LED Fresnel RGBW Lights 200W Spotlight for Studio Lighting

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 C sits in places where full color variety and accurate whites both have to come from the same fixture.

Television and broadcast studios. News sets, talk shows and sitcoms where a color wash and a clean key share the same rig. The white channel holds skin tones on the anchors without a white-balance pass, while the RGB channels keep fashion and lifestyle segments in clean color.

Professional theater and opera. Saturated color washes and specials 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 than a tungsten special can. The gel-match presets let a stage manager recall house looks between productions without reprogramming.

Concert touring and festivals. High-output color washes and effects that cut through an LED wall. For open-air work, plan on a rated cover: the IP20 fixture is not for the elements.

Film and TV drama. Creative color work in-camera combined with tunable whites for key and fill. The same unit that runs a saturated 3200K tungsten match in one scene runs a clean 5600K daylight key in the next, no gel change between takes.

Houses of worship and conference centers. Dynamic color for holidays and events with clean speech-intelligible whites on the podium. The quiet fan keeps it off the ambient track during recorded services.

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

The white channel is the difference. Pure RGB mixing shifts hue at low dimming levels, which shows up on camera as a color cast. The dedicated white channel holds CRI 97 whites across the full dimming range, which is the reason TV and film studios spec it for key light work.

Candle-warm to crisp daylight. The 1800K to 8000K range covers the full practical spectrum for interior sets. Golden-hour and 5600K daylight keys run from the source, not from a gel pack.

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 runs near open mics without a hum.

Desks know it. DMX512 with RDM, 6 or 10-channel modes, XLR and Ethernet data, and a powerCON power chain drop into a grandMA3, Avolites or Hog patch without a translator.

Q: How good are the whites from an RGBW source instead of a dedicated bi-color fixture?
A: CRI 97 and CQS 96 or higher across the whole 1800K to 8000K range. For mixed work that alternates between a saturated color wash and a clean white key, the numbers hold up. If the show is mostly white light with only occasional color, a dedicated bi-color fixture is the better value; the FEL-S1 C is for jobs where color and white share the rig.

Q: What does the white channel actually do that pure RGB cannot?
A: It produces clean, accurate white light at every dimming level without the hue shift that happens when you mix red, green and blue at low power. That is the main reason to step up from an RGB fixture for broadcast key light work. Pastel and mid-tone colors still come from the RGB channels; the white channel handles the whites.

Q: How far does the warm range go?
A: To 1800K, below the 2700K floor of a standard bi-color source. That stretch covers candlelit interiors and very warm tungsten matches that a 2700K unit only reaches with a gel.

Q: Is the zoom motorized?
A: Standard is the manual 15° to 55° zoom set from the rear. A DMX-addressable motorized auto-zoom is a factory option; order it in if the beam size needs to change mid-scene.

Q: Will it flicker on a high-speed camera?
A: No. The PWM runs 1 to 20 kHz and the dimmer is 16-bit, so the light is flicker-free at 24, 25 and 30 fps and at 120 fps. The four dimming curves let you match the response to the shutter angle.

Q: What are the DMX channel options?
A: Two modes: 6-channel (basic RGBW plus dimmer and strobe) and 10-channel (adds 16-bit precision, macros and curve selection). RDM is supported in both. Built-in gel-match presets and color 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; a Neutrik TRUE1 version is available at extra cost. The layout daisy-chains across a row of units.

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

FEL-S1 C 200W RGBW LED Fresnel vs Traditional 1kW–2kW Tungsten Fresnel – Side-by-Side Comparison

FEL-S1 C 200W RGBW LED Fresnel delivers the same beloved soft-edge Fresnel look as a traditional 1–2kW tungsten unit, but with vastly superior color capabilities (full RGBW + CRI 97 whites), instant color changes, zero heat on talent, flicker-free dimming, 90% lower power consumption, and a 50,000-hour lifespan. While tungsten remains slightly cheaper upfront and completely silent, the LED wins decisively in versatility, running costs, safety, and creative freedom. For any modern studio, theater, film set, or event that values speed, color power, and long-term economy, the FEL-S1 C is the clear upgrade and future-proof replacement.