Dec. 12, 2025
FUTURETECH Featuring ETC - Lighting Up the Future with ETC's Dataflash 5000
This week, Chris and Lacy dive deep into ETC’s newly announced Dataflash 5000. From its bold technical features to creative opportunities for live shows, the hosts break down why this high-energy strobe fixture is stirring up excitement—especially for outdoor and festival lighting.
1
00:00:19,440 --> 00:00:23,000
Hey folks, welcome back to
Geezers of Gear Future Tech.
2
00:00:23,680 --> 00:00:25,880
I'm Chris.
And alongside me in the virtual
3
00:00:25,880 --> 00:00:27,960
studio is the always delightful
Lacey.
4
00:00:28,320 --> 00:00:29,920
Today we've got a bit of a
stunner for you.
5
00:00:30,560 --> 00:00:35,880
ETC Just dropped the new High
End Systems Data Flash 5000 and
6
00:00:35,880 --> 00:00:38,240
yeah, it's causing a bit of a
buzz across the live events
7
00:00:38,240 --> 00:00:41,000
circuits.
Yeah, and you know, I got to
8
00:00:41,000 --> 00:00:45,320
say, Chris, even with my
expertise, and that's in quotes,
9
00:00:45,560 --> 00:00:47,440
in lighting gear, this thing
looks wild.
10
00:00:48,160 --> 00:00:50,800
So who's this data Flash 5000
really for?
11
00:00:50,800 --> 00:00:54,160
I mean festivals I'm guessing
big outdoor stages.
12
00:00:54,440 --> 00:00:57,440
Spot on ET CS aiming straight at
the big guns.
13
00:00:57,720 --> 00:01:00,680
Outdoor shows, festivals,
anywhere you need to light up a
14
00:01:00,680 --> 00:01:02,600
crowd and do it no matter what
the weather's doing.
15
00:01:03,000 --> 00:01:06,320
This thing packs a punch. 52,000
lumens.
16
00:01:06,680 --> 00:01:09,280
I mean, that's well, properly
bright.
17
00:01:09,840 --> 00:01:12,800
Not just for effects either, but
for reliable show control in
18
00:01:12,800 --> 00:01:16,960
gnarly conditions.
It's IP65 rated, so basically
19
00:01:17,200 --> 00:01:21,680
you could dunk it in a puddle.
Not that you should, but you
20
00:01:21,680 --> 00:01:24,600
know what I mean.
Does it come with like all the
21
00:01:24,640 --> 00:01:28,600
usual rainbow lighting tricks or
is there something special here?
22
00:01:29,480 --> 00:01:32,800
Glad you asked.
It's got this clever set up, a
23
00:01:32,800 --> 00:01:36,480
full RGB LED array wrapped
around a variable white light
24
00:01:36,480 --> 00:01:41,000
center so you get both bold
color and tunable white from
25
00:01:41,000 --> 00:01:45,240
warm 3200 up to cool 7500
hundred Kelvin.
26
00:01:45,960 --> 00:01:48,720
It lets designers kind of dial
in the look for any moment,
27
00:01:49,280 --> 00:01:51,640
which is ace for the creative
folks and keeps the techies
28
00:01:51,640 --> 00:01:54,600
happy too.
You know, Chris, I remember you
29
00:01:54,600 --> 00:01:57,040
saying something about weather
headaches at Glastonbury a few
30
00:01:57,040 --> 00:02:00,440
episodes ago.
Does this change things?
31
00:02:01,440 --> 00:02:05,480
Oh Blimey, Glastow nightmares.
Mud up to your knees, rain
32
00:02:05,480 --> 00:02:07,760
coming sideways and every cable
a river.
33
00:02:08,600 --> 00:02:11,240
So yeah.
Honestly having an IP65 rated
34
00:02:11,240 --> 00:02:14,640
beast like the data flash 5000
could be a total game changer.
35
00:02:15,440 --> 00:02:19,520
Before it was always a risk.
Light storms roll in, you
36
00:02:19,520 --> 00:02:22,400
scramble to cover equipment or
pray the weather gods are with
37
00:02:22,400 --> 00:02:24,920
you now.
Fixtures like this mean fewer
38
00:02:24,920 --> 00:02:28,520
heart attacks for us and a much
more reliable show outdoors.
39
00:02:29,480 --> 00:02:31,440
OK, let's talk about how this
thing looks.
40
00:02:32,200 --> 00:02:36,200
I peeked at the photos.
Round face, the domes somebody
41
00:02:36,200 --> 00:02:38,120
at ETC.
Was thinking outside the box.
42
00:02:38,960 --> 00:02:40,720
Chris, what's the deal with
these domes?
43
00:02:41,440 --> 00:02:44,240
Right straight in you get 2 Dome
accessories.
44
00:02:44,640 --> 00:02:47,080
The reflector Dome clips on to
boost those strobes for
45
00:02:47,080 --> 00:02:49,320
puncture.
Looks like proper atmospherics.
46
00:02:49,840 --> 00:02:52,680
Then there's the transparent one
eye candy Dome.
47
00:02:53,200 --> 00:02:55,720
That one's all about letting
those wild colour effects shine
48
00:02:55,720 --> 00:02:58,360
through, which is fun if you
want to really show off the
49
00:02:58,360 --> 00:03:00,520
fixture itself as part of the
visuals.
50
00:03:01,320 --> 00:03:04,200
And with the face being round,
well, you've got more options
51
00:03:04,200 --> 00:03:09,240
for sort of eye candy moments.
Matt Stoner, he's the automated
52
00:03:09,240 --> 00:03:12,320
lighting product manager, said
he's expecting designers to use
53
00:03:12,320 --> 00:03:15,320
it for those high energy,
visually interesting sections of
54
00:03:15,320 --> 00:03:17,760
a show.
It's very much giving all the
55
00:03:17,760 --> 00:03:21,240
colours all the time.
I mean, for concert tours or
56
00:03:21,240 --> 00:03:25,400
like EDM festivals, I can
imagine someone using what rapid
57
00:03:25,400 --> 00:03:27,480
chases, those crazy color
shifts.
58
00:03:28,320 --> 00:03:30,520
So basically, you're not just
locked into plain white
59
00:03:30,520 --> 00:03:33,120
strobing, right?
Exactly.
60
00:03:33,440 --> 00:03:37,040
The central white can go
anywhere from a tungsteny 3200 K
61
00:03:37,440 --> 00:03:42,520
up to ice cool 7500 K, and the
RGB array adds all manner of
62
00:03:42,520 --> 00:03:44,960
vibrant saturated hues or subtle
blends.
63
00:03:45,400 --> 00:03:48,360
Throw in the Dome accessories
and designers have loads of new
64
00:03:48,360 --> 00:03:51,680
ways to create dynamic hues.
I reckon for shows aiming for
65
00:03:51,680 --> 00:03:55,480
those peak energy moments, big
drops, bass hits, the options
66
00:03:55,480 --> 00:03:58,680
are endless.
Let's get into what this means
67
00:03:58,680 --> 00:04:02,280
for actual shows.
I saw the words pixel mapping
68
00:04:02,280 --> 00:04:06,360
and macros in the press release
and my brain immediately just
69
00:04:06,360 --> 00:04:09,560
like, shut down for a second.
What does that do for creative
70
00:04:09,560 --> 00:04:11,320
teams?
No worries, it's worth
71
00:04:11,320 --> 00:04:13,880
unpacking.
With this many strobe modes and
72
00:04:13,880 --> 00:04:17,079
with pixel mapping, designers
get really granular control.
73
00:04:17,600 --> 00:04:20,760
You can make the fixture do
intricate patterns, sync up with
74
00:04:20,760 --> 00:04:23,480
music, or build custom looks for
different parts of a set.
75
00:04:23,880 --> 00:04:27,040
Think what you see at those big
festivals, say Electric Daisy
76
00:04:27,040 --> 00:04:29,440
Carnival.
Now imagine each strobe can be
77
00:04:29,440 --> 00:04:33,000
programmed for super precise
effects rather than just on off.
78
00:04:33,640 --> 00:04:36,800
Tanya Lassard from ETC said
herself this thing will be a
79
00:04:36,800 --> 00:04:40,000
powerhouse on any gig.
It opens the door for, well,
80
00:04:40,080 --> 00:04:42,640
genuinely new types of looks you
just couldn't get with the old
81
00:04:42,640 --> 00:04:44,440
gear.
That sounds wild.
82
00:04:45,120 --> 00:04:48,240
So we've had like big energetic
strobes at festivals for years,
83
00:04:48,240 --> 00:04:53,200
but is this like a giant leap or
is it just the same but shinier?
84
00:04:54,480 --> 00:04:56,960
Good question.
Honestly, it's a pretty decent
85
00:04:56,960 --> 00:04:59,800
leap.
Older strobes gave you intensity
86
00:05:00,040 --> 00:05:02,360
and maybe some simple chase
effects, but that was it.
87
00:05:03,000 --> 00:05:06,320
Now with pixel mapping and
advanced macros, designers can
88
00:05:06,320 --> 00:05:09,720
do things like chase patterns
across a rig, sink like ripple
89
00:05:09,720 --> 00:05:12,520
effects, or tap into custom
colour mixes.
90
00:05:13,080 --> 00:05:16,360
If you remember our episode on
the Acme Lyra, we saw a similar
91
00:05:16,360 --> 00:05:18,480
trend.
All these fixtures pushing for
92
00:05:18,480 --> 00:05:21,880
more creative control without
sacrificing reliability.
93
00:05:22,480 --> 00:05:24,920
Data Flash 5000 just turns it up
to 11.
94
00:05:25,400 --> 00:05:27,840
So do you think this kind of
control is going to change how
95
00:05:27,840 --> 00:05:30,840
shows are built or is it just
another tool in the kit?
96
00:05:31,480 --> 00:05:35,360
Like, are we going to see entire
show designs restructured around
97
00:05:35,360 --> 00:05:37,680
strobes because they're that
flexible now?
98
00:05:38,440 --> 00:05:41,160
I wouldn't rule it out.
With this much control.
99
00:05:41,440 --> 00:05:45,120
Lighting designers might rethink
how they build moments or anchor
100
00:05:45,120 --> 00:05:48,160
a visual theme around
versatility rather than just
101
00:05:48,160 --> 00:05:50,960
brute force.
We used to be so limited by what
102
00:05:50,960 --> 00:05:54,520
strobes could do, Intensity,
speed, not much else.
103
00:05:55,000 --> 00:05:57,960
This opens it up for entire
sequences to be built around
104
00:05:57,960 --> 00:05:59,440
effects we used to only dream
of.
105
00:06:00,040 --> 00:06:03,520
Obviously it's early days, but
like with the Megapix and
106
00:06:03,520 --> 00:06:06,640
Gigapix we reviewed a while
back, it's all trending toward
107
00:06:06,640 --> 00:06:08,680
more creative power in a
weatherproof box.
108
00:06:09,520 --> 00:06:11,680
All right, that's plenty for my
brain to chew on.
109
00:06:11,920 --> 00:06:14,600
There's a lot left to talk about
as these fixtures start rolling
110
00:06:14,600 --> 00:06:17,680
into festivals and shows.
Chris, always a pleasure
111
00:06:17,680 --> 00:06:21,440
breaking this down with you.
Likewise, Laci can't wait to see
112
00:06:21,440 --> 00:06:24,560
what kind of chaos or brilliance
designers unleash with this
113
00:06:24,560 --> 00:06:26,600
thing.
Folks, thanks for joining us for
114
00:06:26,600 --> 00:06:29,640
another episode of Future Tech
Be sure to tune in next time.
115
00:06:29,880 --> 00:06:33,080
We'll be back with more gear,
more industry news, and probably
116
00:06:33,080 --> 00:06:36,040
more war stories.
Until then, take care and keep
117
00:06:36,040 --> 00:06:38,240
lighting it up.
See you soon, Chris.
118
00:06:38,240 --> 00:06:42,120
Bye everyone.
Want to scoop on gear?
119
00:06:44,960 --> 00:06:48,520
Future Tech is here.
Come on, get it.
120
00:06:49,640 --> 00:06:57,480
You make the specs so clear.
Oh, La La with music to your
121
00:06:57,560 --> 00:06:58,440
ears.
Hey, hey, hey.
122
00:06:59,200 --> 00:07:04,040
Let's go.
New gear vibes, new tech jive
123
00:07:05,080 --> 00:07:09,000
gear hits unite.
We keep it live.
00:00:19,440 --> 00:00:23,000
Hey folks, welcome back to
Geezers of Gear Future Tech.
2
00:00:23,680 --> 00:00:25,880
I'm Chris.
And alongside me in the virtual
3
00:00:25,880 --> 00:00:27,960
studio is the always delightful
Lacey.
4
00:00:28,320 --> 00:00:29,920
Today we've got a bit of a
stunner for you.
5
00:00:30,560 --> 00:00:35,880
ETC Just dropped the new High
End Systems Data Flash 5000 and
6
00:00:35,880 --> 00:00:38,240
yeah, it's causing a bit of a
buzz across the live events
7
00:00:38,240 --> 00:00:41,000
circuits.
Yeah, and you know, I got to
8
00:00:41,000 --> 00:00:45,320
say, Chris, even with my
expertise, and that's in quotes,
9
00:00:45,560 --> 00:00:47,440
in lighting gear, this thing
looks wild.
10
00:00:48,160 --> 00:00:50,800
So who's this data Flash 5000
really for?
11
00:00:50,800 --> 00:00:54,160
I mean festivals I'm guessing
big outdoor stages.
12
00:00:54,440 --> 00:00:57,440
Spot on ET CS aiming straight at
the big guns.
13
00:00:57,720 --> 00:01:00,680
Outdoor shows, festivals,
anywhere you need to light up a
14
00:01:00,680 --> 00:01:02,600
crowd and do it no matter what
the weather's doing.
15
00:01:03,000 --> 00:01:06,320
This thing packs a punch. 52,000
lumens.
16
00:01:06,680 --> 00:01:09,280
I mean, that's well, properly
bright.
17
00:01:09,840 --> 00:01:12,800
Not just for effects either, but
for reliable show control in
18
00:01:12,800 --> 00:01:16,960
gnarly conditions.
It's IP65 rated, so basically
19
00:01:17,200 --> 00:01:21,680
you could dunk it in a puddle.
Not that you should, but you
20
00:01:21,680 --> 00:01:24,600
know what I mean.
Does it come with like all the
21
00:01:24,640 --> 00:01:28,600
usual rainbow lighting tricks or
is there something special here?
22
00:01:29,480 --> 00:01:32,800
Glad you asked.
It's got this clever set up, a
23
00:01:32,800 --> 00:01:36,480
full RGB LED array wrapped
around a variable white light
24
00:01:36,480 --> 00:01:41,000
center so you get both bold
color and tunable white from
25
00:01:41,000 --> 00:01:45,240
warm 3200 up to cool 7500
hundred Kelvin.
26
00:01:45,960 --> 00:01:48,720
It lets designers kind of dial
in the look for any moment,
27
00:01:49,280 --> 00:01:51,640
which is ace for the creative
folks and keeps the techies
28
00:01:51,640 --> 00:01:54,600
happy too.
You know, Chris, I remember you
29
00:01:54,600 --> 00:01:57,040
saying something about weather
headaches at Glastonbury a few
30
00:01:57,040 --> 00:02:00,440
episodes ago.
Does this change things?
31
00:02:01,440 --> 00:02:05,480
Oh Blimey, Glastow nightmares.
Mud up to your knees, rain
32
00:02:05,480 --> 00:02:07,760
coming sideways and every cable
a river.
33
00:02:08,600 --> 00:02:11,240
So yeah.
Honestly having an IP65 rated
34
00:02:11,240 --> 00:02:14,640
beast like the data flash 5000
could be a total game changer.
35
00:02:15,440 --> 00:02:19,520
Before it was always a risk.
Light storms roll in, you
36
00:02:19,520 --> 00:02:22,400
scramble to cover equipment or
pray the weather gods are with
37
00:02:22,400 --> 00:02:24,920
you now.
Fixtures like this mean fewer
38
00:02:24,920 --> 00:02:28,520
heart attacks for us and a much
more reliable show outdoors.
39
00:02:29,480 --> 00:02:31,440
OK, let's talk about how this
thing looks.
40
00:02:32,200 --> 00:02:36,200
I peeked at the photos.
Round face, the domes somebody
41
00:02:36,200 --> 00:02:38,120
at ETC.
Was thinking outside the box.
42
00:02:38,960 --> 00:02:40,720
Chris, what's the deal with
these domes?
43
00:02:41,440 --> 00:02:44,240
Right straight in you get 2 Dome
accessories.
44
00:02:44,640 --> 00:02:47,080
The reflector Dome clips on to
boost those strobes for
45
00:02:47,080 --> 00:02:49,320
puncture.
Looks like proper atmospherics.
46
00:02:49,840 --> 00:02:52,680
Then there's the transparent one
eye candy Dome.
47
00:02:53,200 --> 00:02:55,720
That one's all about letting
those wild colour effects shine
48
00:02:55,720 --> 00:02:58,360
through, which is fun if you
want to really show off the
49
00:02:58,360 --> 00:03:00,520
fixture itself as part of the
visuals.
50
00:03:01,320 --> 00:03:04,200
And with the face being round,
well, you've got more options
51
00:03:04,200 --> 00:03:09,240
for sort of eye candy moments.
Matt Stoner, he's the automated
52
00:03:09,240 --> 00:03:12,320
lighting product manager, said
he's expecting designers to use
53
00:03:12,320 --> 00:03:15,320
it for those high energy,
visually interesting sections of
54
00:03:15,320 --> 00:03:17,760
a show.
It's very much giving all the
55
00:03:17,760 --> 00:03:21,240
colours all the time.
I mean, for concert tours or
56
00:03:21,240 --> 00:03:25,400
like EDM festivals, I can
imagine someone using what rapid
57
00:03:25,400 --> 00:03:27,480
chases, those crazy color
shifts.
58
00:03:28,320 --> 00:03:30,520
So basically, you're not just
locked into plain white
59
00:03:30,520 --> 00:03:33,120
strobing, right?
Exactly.
60
00:03:33,440 --> 00:03:37,040
The central white can go
anywhere from a tungsteny 3200 K
61
00:03:37,440 --> 00:03:42,520
up to ice cool 7500 K, and the
RGB array adds all manner of
62
00:03:42,520 --> 00:03:44,960
vibrant saturated hues or subtle
blends.
63
00:03:45,400 --> 00:03:48,360
Throw in the Dome accessories
and designers have loads of new
64
00:03:48,360 --> 00:03:51,680
ways to create dynamic hues.
I reckon for shows aiming for
65
00:03:51,680 --> 00:03:55,480
those peak energy moments, big
drops, bass hits, the options
66
00:03:55,480 --> 00:03:58,680
are endless.
Let's get into what this means
67
00:03:58,680 --> 00:04:02,280
for actual shows.
I saw the words pixel mapping
68
00:04:02,280 --> 00:04:06,360
and macros in the press release
and my brain immediately just
69
00:04:06,360 --> 00:04:09,560
like, shut down for a second.
What does that do for creative
70
00:04:09,560 --> 00:04:11,320
teams?
No worries, it's worth
71
00:04:11,320 --> 00:04:13,880
unpacking.
With this many strobe modes and
72
00:04:13,880 --> 00:04:17,079
with pixel mapping, designers
get really granular control.
73
00:04:17,600 --> 00:04:20,760
You can make the fixture do
intricate patterns, sync up with
74
00:04:20,760 --> 00:04:23,480
music, or build custom looks for
different parts of a set.
75
00:04:23,880 --> 00:04:27,040
Think what you see at those big
festivals, say Electric Daisy
76
00:04:27,040 --> 00:04:29,440
Carnival.
Now imagine each strobe can be
77
00:04:29,440 --> 00:04:33,000
programmed for super precise
effects rather than just on off.
78
00:04:33,640 --> 00:04:36,800
Tanya Lassard from ETC said
herself this thing will be a
79
00:04:36,800 --> 00:04:40,000
powerhouse on any gig.
It opens the door for, well,
80
00:04:40,080 --> 00:04:42,640
genuinely new types of looks you
just couldn't get with the old
81
00:04:42,640 --> 00:04:44,440
gear.
That sounds wild.
82
00:04:45,120 --> 00:04:48,240
So we've had like big energetic
strobes at festivals for years,
83
00:04:48,240 --> 00:04:53,200
but is this like a giant leap or
is it just the same but shinier?
84
00:04:54,480 --> 00:04:56,960
Good question.
Honestly, it's a pretty decent
85
00:04:56,960 --> 00:04:59,800
leap.
Older strobes gave you intensity
86
00:05:00,040 --> 00:05:02,360
and maybe some simple chase
effects, but that was it.
87
00:05:03,000 --> 00:05:06,320
Now with pixel mapping and
advanced macros, designers can
88
00:05:06,320 --> 00:05:09,720
do things like chase patterns
across a rig, sink like ripple
89
00:05:09,720 --> 00:05:12,520
effects, or tap into custom
colour mixes.
90
00:05:13,080 --> 00:05:16,360
If you remember our episode on
the Acme Lyra, we saw a similar
91
00:05:16,360 --> 00:05:18,480
trend.
All these fixtures pushing for
92
00:05:18,480 --> 00:05:21,880
more creative control without
sacrificing reliability.
93
00:05:22,480 --> 00:05:24,920
Data Flash 5000 just turns it up
to 11.
94
00:05:25,400 --> 00:05:27,840
So do you think this kind of
control is going to change how
95
00:05:27,840 --> 00:05:30,840
shows are built or is it just
another tool in the kit?
96
00:05:31,480 --> 00:05:35,360
Like, are we going to see entire
show designs restructured around
97
00:05:35,360 --> 00:05:37,680
strobes because they're that
flexible now?
98
00:05:38,440 --> 00:05:41,160
I wouldn't rule it out.
With this much control.
99
00:05:41,440 --> 00:05:45,120
Lighting designers might rethink
how they build moments or anchor
100
00:05:45,120 --> 00:05:48,160
a visual theme around
versatility rather than just
101
00:05:48,160 --> 00:05:50,960
brute force.
We used to be so limited by what
102
00:05:50,960 --> 00:05:54,520
strobes could do, Intensity,
speed, not much else.
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00:05:55,000 --> 00:05:57,960
This opens it up for entire
sequences to be built around
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00:05:57,960 --> 00:05:59,440
effects we used to only dream
of.
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00:06:00,040 --> 00:06:03,520
Obviously it's early days, but
like with the Megapix and
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00:06:03,520 --> 00:06:06,640
Gigapix we reviewed a while
back, it's all trending toward
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00:06:06,640 --> 00:06:08,680
more creative power in a
weatherproof box.
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00:06:09,520 --> 00:06:11,680
All right, that's plenty for my
brain to chew on.
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00:06:11,920 --> 00:06:14,600
There's a lot left to talk about
as these fixtures start rolling
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00:06:14,600 --> 00:06:17,680
into festivals and shows.
Chris, always a pleasure
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00:06:17,680 --> 00:06:21,440
breaking this down with you.
Likewise, Laci can't wait to see
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00:06:21,440 --> 00:06:24,560
what kind of chaos or brilliance
designers unleash with this
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00:06:24,560 --> 00:06:26,600
thing.
Folks, thanks for joining us for
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00:06:26,600 --> 00:06:29,640
another episode of Future Tech
Be sure to tune in next time.
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We'll be back with more gear,
more industry news, and probably
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00:06:33,080 --> 00:06:36,040
more war stories.
Until then, take care and keep
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00:06:36,040 --> 00:06:38,240
lighting it up.
See you soon, Chris.
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00:06:38,240 --> 00:06:42,120
Bye everyone.
Want to scoop on gear?
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Future Tech is here.
Come on, get it.
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00:06:49,640 --> 00:06:57,480
You make the specs so clear.
Oh, La La with music to your
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00:06:57,560 --> 00:06:58,440
ears.
Hey, hey, hey.
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00:06:59,200 --> 00:07:04,040
Let's go.
New gear vibes, new tech jive
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00:07:05,080 --> 00:07:09,000
gear hits unite.
We keep it live.