THEMEDENTERTAINMENT Lighting Sound America

THEMED ENTERTAINMENT Copyright Lighting&Sound America November 2011 http://www.lightingandsoundamerica.com/LSA.html

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he Galaxy Casino required awow feature—some kind ofunique attraction—to make itstand out in the crowded, Las

Vegas-like market now found inMacau. (The Galaxy is located inCotai, near other large-scalecasino/hotels, such as The Venetianand the City of Dreams; all are biggerthan anything you’ll find on the VegasStrip.) To create somethingmemorable, the resort’s managementhired Jeremy Railton, president andprincipal designer at EntertainmentDesign Corp., of Venice, California,and the creator of the DancingCranes at Sentosa Resorts World inSingapore (covered in LSA’s April2011 issue).

Railton’s first idea for the GalaxyMacau was an interactive bambooorgan. Francis Lui, deputy chairmanof the Galaxy Entertainment Group,then weighed in with an idea of hisown. “He said, ‘We want to make adiamond suddenly appear,’” saysRailton. A tall order perhaps, but, forthe designer and his team, thisseemingly outrageous request wasn’ta problem. “I've been involved withillusionists, and one of my partners,Richard [Wechsler], has a companycalled Astonishment Technologies; wehave connections with the bestillusionists in the world,” Railton says.

Working along with Railton weremany of the core people who collabo-rated with him on the Sentosa

project, which was winding down asthe Galaxy attraction was beginning.“The key people on board were JohnRust, our show director/mediaproducer; our senior project manager,Chris Holmsley; and our seniortechnical director Bob Chambers,”explains Edward S. Marks, theproject’s producer and director. Marksand Chambers are currently co-owners of newly formed TheProducers Group, located inGlendale, California.

Diamonds are foreverThe Fortune Diamond feature, locatedin the hotel lobby, essentially consistsof two distinct parts: a multi-tierwater fountain, with mechanical watereffects engineered and fabricated byTechnifex, of Valencia, California, andthe diamond, created by LexingtonDesign and Fabrication, of LosAngeles. “The entire diamond lifts outof the floor behind a 30' wall ofwater,” says Railton. “Around thebase of the fountain, there are LEDpanels, and, at the end of the show,the whole thing becomes a roulettewheel, to inspire everyone to startgambling in the casino.”

Railton, a veteran at creatinglarge, unique installations, knewexactly what he wanted for thisattraction. "Jeremy envisioned a largecut-glass diamond with a lot ofvisual effects, video effects, andsmoke and mirrors," explains Ron

Antone, Lexington’s project director.Antone and his team did reflection

studies with mirrors and glass, andthen moved to white models andacrylic mirror mock-ups. "It was quiteremarkable what we were able to dowith just mirrors and reflected light,”he says.

It was during those studies that theteam had a revelation. “The originaldesign had a clear, faceted case withinternal facets of mirrors that wouldreflect like a diamond would,” saysAntone. “As we developed our fullsized mock-ups, it became clear thatwe didn't need the outside shell,since you couldn’t tell what you werelooking at—it fooled your eye in thesense that the outside plane of thediamond appeared to be there whenit really wasn't. It was a veryconvincing effect.”

Thus the diamond is an illusion.According to Railton, "It's actually anegative space with a mirror; youcannot tell that it is a structuralskeleton of the facets of a diamondmade with mirror glass and stainless-steel trim."

Initially, the rotation of the diamondwas going to be battery-powered.However, given its size—22' indiameter and about 12' tall—andweight (50,000lbs), the battery systemto power the internal motormechanics would have to be fairlylarge and heavy. The batteries wouldalso have to be accessed between

Jeremy Railton and his team create a pair ofgood-luck-themed attractions for the Galaxy Macau

By Sharon Stancavage

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www.lightingandsoundamerica.com • November 2011 • 53

Soldiers of Fortune

each show for recharging, which wasalso an issue. "That was the mostproblematic piece of the mechanicaldesign,” Antone admits, “and,ultimately, it was designed out,because it wasn't practical."

Since the battery-operated internaldrive was gone, and the diamond stillneeded to rotate, another solutionneeded to be found. It proved to bean elaborate moving chandelier,created by Preciosa, of the CzechRepublic, and designed by Railton,which sits above the diamond. Itproved to be the perfect solution todisguise the power cables for therotation mechanics. “A feature wasthat looks like it’s part of thechandelier, but it's really the cablesthat suspend and power thediamond,” Antone says.

Masking the diamond's cablerigging wasn't easy. "We mocked upcables in the shop and tried differentsurfaces on the cables to disguisethem,” says Antone. “We triedmasking them with chrome tubing,black tubing sleeves, and a series ofglass beads that were approximatelythe same size as the chandeliers." Theglass beads worked the best. Therigging was handled by LA Propoint,of Sun Valley, California.

The diamond was completelyfabricated and rigged at Lexington.‘We spent a lot of time in the shop—and outside the shop—suspendinglarge mirrored mock-ups 30' in theair to determine the viewing anglesto see what would be reflected,”says Antone. What everyone sawwas actually the mechanical pitbelow the diamond. Consequently,any and all hardware that wasexposed in the pit needed to bewhite. “It became all about reflectedwhite light on the mirror surfaces ofthe diamond,” he adds.

The fountain lift was also fullyconstructed and assembled byTechnifex, of Los Angeles. “We did ithere in Los Angeles, so Jeremy couldreview the pieces more often than hecould if it had been built in Macau,”

54 • November 2011 • Lighting&Sound America

THEMED ENTERTAINMENT

A view of the lobby that contains the Fortune Diamond.

The show begins with a display of color.

The Fortune Diamond under construction.

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says Marks. Doing the work inCalifornia had another welcomeresult. “We brought quite a fewmillion dollars back to this country,”Railton notes.

The diamond structure is an assem-blage of large, bolted-togetheraluminum frames that were shipped toMacau via sea containers. The glassmirror panels were shipped attachedto the individual metal-framed panelmodules. "You can imagine the angstover shipping that much glass andwaiting for it to arrive in Macau, hopingwe wouldn't have a box of rocks at theend of the journey,” says Antone.Thankfully, they survived the voyage.

In Macau, Railton and the teamneeded to make room for the instal-lation in the lobby. “When we walkedin prior to starting this project, thecore and structure was alreadybuilt, so we had to cut throughconcrete, rebar, steel, and slab togive ourselves a two-story hole in theground," Marks reports. Thedemolition came as a bit of a surpriseto the client. “We areconstantly brought in on projectswhere people assume the entireattraction comes in a giant box with abig red button on the side,” he adds.

Like Antone, lighting designerMichael Lagrotteria, from the LosAngeles office of Lightswitch, spentmore than a little time looking atmodels. “We played with that inmock-ups forever,” he says. “It wasvery hands-on; we were making threeto four trips a week up to the scenicvendor just to make it work.”

To light the space, Lagrotteriadivided it into sections: the waterfall,the diamond/pit, and the chandelier.He says, “We used [Philips] ColorKinetics C-Splashes to up light thewaterfall, as well as Acclaim X-Ballsfor some of the scenic details of thefountain structure.”

For the diamond, Lagrotteria andhis team used a combination of PhilipsVari*Lite VL3500 profiles and VL2500Washes/Spots from both above andbelow in the pit. “The pit below was

used to indirectly light the diamond,which has only mirroredsurfaces. Color and texture come fromlighting the pit itself, and sparkle andintensity come from lighting thediamond directly,” explains the lightingdesigner. “There are Martin Atomicstrobes and Color KineticsColorReaches for color in the pit.”

The chandelier was also part of thelighting design. “We light it from above,using [ETC] Source Fours with[SeaChanger] Nemo plasma lamps andcolor changers,” says Lagrotteria.Regarding the latter, he reports, “Thatwas my first time using them; the coloryou get out of them is so much superiorto a traditional arc source.” Altman RGBSpectra Pars are also used to give thechandelier extra punch.

There’s plenty of color in theshow, including Ruby Red, SapphireBlue, and Emerald Green. However,the diamond stays sparkling white.“The only real white light is on thediamond, especially when it’s firstrevealed—that creates contrast wheneverything else around it is sosaturated,” says the lighting designer.

Lagrotteria programmed thediamond on an MA Lighting grandMA2console, working with Warren Kong.“We dumped that to a DMX playbackunit,” he notes. For the LED-ladenceiling, the pair turned to an ArtisticLicence Colour-Tramp. “It’s PC-basedcontrol software made for large LEDarrays that runs it all off Art-Net,” saysLagrotteria. “All of the lighting gear wasprovided by Ptarmigan, of Hong Kong.”

Adding videoand audio to the mixThe video and audio aspects of thediamond were directed by John Rust,and were produced by mediadesigner George Johnsen, ofMammoth Sound and Vision, locatedin Burbank. “We first tell the story ofan enchanted chandelier that comesalive and begins to descend,” Rustexplains. “And the chandelierelongates, finally touching the water,giving a ‘life’ to the fountain, which

magically begins to grow upwards.”“The point of putting this video into

it at all is to make it easier for theviewer to understand what is goingon in the fountain,” says Johnsen.The video, located at the base of thefountain, was initially specified asonly a lighting gag. “As we startedlooking at those lighting solutions,they got to be less and less satis-factory, only because of the resolutionof them,” he adds.

After determining that videocontent was the answer, the keywas finding the right product. “Firstof all, it had to be IP67, which is atough rating to achieve in an LEDvideo screen. Second, since thescreen area of the fountain isconical in shape, we couldn’t useconventional video products to doit,” Johnsen explains.

Eventually, the team turned to acustom solution, and, through the useof a consultant, did get 20mmmodules that are angled to match thebase. “The horizontal pixel distance isactually different, and the verticaldistance stays the same—so thepitch is different, not the resolution,”says Johnsen.

“It is an enormous video screenthat you’re standing very close to, soresolution becomes an issueimmediately,” notes Johnsen.“Definition of the content on the

screen becomes an issue immedi-ately, because the public is standing36" away from the video screen.”

The LEDs are spread across onecontinuous screen with seamlesscontent, per the request of Railtonand Rust. “We used a combination ofthe coolux Pandoras Box [mediaserver], because I needed everypossible live video layer I could get,as well as Final Cut Pro and AfterEffects as a pre-comp solution tomake composites on site. This showwas put together entirely on site, asthere was no way to prebuildanything of significance; we built astudio on site to allow the video trackto be built precisely to the time of the


water feature.”From an audio standpoint, the

space also posed several challenges.“The water is running all the time, sothe ambient sound level is actuallypretty high,” says Johnsen. “To makeit more difficult, it’s a marble floor, ahard ceiling, marble walls, and ahuge, huge, echo-filled room. Thereverb times were running aroundeight seconds, which is a lot.”

Not only was the room extremelylive, but the layout of the lobby hadan impact as well. “The whole spaceopens physically into the casino, and,if we just turned it up, the gamingpeople would say, ‘Hey, turn thatthing back down, you’re interruptingthe people who are playing poker.’”

The diamond is a 16-channelsurround sound environment. “Intypical surround, you have left-right-center—this was more of an ‘everyspeaker is a front speaker’ situation,”Johnsen explains. The key to makingthis environment surround was theuse of time delay. “The primarymixing horse we rode was ProTools 9by Avid. For time manipulation andcoordination of time effects, OutboardElectronics’ TiMax 2 SoundHub wasemployed,” he explains. The HaasEffect management of time delayscontrols the reflection patterns and

the apparent source directions of theindividual audio columns, whichresults in surround sound.

Key to the process was a lineup ofRenkus-Heinz RHAON-poweredspeakers. “We are able to use theRenkus-Heinz steering columns—they’re like tiny line arrays, so we wereable to steer the sound around,and were able to move the soundtremendously through the space byusing multiple channels,” says Rust.The speaker package includesRenkus-Heinz Iconyx 16-Rs, Renkus-Heinz Iconyx 8-Rs, Renkus-HeinzCF151-5Rs, and Renkus-HeinzPNSUB112Rs.

The multiple levels of speakersalso address another challenge in thespace: a two-level fountain that risesand falls. “We had two levels ofspeakers on the columns, and wewould transition our source pointbased on the position of thefountain,” Rust says. The overheadspeakers, which were initially foreffects, increased in number andbecame part of the show’s audio, dueto the height of the fountain.

For show control, Railton turned toBirket Engineering Hong Kong Limitedand project manager/engineerTimothy D. Swieter. "We were respon-sible for the design, production, instal-

lation, and commissioning of thesystems," explains Swieter.

Show control for the FortuneDiamond included the diamond itself,lighting, audio, and video, as well asthe fountain. "We coordinated theballet of effects,” says Swieter. “Oursystem synchronizes the sub-systems to produce a precise show.We provided the show controlsystem, the audio system, and thevideo playback.”

Birket Engineering is the onlycertified Medialon expert center inAsia, so it's natural that the diamond’ssystems rely on Medialon products.Swieter explains, “The ShowmasterPro is the heart of this system; wealso used Medialon MIP-HD for videoplayback, the MAS-PRO for audioplayback, as well as [Peavey]MediaMatrix NION N3 for audiorouting and DSP processing."

The attraction also relies on a DellSystem laptop that runs MedialonScheduler software for show sched-uling. The laptop is used for systemmaintenance, and is also connectedto the Internet for remote diagnostics.“We attached this laptop to theInternet and use LogMeIn to ‘remote’into the control system from anyInternet connection in the world, inorder to see how the system isoperating and to help withtroubleshooting,” says Swieter.

"The audio, video, and show-control systems are all Ethernetnetwork-based,” adds Swieter. “Thecommunication to sub-systems isover Ethernet I/O or serial, and theaudio utilizes CobraNet direct to theRenkus-Heinz speakers; CAT5 iseasier to put in, and is cheaper than a16-pair, 18-gauge copper cable. Wechose to implement Ethernet every-where in the attraction that we could,knowing that, with Ethernet, we canaccomplish about 95% of anycommunication needs that came up.”

Colorful crystalsWhile most facilities would havestopped with the magical, luck-



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The Wishing Crystals under construction.

bestowing diamond, Lui had otherideas. Specifically, he wantedsomething to enliven the casino'sday-tripper entrance. "It is for all ofthese people who come over frommainland China in hundreds andhundreds of buses," says Railton.

The 60 Wishing Crystals arelocated in a long, narrow reflectingpond, to allow the maximum numberof guests to experience them. ”Theylook like giant crystals that have burstforth from the earth,” explains Marks.They range from 3' to 30' in height,and are from 12" to 40" in diameter.“We went out and bought littlecrystals, studied their shapes, andtried to figure out the best way toachieve them, especially how thecrystals’ octagonal shape would beterminated at the top,” says Antone.

Railton also wanted the crystals—

which were originally specified to beclear—to be more than just setpieces. As Marks notes, “Thecrystals have internal technologythat makes each one of them dosomething different.”

Consequently, Antone and histeam were charged with creating“transparent” crystals that weren’ttransparent at all, as the technologyinside them needed to remain hidden."So we developed a series of scenicsamples to determine the right levelof translucency and what effectswould work the best,” he says.

While the team at Lexington wasdoing scenic studies, there was amajor change in visual direction for thecrystals. “Francis [Lui] decided itshould be more colorful, and it a wasgood choice—they are coloredthemselves, they have lighting inside

and out, and they also get laser texturemapped on them,” notes Railton.

For Lexington, that meant a tripback to the drawing board. “Wewent through a series of brightlycolored scenic tests, figured out ourbest options, and started down thepath of this very colorful approachto the crystals,” says Antone. This“involved translucent paint, opaquepaint, and layers of polyester resin—we used everything in the scenic bagof tricks to make the color palettemore intense.”

The client-approved paletteincluded primary and secondarycolors that were subjected toextensive work by the team atLexington. “We presented the colorsthat they wanted on a series of acrylicpanels, and then lit them so theycould get an accurate sense of what


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The Wishing Crystals inside the 20'-wide-by-200'-long black reflective pool, intersected by three bridges.



the real color would be with the realmaterial; it's very easy to be fooled byrenderings or tests that aren't usingthe actual material,” Antone explains.

The show effects within thecrystals are fairly simple. "There arestrings that go up the entire length ofsome of the crystals that oscillate;there are small 3" mirrorballs on aseries of strings that work on anoscillator and pick up lighting in astrange and interesting way, as wellas Mylar shag materials on turntablesthat turn slowly and pick up reflectivelight,” explains Antone.

Once the shape of the crystals wasdetermined, along with their interioreffects, they were placed into the

day-tripper lobby in a 20'-wide-by-200'-long black reflective pool, inter-sected by three bridges that allowguests to cross from one side of thecrystals to the other. “Thebridges are pretty complicated Asian-style steel structures—they are highcompound S-curve shapes coveredwith marble, and have glass railings,"Antone says.

Interactivity is key to theWishing Crystals. According toMarks, “There are motion sensorsset into the marble floor; ifsomeone goes up to throw a coin,if they are in the right spot, theymagically turn on a section of thecrystals—lights sparkle, they

twinkle, they hear music, and theyare hit with random good luck.” Or,to put it another way, “The WishingCrystals are actually a musicalsculpture, created by the guest’sinteractivity, with over a milliondifferent musical combinationspossible,” notes Rust. When all thesensors are triggered, the finalebegins, and the guests are bathedin health, wealth, and happiness,courtesy of Chinese symbolsprojected onto the crystals by theVari*Lite VL3500s. “With all thesegood luck symbols going all overthe crystals, guests think, ‘Oh, I'mso lucky,’ and then go into thecasino and win,” explains Railton. P

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This view takes in the two 30'-by-24' Lighthouse LED walls that are featured in the show, and are also used for in-house ads and promotions.


Musical crystalsThe space has a variety of fourdifferent base-ambient audio tracks,and, when they’re triggered, a newtrack is selected and unmated in apoint source speaker in each one ofthe clusters. Johnsen explains, “Whatwe’ve really done is created agigantic mixer.”

The exhibit features anorchestral track composed by PaulMirkovich, with additional tracksfrom Mike Schmidt, supervised byRust. Johnsen says, “It was moredifficult to orchestrate than it wasto mix, and John had to do a lot ofsolo sessions to make sure wedidn’t get bleed from one section tothe other section’s microphone. Itwas more rock ‘n’ roll versus anorchestral recording.”

The mix, which is in surroundsound, was done on an AvidCommand 8 console with the studioversion of Pro Tools HD. As with thediamond, there were installationissues. “The Command 8 at the

crystals succumbed to the marbledust that thickened the air, so wefinished the job using Neyrinck's V-Control Pro app on an iPad, and itworked like a dream,” Johnsen notes.

The audio environment at thecrystals is complex. “There are 32channels of audio running all thetime—the first eight are playing offthe ceiling in the venue, and there’s alittle bit of ambient sound comingfrom under the bridges,” saysJohnsen. “As you walk by each groupof crystals, you can turn on anadditional set of six tracks by wavingyour hand over the sensor—thosetracks will be perfectly in sync withthe master audio.” However, thetracks really aren’t turned on. “You’renot turning on music, you’re actually

turning off the mute,” Railtonexplains. The physical audio positionswithin the crystals are discrete.Johnsen notes, “The violins comefrom Position One, the brass fromPosition Eight; you don’t really hearthe brass when you’re standing bythe violin, but, as you walk towardsthem, there’s a blend that happens.It’s a very cool kind of soundsculpture that isn’t normally done.” Asguests walk through the crystals andover the bridges, their auralexperience changes as if they wereon a stage, walking through anorchestra. “And to make it even moreinteresting, each track rotates into adifferent physical location each time,making this is a very involving, ever-changing attraction,” Rust says.

The space is, as one mightimagine, awash in speaker cabinets.“There are point source speakers onevery crystal stack, and they areactually time-matched to a set ofoverhead speakers and a set ofspeakers that are constantly on within

the pool— obviously not underwater,but just above it. We divided up [theoverhead and pool speakers] to havedifferent orchestral flavors as well.”There are Renkus-Heinz CF61-2Runits in the crystals, Renkus-HeinzCF121-5R and CF12S-5R boxesunder the bridge, and Renkus-HeinzCF121-2Rs in the ceiling hang.

Crystal show controlThe show control system is a critical,and flexible, element of the crystals.Located in a separate electricalequipment room, it is similar to that ofthe Fortune Diamond, being comprisedof a Medialon Showmaster Pro, aMedialon MAS-PRO, two MedialonMIPS HDs, and Peavey Media Matrixelements: two NION N3s and aCAB16i.

The interactivity in the installation iscourtesy of nine Banner EngineeringIR proximity sensors—eight on theperimeter and one on the centerbridge—used to trigger the variousareas of the attraction, as well as the

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Programming the lighting for the Wishing Crystals.

“We presented the colors that they wanted on a series of acrylic panels,and then lit them so they could get an accurate sense of what the realcolor would be with the real material; it's very easy to be fooled by ren-derings or tests that aren't using the actual material.” —Antone



finale. Swieter notes, "The sensorworks well, because it is small andcould be hidden away from guestview. It is 24V DC and is compatiblewith the I/O of our system.”

The sensors can be configured ina variety of ways. Railton explains,“We initially divided thesecrystals into nine different areas;each area has a sensor, so eachgroup of crystals has a sensor on theside of the handrail.” However, sincethe Galaxy has opened and guesttraffic patterns have been estab-lished, there have been changes.“Throughout the show programming,we debated and tried differenttriggering schemes," Swieter admits.There were various experiments withdifferent sensor numbers, and timewas also explored as a trigger for the

finale. “The final configuration usesboth time and sensors for thispurpose—the idea was that, aftereight sensors, or after seven minutes,a finale would occur. We wonderedhow the system would behave withreal guests, so we created thesoftware to be flexible and easilyadjusted for any changes that cameabout once we saw the generalpublic interact.”

There’s also a video aspect in thefinale of the crystals’ show, thanks totwo 30' x 24' Lighthouse LED wallsthat are also used for in-house adsand promotions. “We shot thecrystals lit in the space; we took thatfootage and did post-processing onit, so the magic is happening in syncwith the music and the instrumentsthat are lighting the installation,”explains Johnsen.

For the video screens, twoMedialon MIP HDs work in tandemwith Gefen DVI splitters andswitchers, as well as two FSR

Compass CP-100 video switchers.“The ‘show video’ is only run duringthe finale. When the finale is notplaying, the client wanted to display avideo feed that includes informationabout the resort and advertisements,so the show control system uses theFSR video switchers to switchbetween the house feed and theshow feed,” Swieter explains.

Like Antone and his team,Lagrotteria was planning on lightingclear crystals; when that changed, sodid his plan. “One of the bigchallenges was finding colors thatworked on an entire cluster,” thelighting designer says. The problemwas solved with time and patience.“We sat down with Jeremy and wentcluster by cluster, really dialing inwhat colors worked best, and then

made that the programming languagefor that cluster. We found a handful ofcolors that worked, and found abunch that didn’t, and threw thoseout,” says Lagrotteria.

The Wishing Crystals cover alarger area than the FortuneDiamond. “It’s a decent-sized space,and, when you look at it, the tallestcrystal is around 24'—it’s a lot ofground to cover without a lot offixtures,” says Lagrotteria.

Lagrotteria made do with a combi-nation of general and effects lighting.“In terms of the overhead lighting, wehave a conventional wash from ETCSource Fours, just to give us a basepalette; over that, we have Vari*LiteVL3500s—the VLs are really there forcolor and effects, especially when thecrystal clusters are activated.” Thereare two VL3500s per structure, and,overall, Lagrotteria is a fan of them. “Ithink they are really reliable,” he notes.

Then there’s the lighting inside ofthe crystals. “One of the biggest

challenges was that some of them are12' tall and some are only 8" indiameter but that tall, so really gettinglight inside of them and around all ofthe scenic effects was definitely achallenge.” The units inside thecrystals include Diversitronics FingerStrobes, Traxon RGB and white dotLEDs, Traxon XB wash units, andColor Kinetics ColorBursts,ColorReaches, and iColor Flex units.“In the field, once everything wasinstalled, we did some modify someof the scenic effects and some of thelight positions to make it all work,”the lighting designer confides.

Ringing the lip of the pool are eWFuse powercores, also from ColorKinetics. Lagrotteria says, “Theyilluminated the lower opaque scenicwork, so we would not have todedicate limited overhead resourcesto those elements.”

Programming, once again on agrandMA2, was done by SethRapaport. “I think Seth did a greatjob—with a little bit of creativeprogramming, he was able to get thecoverage that we needed,” says thelighting designer. Playback of theeffects is via an Artistic LicenceColour-Tramp, while the lighting isplayed back from an Artistic LicenceTwo-Play; both are controlled throughthe Medialon Showmaster Pro.

Lasers, provided by Laser Fantasy,of Seattle, Washington, are also partof the finale. “We gave them a CADdrawing, and they used CAD toprogram the lasers to follow theoutside edge of the crystals—sowhen you're looking them, you seethem sparkle on the edges, and itgives a magical extra dimension,”says Railton.

In the end, the Wishing Crystalsand the Fortune Diamond are morethan just iconic features that makethe Galaxy Casino a unique worlddestination. “The pieces trigger asense of good luck or mystery, aswell as making people walk awayfeeling empowered,” Railtonconcludes.

“You can imagine the angst over shipping thatmuch glass and waiting for it to arrive in Macau,hoping we wouldn’t have a box of rocks at theend of the journey.” —Antone

ALTMAN LIGHTING, INC.57 ALEXANDER STREET | YONKERS, NY 10701 | 800-4-ALTMAN | WWW.ALTMANLIGHTING.COM

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