From the fast-paced energy of television sets and docudramas to the silent stillness behind a camera viewfinder, Alan Ang from Wesley Methodist Church has spent decades capturing the world through a lens.
At 57, the seasoned director, director of photography (DOP), editor and adjunct instructor has built an impressive portfolio spanning corporate videos, commercials, reality shows, documentaries, local television dramas and international productions for industry giants such as HBO, National Geographic and Amazon Prime.
He has also taught at NTU’s Wee Kim Wee School of Communication and Information, NAFA (Nanyang Academy of Fine Arts), ArtFusion Media School and St Andrew’s Secondary School at various points over more than a decade.
The list of productions Alan has worked on reads like a filmmaker’s dream and would merit recognition by any industry standard: corporate videos for major banks, schools and government ministries; high-profile commercials for brands such as Cirque du Soleil, Coca-Cola, BYD, Singtel, DBS and OSIM; hit reality television franchises including The Amazing Race (Finland) and MasterChef Singapore; and acclaimed local drama series such as Last Madame: Sisters of the Night, Meet the MP and I’m Madam!
He has also filmed a wide range of documentary features for CNA and National Geographic, while lending his talents to global productions such as HBO’s Westworld, Amazon Prime’s Tears of the Dragon and HGTV’s Come On In!
Yet, for Alan, husband to Daphne, a junior college geography teacher, and father to 23-year-old Asher, a Wesley Youth Ministry leader, his career is far more than an artistic pursuit. It is a canvas where God’s providence, protection and peace continually unfold.
EARLY ROOTS AND A FAITH-FILLED CHILDHOOD
Born in Singapore, Alan spent his early childhood in Penang, Malaysia, where his parents ran a business.
His formative years were deeply connected to the church his father helped build.
“Wesley Methodist Church in Butterworth, Penang, was my home during my childhood,” Alan recalls fondly.
“I was shaped in my faith by witnessing my father’s faithful and steadfast service there. He would take me along to his LCEC (Local Church Executive Committee) meetings while I played quietly on my own at the side of the room, waiting for them to finish.”
Returning to Singapore for primary school, Alan attended Chen Li Presbyterian Church and Christ Methodist Church before finding his long-term spiritual home at Wesley Methodist Church while studying at Ngee Ann Polytechnic.
He has since called Wesley home for more than 30 years.
Though he initially completed his A-Levels as a science student at Victoria Junior College to fulfil his parents’ wishes, Alan’s heart was drawn to visual storytelling.
“My passion was always in the creative arts, especially photography and videography,” he shares. “As a young boy, I used to hold up my father’s SLR camera, look through the lens and imagine it was a video camera. I loved looking through the viewfinder and seeing the world transformed into a story waiting to be told.”
Following that calling, Alan pursued Mass Communication at Ngee Ann Polytechnic before later completing his degree at the University of Canberra in Australia.
“As a young boy, I used to hold up my father’s SLR camera, look through the lens and imagine it was a video camera. I loved looking through the viewfinder and seeing the world transformed into a story waiting to be told.”
STEPPING STONES AND DIVINE DIRECTIONS
God’s timing often works quietly through ordinary encounters.
Before university, Alan worked as a sales assistant at The Mac Shop in the iconic old Funan Centre.
Spotting his potential, his manager encouraged him to get in touch after completing his studies.
True to his word, when Alan returned from Australia, his former boss offered him a role pitching corporate videos, websites, short films and interactive kiosks.
“Those were the early days of personal computing and digital media, and videography was in great demand,” Alan shares.
That stepping stone propelled him into a full-fledged production career.
“God’s plans are always best,” Alan reflects. “I love films, especially thrillers and epic movies such as Inception and The Lord of the Rings. By God’s grace, although I am largely self-taught in videography and editing techniques, I set benchmarks for myself to grow, gradually reaching key milestones step by step.”
HIGH STAKES BEHIND THE LENS
What viewers eventually see on screen, a smooth, seamless 30-second scene on television, is the culmination of intense physical labour and careful choreography behind the camera.
A single production crew can easily comprise 25 to 50 people.
The team may include producers, directors and assistant directors, personal assistants, camera, sound, grip and lighting crews, stunt directors and their teams, art directors and assistants, props teams and wardrobe and make-up teams.
Everyone works in close synchronisation. Every angle requires heavy cinema cameras to be carried, large lighting setups to be rigged, cables to be run and scenes to be reset dozens of times.
For Alan, an avid athlete who enjoys rugby, cycling and Krav Maga, physical fitness is essential for enduring long, gruelling shoot days, and he is thankful to God for sustaining him.
Despite strict industry safety measures, Alan’s role as a videographer inherently involves certain hazards.
“In my job, I have to carry heavy equipment for long hours. Sometimes I have to film intense fire scenes, and other times I have to hang precariously at great heights while holding a heavy rig steady,” Alan explains.
His physical resilience and composure were put to the test during a shoot at Dairy Farm Road, where he was tasked with capturing a close-up shot of a rock climber high above the ground.
“I had to scale a three-storey cliff to get a specific shot,” Alan shares. “While I had some climbing experience, I certainly wasn’t an expert. It was a calculated risk, and I took every precaution to stay safe.”
“I said a quick prayer, called out to God to keep an eye on me, took a deep breath, strapped on a harness and took on the job so as not to delay the schedule.”
“In my job, I have to carry heavy equipment for long hours. Sometimes I have to film intense fire scenes, and other times I have to hang precariously at great heights while holding a heavy rig steady.”
FAITH OVER FEAR ON DARK SETS
Beyond physical exertion, the film industry presents subtle psychological and spiritual challenges, particularly during late-night shoots in abandoned buildings and isolated locations. Navigating the dark atmosphere of such sets, Alan remains firmly anchored in his faith rather than fear.
“In the film and television drama industry, crews occasionally encounter eerie atmospheres and unexplained occurrences,” Alan shares.
During one late-night production in an old shophouse in the eastern part of Singapore, Alan stepped in for a night to cover for a fellow DOP.
Before the shoot, Alan and his team had been warned by a colleague who said he had dreamt of an angry male entity warning the crew not to enter the top floor and attic.
“The whole house already had a creepy atmosphere as we filmed through the night,” Alan recalls.
“Because of my camera position and the tight spaces with little room to move, I had to be left completely alone in dark corners while the rest of the crew stepped out to prepare equipment and props. That’s when I had to muster faith and trust that I was under His protection, and remember that my Heavenly Father is all-powerful.”
A few days after Alan completed his stint on that set, he learnt that an art assistant working in the same shophouse had fallen through the attic to the floor below while rigging equipment.
During a location recce at another site in the southern part of Singapore, Alan led his crew through the annex of an old house for a briefing. Midway through the briefing, a crew member who was usually the most talkative suddenly fell silent.
“He later shared with me that he saw a blurred figure sitting on a steel swing right next to us,” Alan recalls.
“Later, when we returned for the actual shoot, he said he noticed similar figures watching the crew as we worked inside the main house.”
Whenever a sense of fear or unease arises on set, Alan anchors himself firmly in his faith rather than in fear.
“As a Christian, I am sanctified and covered by the blood of Christ, and I can call on Him anytime, anywhere,” Alan affirms. “When we experience unease on set, I try to bring calm and reassurance to my team, reminding them to stay focused and complete the task with peace of mind.”
Respecting industry traditions while standing firm in his convictions is another balance Alan navigates with grace.
Before filming begins on major media productions in Asia, crews typically hold a traditional lensing ceremony (拜神开镜仪式) to pray for a smooth shoot and protection from accidents. The ceremony involves setting up a central altar with food offerings and incense, where the crew gathers to pray for safety.
While this is a common industry practice locally, Alan approaches the occasion with clear personal boundaries. When the crew gathers around the altar, he steps aside to pray to Christ instead.
“They understand that, as a Christian, I do not hold joss sticks or participate in the ritual,” he explains. “I simply step back, remain respectful and pray quietly for God’s guidance and protection over everyone on set.”
“As a Christian, I am sanctified and covered by the blood of Christ, and I can call on Him anytime, anywhere, so when we experience unease on set, I try to bring calm and reassurance to my team, reminding them to stay focused and complete the task with peace of mind.”
SERVING THE KINGDOM THROUGH HIS SKILLS AND EXPERIENCES
Even as his professional career flourished, Alan consistently poured his skills back into the church family.
In the early 2000s, he assisted Wesley Communications by producing weekly announcements for the television screens placed around the church atriums, a precursor to today’s digital media ministry.
His heart for community also led him to serve as a volunteer with Skiers’ Paradise under the Christian Outreach & Social Concerns (COSC) Ministry, an outreach initiative that utilised two boats docked in Sembawang to connect with the local community.
Alan served on the Skiers’ Paradise committee for a decade, including two years as chairperson. “It introduced me to a wonderful, hands-on way to befriend others and do outreach,” he reflects.
More recently, Alan contributed his production expertise by filming and editing testimonial videos for Wesley’s Our Stories, His Glory 2 initiative in 2025, as well as a commemorative video celebrating the 90th anniversary of Wesley TIDINGS in 2026.
His lens has also crossed borders for kingdom work. Alan produced Fields of Grace, a corporate video for the Methodist Missions Society (MMS), which was filmed across Cambodia, Thailand and Vietnam in 2000.
“It gave me the opportunity to visit and learn more deeply about our various Methodist missions across the region,” he says.
BEING A LIGHT ON HIGH-STRESS SETS
In a fast-paced secular industry where Christians are often in the minority, film sets can easily become cauldrons of sleep deprivation, tight budgets, differing artistic visions and technical challenges.
Alan views his presence on set as a distinct calling to reflect Christ’s peace.
“Creative people want to produce their best work and can become perfectionists. Because everyone is striving for excellence, tensions can run high,” Alan explains. “I constantly remind myself to be patient, kind and to give people the benefit of the doubt.”
Living out those values has not always been easy, but Alan takes a long-term view of Christian witness and integrity.
“Sometimes, being a beacon in a secular world means making choices at work that cause you to be misunderstood or appear foolish in the eyes of others,” Alan reflects.
“But I am comforted that I can come home, look in the mirror and know God is pleased that I trusted Him. Over the years, as I’ve practised His patience and graciousness, I’ve watched God work in His own time to turn those misunderstood situations around,” he adds.
Alan’s calm demeanour under pressure has not gone unnoticed.
One long-time collaborator affectionately nicknamed him “Mr Hallelujah”, while others frequently marvel at his steady temperament.
“In my line of work, it’s a true compliment when colleagues say, ‘Bro, you are so chill,’ because being calm on set can be incredibly rare,” Alan says.
“Creative people want to produce their best work and can become perfectionists. Because everyone is striving for excellence, tensions can run high, so I constantly remind myself to be patient, kind and to give people the benefit of the doubt.”
FOCUSING THE LENS ON THINGS ABOVE
For Alan, videography is ultimately about more than composing frames or adjusting exposure. It is an opportunity to reflect the light of Christ to people who might never step inside a church building.
“Throughout the years, I have tried to put Christ at the forefront of my work and life. It is so important to be a peacemaker in an industry that can be highly charged,” he says.
“I may not always have the opportunity to preach the gospel verbally on set, but I can live out the teachings of Christ so that people may see Him in me.”
He offers a quiet spiritual metaphor drawn from his life behind the viewfinder: “In life, what we choose to focus our lens on determines how we experience reality. Colossians 3:2 reminds us to set our minds on things above, not on earthly things,” he adds.
A cinematographer spends a lifetime looking through a viewfinder, deciding what to bring into sharp focus and what to blur into the background.
“I may not always have the opportunity to preach the gospel verbally on set, but I can live out the teachings of Christ so that people may see Him in me.”
For Alan Ang, faith works in much the same way. When you focus your life on Christ, the noise, pressure and distractions of the world naturally fall out of focus, leaving only His peace, presence and grace.
(Photos courtesy of Alan Ang)
Read also: When Ordinary Faithfulness Becomes a Calling
