revealed how working on a fixed installation project heightened the creative potential: “There was a design concept and we were in charge of taking this pretty architectural drawing and making a functional video system out of it, and, really, a one of a kind video system. It really is something else. “Quite often we do concerts and things that are temporary. Being able to do something like this, where it’s a permanent install, it really allowed us to push some boundaries that hadn’t been pushed. Even doing things like double-layered video, and looking at new ways of approaching a nightclub experience. Right now Marquee is pretty much the number one club in Las Vegas and for good reason.” Various projection areas around the dancefloor further the visual spectacle. One Barco FLM R22+ projector located centrally at the back of the dancefloor fires directly onto the stage. Show Motion- designed retractable scrims can be brought down in front of left and right side segments of the LED wall, which creates two layers of visuals. The partial transparency of the scrims means that the effect of the LED wall can be worked with the Barco FLM R22+ projection to create a unique visual experience. The aforementioned architectural drapes - three on either side of the dancefloor - are brought to life by Barco SLM 12+ projectors positioned on either side of the stage front. Two Apple Mac Pro Towers work with a Green Hippo Hippotizer HD
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148