RGBLAC LED Fresnel Lights 350W Studio Spot Light

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-S2 C sits in places where 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 lime channel keeps fashion and lifestyle segments in clean color, while the CRI above 96 holds skin tones on the anchors without a white-balance pass.

Large theater and opera houses. Deep saturated washes for dramatic effects while mixed-lighting rigs hold accurate skin tones. The 2000K warm floor covers candlelit and period settings that stop at 2700K on a standard bi-color rig. The gel-match presets let a stage manager recall house looks between productions without reprogramming.

Concert touring and festivals. High-output color washes and specials that cut through the LED wall. The lime channel is the difference between a video that grades clean and one that muddies in post. 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-S2 C over the alternatives? Here is what we hear from customers:

The lime channel changes the picture. Most RGB washes mix green and blue for cyan and the result lands dull. The lime channel hits that part of the spectrum directly, the difference between a fashion shoot that grades clean and one that has to be pulled from the raw file.

Warm tones below the bi-color floor. The amber channel reaches down to 2000K, past the 2700K floor of a standard bi-color source. Golden-hour and candlelit looks run from the source, not from a gel pack on the light stand.

Accurate whites. CRI above 96 across 2000K to 10000K. Skin tones hold without a white-balance pass, the reason designers reach for an RGBLAC instead of a cheaper RGBW.

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.

Desks know it. DMX512 with RDM, 6/8/10-channel modes, XLR and Ethernet data, and a powerCON power chain drop into a grandMA3, Avolites or Hog patch without a translator. RDM makes addressing a batch of units one pass.

Q: How good are the whites from a color chip set instead of dedicated white LEDs?
A: CRI above 96 and CQS 96 or higher across the whole 2000K to 10000K range. For mixed work that alternates between a saturated wash and a clean key, the numbers hold up. If the show is mostly white light, a dedicated bi-color unit is the better value; the FEL-S2 C is for jobs where color is the main event.

Q: What does the lime channel actually do?
A: It covers the green-to-blue transition zone where RGBW mixes look muddy. Cyans, teals, mints and pastels render as clean single-hue colors instead of a ratio that shifts with the mix. That is the main reason to step up from an RGBW fixture for fashion or virtual production work.

Q: How far down does the warm range go?
A: To 2000K, below the 2700K floor of a standard bi-color source. That stretch covers candlelit interiors and very warm tungsten matches a 2700K unit only reaches with a gel.

Q: Is the zoom motorized?
A: Standard is the manual 15°–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. PWM runs 1 to 20 kHz and the dimmer is 16-bit, so the light is flicker-free at standard frame rates 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: Three modes: 6-channel (basic RGBLAC plus dimmer), 8-channel (adds CCT and strobe) and 10-channel (full control including dimming curve and effects). RDM is supported in all three. 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 powerCON in/out; a Neutrik TRUE1 version is available at extra cost. The layout daisy-chains across a row of units.

Q: Is the unit IP-rated?
A: IP20, a stage and studio fixture. There is no ingress protection beyond the housing, so washdown or outdoor use is 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, that is about eleven years before lumen depreciation reaches the L70 point.