Precise performer tracking for big arena moments

When Nina Chuba takes the stage, energy is guaranteed. Blending urban pop, rap attitude, and anthemic hooks, the artist has long since established herself as a major force in the German-language music scene. Her arena tour, from October 24th to November 9th, 2025, took her to large venues in Germany and Switzerland – including the Uber Arena Berlin, Lanxess Arena Cologne, and Barclays Arena Hamburg. 

Tjorre Hasubski was responsible for the set and lighting design , as well as programming the production and operating the mixing console himself. A key element of the show was a fully integrated FOLLOW-ME Track-iT system, supplied and operated by Christian “Rocketchris” Glatthor.

Large playing area, high dynamics

The stage design consisted of a front stage with a roughly ten-meter-long catwalk leading into a central stage approximately six meters deep and wide. This expansive performance area placed high demands on the precision and reaction speed of the tracking system.

In addition to Nina Chuba herself, two dancers had to remain precisely in focus at all times – despite rapid, sometimes jerky movements. Four targets were tracked by 32 spotlights integrated into the system.

“The challenge was to perfectly capture the artist and the two dancers at all times and truly make them shine. The performance is very dynamic – humans couldn’t have maintained this level of precision continuously.”

Follow spots – but invisible

The design goal was to make the follow spots appear as something other than traditional follow spots. Instead of static positions, changing fixtures were used within the rig, each handling the tracking – an approach that is hardly feasible with conventional follow-spot systems.
This kept the tracking invisible to the audience, while the performers were always precisely illuminated.

“We didn’t want the follow spots to be consciously noticeable. That’s why we used different lights for tracking within the rig. A traditional system couldn’t have achieved that.”

Precise preparation as a foundation

Hasubski worked closely with Chris Glatthor even during pre-production. A complete FOLLOW-ME system was available for preparation, allowing for early optimization of tracking logic, processes, and network structure. Network planning played a crucial role in ensuring smooth operation.

“You have to coordinate well in advance and plan the network structure meticulously – then the system works absolutely reliably. On tour, we only experienced setup time; we had no outages whatsoever.”

Flexibility in live operations

The production also demonstrated the system’s adaptability: When a guest singer was added to the show at short notice, the setup could be expanded immediately. Manual control was also used – Track-iT allows switching to a manual tracking mode at any time.

Tour-ready at arena level

Throughout the entire tour, the system operated stably and without any failures. Hasubski is certain:
“The system ran flawlessly for me. It’s tour-ready, stable, and flexible – exactly what you need for a production of this scale.”

Alongside Rocketchris, Max Lippmann was the second FOLLOW-ME operator. René Lohr was responsible for the lighting system, and Thomas Doßmann was the head of lighting.

The FOLLOW-ME Track-iT system enabled a tracking setup on the Nina Chuba tour that combines maximum precision, discreet design, and complete live flexibility – crucial factors for modern arena productions.

Tour: Nina Chuba Tour

Lighting Designer and programming: Tjorre Habuski

Head of Lighting: Thomas Doßmann

Lighting system responsible: René Lohr

Follow-Me TRACK-iT supplier and preparation: Christian ‘Rocketchris’ Glatthor

Follow-Me TRACK-iT operator: Max Lippmann

Article on website of LMP our partner for Germany and Austria: Original article >

Photos © Jakob Marwein, Jenrick Mielke