Kit de luminarias de estudio Fresnel LED bicolor de 200 W

The FEL-S1 B is a 200W bi-color LED Fresnel built for film, TV, photography and broadcast sets that are replacing tungsten spotlights. It gives a soft-edged Fresnel beam with top-tier color quality at roughly one-fifth the power draw of a 1kW open-face, and with far less forward heat. That matters for talent comfort and for the air-conditioning bill.

What is under the hood

At the heart is a 2-in-1 COB LED: one chip running warm, one running cool, blended through the Fresnel lens. The 2700K to 6400K range matches tungsten and daylight without gels. Three quick-select preset color temperatures cover the common cases; in between, the CCT is fully variable. Color rendering is CRI greater than 97 and CQS 96 or above across the whole range. Skin tones and costume colors hold up to camera without heavy post-production correction.

Beam control and dimming

The lens is a Fresnel with a manual zoom from a 10° spot to a 50° flood, set from the rear of the unit. A motorized auto-zoom controlled by DMX is available as a factory option. Dimming runs through 1 to 20 kHz PWM with 16-bit resolution; four selectable dimming curves let you match the response to what you are shooting. The result is flicker-free operation even at very high frame rates.

Control and connectivity

The control layout is standard DMX512 with RDM for addressing and diagnostics. Channel options are 2 (CCT and dimmer), 3 (adds strobe) or 6. Standalone programs for TV flicker, paparazzi, lightning and candle effects are built in, so a unit can run effects without a desk. Manual control is available on the rear panel. Data comes in through 3- or 5-pin XLR or RJ45 Ethernet. Power is a Seetronic powerCON-compatible in/out on the back; a true1 Neutrik option is available for installations that require it. Daisy-chaining across a row of fixtures is straightforward.

Structure and cooling

The body is precision-machined aluminum in a matte grey finish. The heat sink is sized for the 200W light source, and a temperature-regulated fan keeps the LED at its rated temperature. Measured fan noise stays at or below 32 dB at one meter, which is quiet enough for classical theater and for picking up dialogue close to the light. The unit is rated IP20: a stage and studio fixture, not a washdown or outdoor light. Dimensions are 481 × 324 × 444 mm and the weight is about 9.5 kg, so it rigs on a junior stand or a pipe grid without special rigging. LED life is 50,000 hours.

Where it earns its keep

Key, fill and back light in multi-camera broadcast studios that need matching color across rigs. Specials and front light in professional theater, where the quiet fan and cool beam let the light sit close to performers. Narrative film sets that want a traditional Fresnel look without a hot tungsten unit on the stage floor. LED volume and virtual production stages, where a CRI above 97 and an accurate CCT matter for matching the LED wall. And in rental houses, where a 50,000-hour LED source and fan-only maintenance beat the lamp-change cycle of the tungsten inventory it replaces.

Certifications and warranty

The FEL-S1 B ships with SAA, CE and RoHS certifications. The SAA mark covers Australian and New Zealand market requirements. The warranty period is three to five years depending on region and distributor terms.

Optional upgrades and accessories

A motorized auto-zoom, addressable over DMX, replaces the manual rear zoom wheel and covers shows where the beam size changes between scenes without a lane op. A true1 Neutrik power input replaces the Seetronic-compatible socket for installations that spec the original. Standard 8-leaf barn doors and gel frames are not included; most rental parks already stock them, but for a single unit pulled off a shelf, budget a set with the first order so the rig is complete on arrival.

Why do buyers pick the FEL-S1 B over the alternatives? Here is what we hear from customers:

Tungsten output at LED power. 200W gives the beam of a 1kW tungsten open-face at roughly one-fifth the draw. For sets on a tight circuit, that is the whole argument. No forward heat means the light sits close to talent and mics without a hot-air wash.

Camera-ready color. CRI above 97 and CQS 96 or higher across 2700K to 6400K. Skin tones hold and a post-production pass is not needed to fix white balance.

High-frame-rate friendly. PWM runs 1 to 20 kHz with 16-bit resolution. When a show spec calls for 120 fps or slower motion, the light does not flicker.

Quiet on stage. The fan runs at 32 dB or below at one meter. Classical theater and dialogue-heavy scenes do not need a hush; the unit simply runs near open mics without a hum in the recording.

Desks know it. DMX512 with RDM, 2/3/6-channel modes, XLR and Ethernet data, and a powerCON-compatible power chain drop into a grandMA3, Avolites or Hog patch without a translator. RDM makes addressing a batch of units one pass instead of one-by-one.

The FEL-S1 B sits in places where a soft-edged Fresnel beam and accurate color are the point, not an afterthought.

Television and broadcast studios. Key, fill and back light in multi-camera sets where color across rigs has to match. The bi-color source shifts from tungsten to daylight between takes without a gel change, and the CRI above 97 keeps skin tones inside the house standard.

Professional theater and opera. Specials and front light in classical work where a hot 1kW tungsten would force the operator to stand on a cold floor. The cool beam and 32 dB fan let the unit sit closer to the performer and closer to the audience than a tungsten special can.

Film and TV drama. The Fresnel beam shape is what a cinematographer expects when they call for a traditional beam; the LED source keeps the heat off the set and the flicker floor low for 120 fps and slow motion. Rental houses keep a few in the truck because the soft-edge look is hard to fake with an open-face PAR or a LED wash.

Virtual and LED-wall stages. Accurate CCT and a CRI above 97 matter when the light has to match what an LED wall is throwing back into the set. The unit does not color-shift when it mixes with the wall, so the camera does not have to either.

FEL-S1 B 200W Bi-Color LED Fresnel vs Traditional 1kW–2kW Tungsten Fresnel – Side-by-Side Comparison

FEL-S1 B delivers the same beloved soft-edged Fresnel look that cinematographers have used for decades, but eliminates nearly every practical drawback of tungsten: heat, power draw, short lamp life, color shift when dimming, and constant maintenance. For any production that shoots more than a few days a year, the LED version pays for itself quickly while giving superior creative flexibility and on-set comfort. The only scenarios where traditional tungsten still wins are ultra-low-budget shoots that already own the lamps and need absolute dead silence with no fan at all. In every other respect—especially professional film, TV, streaming, and rental houses—the FEL-S1 B is the clear modern replacement.