Bi Color LED Fresnel 300W 350W Studio Light Color Temperature CCT

The FEL-S2 B is a 350W bi-color LED Fresnel built for stages and studios that are replacing 2kW tungsten spotlights. It gives a soft-edged Fresnel beam with top-tier color quality at roughly one-fifth the power draw and with far less forward heat. That matters for talent comfort and for the HVAC 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.

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. Barn doors and gel frames are standard 8-leaf / 4-gauge size, so most rental parks already own the accessories. 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. 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 oversized for the 350W 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 fixture, not a washdown or outdoor light. Dimensions are 481 × 324 × 444 mm and the weight is about 11 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

Broadcast key, fill and back light in multi-camera 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. Touring and festival work where generator load is a real budget line. Narrative film sets that want a traditional Fresnel look without a 2kW 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 tube-change cycle of the tungsten inventory it replaces.

Certifications and warranty

The FEL-S2 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. A hard case and a road case are available as accessories at order time, sized for the 481 × 324 × 444 mm body. Standard 8-leaf barn doors and 4-gauge 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-S2 B over the alternatives? Here is what we hear from customers:

Tungsten output at LED power. 350W gives the beam of a 2kW tungsten Fresnel at roughly one-fifth the draw. For stages on a small generator or 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-S2 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 2kW 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.

Concert touring and festivals. 350W of bi-color output holds its line against a wash or an LED wall where a 1kW tungsten would blow a circuit. The smaller power draw shows up in the generator spec and the truck load.

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.