Lighting Zoning and Visual Composition with Ayrton and ETC for Hiba Tawaji’s Concert at Dubai Opera

FOH and remote positions
Front and long-throw key lighting were provided by Ayrton Huracan LT units. Their long-range optical system delivered consistent output and accurate color rendering across the entire auditorium, creating a clean and stable portrait key for Hiba Tawaji and her ensemble.

Front LX trusses (LX2–LX3)
These zones featured Ayrton Khamsin S, used to create sharp graphic accents, highlight solo performers, and add sculptural depth to the stage picture.

Mid and rear LX trusses (LX4–LX5)
Here, Ayrton Bora S fixtures generated wide color washes and immersive atmospheric layers.

Side positions (SL/SR)
Flanking the stage, Ayrton Domino Wash units produced dynamic beams directed into the audience.

This distribution established a clear architectural hierarchy: Huracan LT defined a stable and expressive front, Khamsin S added a graphic and rhythmic dimension, Bora S built the volumetric and chromatic environment, and Domino Wash integrated the stage with the auditorium space.

Control System and Workflow

All lighting control was managed within the ETC EOS ecosystem.

Pre-show focus and rehearsal sessions were conducted using the ETC Apex 10 console — a compact yet powerful system allowing the operator to work close to the stage and assess lighting balance from an audience perspective. This workflow enabled precise palette calibration and realistic color relationships, accounting for the venue’s acoustic and reflective characteristics.

During the live performance, control was transitioned to an ETC Apex 20, offering an extended control surface and enhanced ergonomics for full-scale show operation. Thanks to the unified EOS architecture, the transition was entirely seamless — one show file, one set of palettes, groups, and Magic Sheets. The programming workflow relied on well-structured Focus Palettes, organized by LX zones, and employed marking cues to maintain continuity and fluidity in the lighting score.

Ayrton Huracan LT – The Foundation of the Front Light

The primary load of the front lighting was handled by Ayrton Huracan LT, a long-throw profile luminaire engineered for large-scale venues.

Specifications for Ayrton Huracan LT:
• 1000 W LED source, 7000 K (white)
• Output up to 51,000 lm
• CMY color mixing + linear CTO, CTB, and CTP filters
• CRI > 90 — optimized for multi-camera video capture
• Zoom range 6.2°–55° with full framing system

From the FOH position, Huracan LT delivered the necessary illumination levels over extended distances while maintaining soft, natural portrait light. The beam remained stable and flicker-free, essential for broadcast-quality imaging. The framing shutters were used to isolate the vocalist and soloists, shaping precise stage compositions against the rich chromatic backdrop.

Ayrton Khamsin S – Graphic Precision and Accents

At the second compositional layer, Ayrton Khamsin S served as versatile profile luminaires providing strong visual definition and motion.

Specifications for Ayrton Khamsin S:
• 750 W LED source, 7000 K
• Output approx. 40,000 lm
• CMY + linear CTO plus saturated color filters
• 16 kHz PWM for camera compatibility
• Extended gobo set and full framing system

Khamsin S units were used to build graphic structures in the air, emphasize instrumental solos, and form vertical light columns during climactic moments. The saturated color rendering enabled impactful visual accents without intensity loss, while the precision framing delivered clear spatial boundaries. In the visual dramaturgy, Khamsin acted as an active, rhythm-driven layer complementing the solid Huracan front.

Ayrton Bora S – Breathing Space

Ayrton Bora S units provided the atmospheric base and color dynamics of the stage environment. Designed as high-output wash fixtures, they delivered smooth coverage and spatial depth.

Specifications for Ayrton Bora S:
• 750 W LED source, 6500 K
• Output up to 38,000 lm
• Zoom range 8°–60°
• CMY mixing and linear CTO

In the ballad sections, Bora S painted the stage in soft lavender-blue tones, evoking transparency and airiness. During upbeat numbers, they shifted to warm amber and gold hues, enhancing emotional intensity. Their ability to render subtle transitions in brightness and color created a sense of organic breathing and dimensionality on stage.

Ayrton Domino Wash – Energy from the Sides

The side beams were shaped by Ayrton Domino Wash fixtures positioned at stage left and right. Though designed for touring and outdoor applications (IP65-rated), they proved highly expressive in the controlled environment of Dubai Opera.

Specifications for Ayrton Domino Wash:
• 1000 W LED source
• Output up to 51,000 lm
• Zoom range 7°–60°
• CMY, CTO, and static color filters
• IP65-rated housing

Used not as wash lights but as dynamic beam sources, Domino Wash units projected powerful diagonal shafts of light into the audience, visually extending the stage. In musical climaxes, their pulses amplified the emotional impact of the score, dissolving the traditional boundary between performer and viewer. Light became an extension of the vocal line — a visual gesture synchronized with musical phrasing.

Color Dramaturgy

The color design was based on contrast and breath. In lyrical moments, cool Bora S tones and soft Huracan LT fronts dominated, accented by delicate Khamsin textures. In energetic numbers, the palette transitioned into warm red-gold hues, with Domino Wash beams cutting diagonally through the space and Khamsin S reinforcing rhythmic perception.

Transitions were timed with precision: rear LX zones dimmed first, the front entered with slight delay, and side beams emerged only at musical peaks. This choreography of light produced an organic sense of motion — every musical phrase found its visual counterpart.

Conclusion

Hiba Tawaji’s concert at Dubai Opera exemplified the synergy between technology and artistry. Huracan LT fixtures established a stable and expressive front; Khamsin S added graphic depth and rhythm; Bora S created atmosphere and spatial layering; and Domino Wash transformed the auditorium into a continuation of the stage.

Light was not an embellishment — it was a partner to the music, breathing and resonating with it. For the audience, it became an evening where Hiba Tawaji’s voice and light merged into a single expressive current — a performance in which every technical choice served as an artistic gesture.