State-of-the-Art ETC/High End Gear
The venue is fully equipped with equipment from ETC and High End Systems. The primary lighting workhorses included ETC Source 4 Lustr 2 Profiles/Fresnels, complemented by an array of High End Systems Solaframe, Solawash, and Solapix fixtures. The production benefited from a critical week-long technical residency before opening night, allowing the team 7 days to experiment, perfect the show. The extra week that the company had was instrumental to the success of the performance.

The EOS APEX 5 Console Experience

A significant highlight was the loan of the ETC EOS APEX 5 console, which proved instrumental in the show’s creation.

ETC Hong Kong was kind enough to make it happen. I have been aware of the EOS APEX 5 for quite some time and have also had the opportunity to have had a hands on experience in Singapore on a demo unit. However, the chance to be able to use the console on a real show application was too good to ignore.

The EOS Apex 5 ran on the EOS software that we are all familiar with, but what really stood out was the sheer size of the display. It allowed me to create multiple work-spaces within a single page and made the programming experience much more enjoyable.
The multi-touch encoder screen and the mini encoders on the console also provided valuable real estate when it came to accessing moving light controls, especially when it came to framing shutters on the High End Solaframes. Customizable target keys on the side of the screen offered endless possibilities for streamlining access to macros.

In a digital age where everything seems to be electronic and the use of paper and hand written notes are fading away, ETC very thoughtfully and flawlessly integrated left and right booklights into the sides of the console. It is a simple gesture, but a testament to the detail that was put into the design of this console.
Would I have been able to program this show on a ETC Gio or an ION XE? Absolutely yes. But I can with conviction say that it would not have been as seamless and as enjoyable to do so as on the EOS APEX 5.

As we move into an era where 5-8 colour LED mixing is the norm, the EOS’s software’s colour library and colour calibration is still the standout in today’s market. The ease of achieving a colour that used to require hours of fine tuning can now be executed in several keystrokes.

I was also very pleased to see that I would be working with fixtures that I was very familiar with, specifically the ETC fixtures. As a designer, the 2 most important things I want in a fixture is superior colour control and flawless linear dimming and ETC has never failed to deliver on either of those fronts. I was also pleasantly surprised with the capabilities of the High End fixtures in terms of output and colour control.

Once again, many thanks to STAGE EQUIP in Singapore for facilitating this request and for always providing support to the users of ETC equipment in Singapore and many thanks to the office in ETC Hong Kong for their hospitality and for making this happen.

About Adrian Tan

Adrian Tan is a leading Singaporean lighting designer and founder of The Light Project a boutique consultancy known for its cinematic, “camera’s eye” approach to lighting. Over a career spanning two decades, he has built a reputation for using light as a three-dimensional medium—sculpting space, shadow, and emotion rather than simply illuminating it. His work balances technical precision with a deep sensitivity to atmosphere, allowing him to create emotionally resonant environments across both stage and architectural contexts. A pioneer in digital lighting, Tan was an early adopter of the ETC Lustr series, using its advanced multi-colour capabilities to develop a refined palette of pastels, cool tones, and warm whites.

Tan has collaborated extensively with Singapore’s leading performing arts institutions, including Singapore Ballet, Wild Rice, and T.H.E Dance Company, playing a key role in shaping the nation’s visual arts identity. Internationally, his work includes projects in London and interdisciplinary collaborations such as Precious Land, where his simulation of natural light cycles earned critical acclaim. Increasingly, Tan’s practice is evolving towards biophilic and narrative lighting, exploring how light and darkness can evoke emotional and environmental connections.