When 50 Cent set a six-date residency at Planet Hollywood’s PH Live auditorium in Las Vegas during the festive season – including a memorable New Year’s Eve show that ended at midnight – he set out to create a retro party atmosphere under the banner of In Da Club featuring his many hits.
Assisting him was a top creative team that included experienced lighting designer Nate Files. With a project portfolio that is impressively versatile, he jumped to the call when contacted by production designer Kley Tarcitano. Although he would be working with the artist (and GLP’s new JDC2 IP hybrid strobe) for the first time, he was familiar with the venue, having helped produce several shows there with DX7 Design, including Miranda Lambert.
However, he was aware that he would not only need to work within an ageing existing house lighting rig but also Shania Twain’s own lighting set-up, since she was also playing the venue around the same time. “In the event, we ended up using almost 20 different fixture types, so it was a little crazy trying to get all these things to match,” he explained.
Files knew the key was to supply a vibrant floor package, and so he instinctively turned to the supercharged JDC2 IP hybrid strobe, which he had witnessed at both LDI and GLP’s 30th birthday party in Germany last summer. He realised its supreme brightness, versatility and built-in DigiFX engine would give him everything he required.
JDC2’s new integrated beam line is equipped with 84 × 10W high-performance LEDs, while the steep flash ramps ensure intense strobing. With 12 individually controllable segments, the beam line offers extended intensity flash effects that would offer the LA-based production designer more than 100 static and dynamic strobe patterns.
The JDC2 IP helped merge with the other elements into a dynamic, theatrical masterpiece. “We had an overhead package which was similar to Shania’s, but it was mainly about the floor package and making it work on his [50 Cent’s] show,” continued Files. “It helped create a dreamier kind of theatre vibe – more than just a club, although it had that risqué type of club appeal, especially with the dancers.
The set also had to accommodate a large videowall within the venue, explains Files: “We also used Shania’s video portal downstage of the proscenium, but this left big holes in the wings.” This is where the JDC2 came in. Files’s team filled the blank spaces and extended in front of the proscenium: “With so much video in that room, I knew the JDC2 would cut through that. Shania’s rig also had JDC1s so I could directly compare the two JDCs – it was helpful for that.”
The difference was clear: “The JDC2 was an extremely bright, but very clean light, and having them all in a straight line it was really nice to be able to create a lot of linear effects, by using them all in one giant motion.” From the riser in the centre to the outside in front of the proscenium, they really punched their weight. “In fact,” says Files, “whenever I was discussing the rig with creative director Anthony Kin, he would always mention [JDC2] as being his favourite light, and that we needed to ensure we used it in the future.”
In summary, the lighting designer said: “The JDC2s definitely lived up to expectations. They have so many features – like adding in video – although we used the built-in video effects on this occasion.” Their primary function had been as “a really strong bright strobe,” he confirms. “Because rap is all about the beats and the snares, it’s really easy when you have so many pixels available to add in little accents.”
Nate Files programmed the rig himself, using GLP’s Mode 3, and directed the show on a grandMA3. Finally, he paid full credit to lighting vendor Fuse, which he described as “amazing”, along with the support from master electrician Bob Fry. “He is a legend in that room,” Nate exclaimed. “It was really good to have someone who knows the venue like the back of his hand.”
