Bi Color LED Fresnel 200W Studio Light Fixtures Kit

Quality Assurance: Rigorous testing and premium components ensure long-lasting performance.

Expert Support: Our engineering team provides full technical support for your projects.

Fast Delivery: Global logistics network ensures your products arrive on time.

Is this dimmable? Yes, compatible with most PWM dimmers.

Can it be cut? Yes, cuttable every 50mm.

What is the warranty period? We offer a standard 3-year warranty on all our premium LED lighting systems.

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.

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.

Q: How close is the FEL-S1 B output to a 1kW tungsten Fresnel?
A: At full power the beam is a little brighter in daylight mode and a little dimmer in tungsten mode than a 1kW open-face Fresnel. The 200W LED source does the job of a 1kW lamp with roughly one-fifth the power draw and no forward heat.

Q: Can the light be used close to performers and microphones?
A: Yes. The fan runs at 32 dB or less at one meter and the cool LED source produces very little forward heat. That is why the unit shows up in classical theater and dialogue-heavy film work: it sits in a tight position without a hot-air wash and without a fan noise floor the mix has to ride over.

Q: Is the zoom motorized?
A: Standard is the manual 10°–50° zoom set from the rear. A DMX-addressable motorized auto-zoom is available as a factory option; order it in if a show needs the beam size to change during a scene.

Q: Will it flicker on a high-speed camera?
A: No. The PWM runs from 1 to 20 kHz and the dimmer is 16-bit. That combination is flicker-free at 24/25/30 fps and at higher frame rates. For 120 fps or slow-motion work, the four dimming curves let you pick the response that matches the shutter angle.

Q: What are the DMX channel options?
A: Three modes: 2-channel (CCT and dimmer), 3-channel (adds strobe) and 6-channel (full per-parameter control including dimming curve and effects selection). RDM is supported in all three for addressing and batch configuration. Built-in TV flicker, paparazzi, lightning and candle effects run without a desk.

Q: What connectors does the unit have?
A: Data is 3- or 5-pin XLR plus RJ45 Ethernet. Power is a Seetronic powerCON-compatible in/out on the rear panel; a true1 Neutrik version is available at extra cost. The layout daisy-chains across a row of units without a star pattern.

Q: Is the unit IP-rated?
A: IP20. It is a stage and studio fixture. There is no ingress protection beyond the housing; wash it down or use it outdoors and you are past the rating.

Q: How long does the LED source last?
A: 50,000 hours, per the manufacturer spec. At roughly 12 hours a day on a touring schedule, that is about eleven years of operation before lumen depreciation reaches the L70 point.

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.