Professional Lighting & Production - Summer 2017 - Page 25

“When you’re looking at a still picture, [the spokes] show up very well, but honestly, the biggest and best element is the bulkheads and the 4-mm LED panels on the rings – it’s so high res,” Papas notes about the visuals. The under-balcony bulkhead is lined with 1.5-m long SPI RGB LED lighting tracks, again controlled by Madrix. “They are curved on two separate axes, 980 of them placed about an inch apart and, in all, 240 feet long,” Papas explains. While hardly a technical term, the best way to de- scribe the shape of these elements is “wavy” – conform- ing to the footprint of the balcony itself and floating in a way that surrounds the main dance floor. On top of the bulkheads, there are also 16 ADJ Vizi Beam RXONE compact moving heads deployed. On the stage, there is a 72-ft. wide video wall com- prised of 40 sq. m of 10-mm LED panels and 40 sq. m of 6-mm LED panels fed by a Christie Spyder X20 video processor/switcher. Some of the content displayed on the venue’s video walls is generated from stock library elements within the proprietary programs associated with the gear, but most of the video content the club uses is either custom cre- ated internally at INK or by Montreal-based production company Black Mohawk. The stage lighting package includes various Elation fixtures: 16 Platinum HFX hybrid beam, spot, and wash fixtures; 22 ZW19 LED moving washes; and eight Plati- num Beam 5R Extremes. “A lot of bands are touring with their own stuff and will take those down and use their own gear,” Papas puts in about when touring productions take over the venue, “but I’d say that most bands are actually using what’s in house.” Control of the system is handled via DMX through one MA Lighting grandMA console, which triggers the Madrix sub controllers and the aforementioned Christie Spyder X20. About the Spyder X20, Papas says: “It’s a very sophisticated processor that shapes the video images so it can scale and crop, switch, and do anything you can possibly think of with eight ins and eight outs.” Finally, the venue required a large amount of accent lighting, much of which is achieved using several thousand feet of Rosco LED tape for banquettes, bars, and the edges of bar shelving. According to INK’s website, multi- media production for the venue was led by Adam Hummel, who boasts a pretty impressive resume when it come to art direction and motion design. Among the major projects in which he’s had a hand are Beyoncé’s Formation world tour, Imagine Dragons’ 2015 world tour, and Madonna’s 2012 world tour. Beyond that, the elaborate spectacles at REBEL incorporate: the work of chore- ographer Nico Archambault, 2008 winner of So You Think You Can Dance Canada and once a dancer for Janet Jackson, costume design by Black Mohawk CEO Jessica Roy, and creative direction by Black Mohawk director Jack Kalachian. As for the custom technical element of the club’s systems, Papas says: “Nothing was off the shelf – everything was custom built, all the way down to the power supply and the PC boards that hold the LED strips and the extruded aluminum the bulkheads are mounted on.” Together, they all come together to provide a stunning look – even when the system is off. “We worked closely with the owner and the interior designer to make sure that what we were putting in worked for everybody’s plans and wishes,” Papas adds in summary. “It was definitely a group effort, and resulted in something you won’t see anywhere else.” In short, this is not your average lighting and video system, not your average nightclub, and not your average nightlife experience. In every respect, REBEL raises the bar. Kevin Young is a Toronto-based musician and freelance writer. PROFESSIONAL LIGHTING & PRODUCTION • 25