RGBLAC LED Fresnel Lights 350W Studio Spot Light

The FEL-S2 C is a 350W RGBLAC LED Fresnel built for productions where color variety and accurate whites both matter. Instead of the more common RGBW or RGBA chip set, it pairs red, green, blue and amber with a lime channel. The lime is the differentiator: it fills the cyan and pastel gaps that RGBW washes leave, and the amber channel extends warm tones down to 2000K, below the practical range of a bi-color source. The result is a fixture that can run a vivid wash and a clean CRI-96 white from the same source.

What is under the hood

The light source is a high-output 5-in-1 COB module rated in the 600W class, driven at 350W to sit inside the housing thermal envelope. Color temperature runs from 2000K to 10000K with CRI greater than 96 and CQS 96 or above across the range. Three quick-select preset color temperatures cover the common cases; in between, the CCT is fully variable. Five quick-select gel-matching presets are built in for theatrical looks, plus user slots for house custom colors.

Beam control and dimming

The lens is a Fresnel with a manual zoom from a 15° spot to a 55° flood, set from the rear of the unit. Barn doors and gel frames are standard size. 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 at very high frame rates.

Control and connectivity

The control layout is standard DMX512 with RDM for addressing and diagnostics. Channel options are 6 (basic RGBLAC plus dimmer), 8 (adds CCT and strobe) or 10 (full per-parameter control including dimming curve and effects selection). Standalone programs for color chases, fades, rainbows and fire/police effects are built in, so a unit can run without a desk. Data comes in through 3- or 5-pin XLR or RJ45 Ethernet. Power is a powerCON in/out on the back; a Neutrik TRUE1 version is available. A bright backlit LCD and encoder on the rear panel cover manual setup.

Structure and cooling

The body is precision-machined aluminum in a matte grey finish. The heat sink is sized for the light source, and a temperature-regulated fan keeps the COB 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 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

Color washes and specials in large theater and opera, where deep saturated hues and accurate skin tones share the same rig. Concert touring, where the lime channel holds cyans and pastels that RGBW units blur. Virtual production stages, where a CRI above 96 and a wide CCT range matter for matching the LED wall. Broadcast and live events that need brand-accurate color with a clean white key light. And in rental houses, where one RGBLAC unit covers jobs that used to need separate tungsten, RGB wash and bi-color fixtures on the truck.

Certifications and warranty

The FEL-S2 C 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 Neutrik TRUE1 power input replaces the standard powerCON socket for installations that spec the original. Standard 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-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.

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.