ARRI LED technology


TV-Bay Magazine
Read ezine online
With a growing range of LED products, ARRI is providing industry professionals with all of the benefits of using a Low Energy Lighting source with familiar characteristics.
The L-Series LED Fresnel fixtures are so close to their conventional equivalents that they create a like-for-like replacement of traditional Fresnels with LED-based light engines.
L-Series, consisting of three fixtures; Tungsten only, Daylight only and Tuneable White which can also control RGB Colour mixes. The initial size, L7 (7" fresnel lens) is now being delivered to major studios and productions across the globe.
Further additions to the L-series will be announced during 2012, resulting in a unique family of LED fresnel products.
One major benefit to lighting technicians and designers, is the fact that both conventional ARRI Fresnels and now with L-series, offer continuous focus adjustment from spot to flood providing a smooth even light field.
Controllability is crucial and the L-Series provide the same ability to cut and shape with barndoors and flags expected from conventional Fresnels as well as providing the same single shadow properties to deliver natural results.
True-to-life colour rendition, previously achievable only with full-spectrum tungsten sources, is a hallmark of the L-Series. Both Tungsten and Daylight only versions, reproduce excellent colour results (CRI >90), providing greater colour latitude.
With the L7-C, tuneable white light can be adjusted from 2800k to 10,000k to suit your lighting set up with fine adjustment of green/magenta shift for different skin tones, camera sensors and mixed-light environments. The L7-C also has a mode for controlling RGB full gamut colour mixing, with fine control of hue and saturation.
Whereas other LED fixtures have taken forms that demand sacrifices in the quality of lighting designs, the L-Series is unique in fitting perfectly into established working practices. Lighting designers need not adapt their creative techniques, nor will studios have to change operating procedures; conventional Fresnels can be exchanged for L-Series on a like-for-like basis, achieving substantial and immediate cost savings with minimal disruption.
When using L-Series for the first time, you will automatically recognise the familiar ARRI style. Traditional focus knobs provide the precise adjustment and rapid flood-to-spot that users enjoy from manual, mechanical control. The ARRI sliding stirrup enables precise adjustment of the centre of gravity, to compensate for front-end accessories or reduce hanging height.
A slim profile extruded aluminium stirrup provides high strength with minimum added weight and the disc brake tilt lock provides extremely secure locking, ensuring the fixtures will stay where you put them. The optional pole-operated version allows pan, tilt and focus from the floor.
For broadcast studios, remote fixture control is of paramount importance, and all functions of the L7 are controllable through DMX. The L7 is also fully RDM compatible, providing feedback and reporting of parameters including system status; hours on the light engine; calibration data from the internal colour sensor; and DMX address. For location applications, the L7-T and L7-D include an on-board dimmer control while the L7-C offers the ability to access all lamphead functions manually
Lighting crew on location will love the versatility they can achieve in small to medium-size packages. Twelve ARRI L7 Fresnels can be run off a single 13 A, 230 V outlet, as opposed to three 1000 W or four 650 W tungsten Fresnels..
With the pace at which LED efficiency is improving, the L7 is an expansible platform designed to adapt with the latest enhancements in LED performance. The light engine is fully upgradeable to take advantage of technology advances as they happen. The firmware is also upgradeable through the lamphead’s USB port, with the potential to accommodate future control protocols and other system enhancements as they become available. In addition, future accessories are planned to bring new functionality to the platform, further expanding the L-Series versatility.
Further information and brochures are available from either ARRI directly or log onto a new micro web site, www.arri.com/l-series
For location and in-car production, ARRI also manufacture LoCaster LED panels.
ARRI's range of LED panels utilizes a special optical design and a dedicated LED arrangement presenting an efficient, high output solution, at an attractive price level.
What truly makes the ARRI units unique is the single shadow, single source qualities, needed to enable complete barndoor control.
An on-board controller allows adjustable colour temperature control, full dimming 0-100% and green/magenta shift control are all included as standard. Running at 35w and the ability to run from 11-36VDC via a standard 4 pin XLR connector, or simply via a mains adapter means that the LoCaster Panel is the perfect filming companion.
Weighing in at less than 1kg, no internal fan and many additional accessories including a mounting bracket to join multiple units together make the LoCaster easily portable for location applications.
BroadCaster version is available when DMX control is required only. ARRI BroadCaster panels provide the same features as with LoCaster, but control remotely over 3 channels of DMX. 1) intensity 2) colour temperature 3) +/- green adjustment.
Broadcaster panels run via Power/DMX power supply, which in turn can support up to 4 units per output (up to 8 per power supply).

Tags: arri | led | iss062 | fresnel | l-series | tungsten | daylight | lighting | l7-c | dmx control | N/A
Contributing Author N/A

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Jonathan Harrison interviews Dedo Weigert with the DEDOLIGHT DLED3

    Jonathan Harrison interviews Dedo Weigert with the DEDOLIGHT DLED3

  • Jonathan Harrison at BVE North 2011

    Jonathan Harrison at BVE North 2011

  • Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

    Lighting cameraman Jonathan Harrison shows the Celeb and Tegra at IBC 2013

  • Jonathan Harrison at BVE North 2012

    Jonathan Harrison at BVE North 2012

  • Simeon Quarrie shows G-Technology at BVE 2016

    Simeon Quarrie shows G-Technology at BVE 2016

  • BeyondHD - Drones at BVE 2015

    BeyondHD - Drones at BVE 2015

  • Featured Clip: Geoff Boyle comments on NAB 2012

    Featured Clip: Geoff Boyle comments on NAB 2012

  • Cooke at IBC2011

    Cooke at IBC2011

  • Root6 at IBC2011

    Root6 at IBC2011

  • Codex at IBC2011

    Codex at IBC2011

  • Zylight LED Fresnel at IBC 2013

    Zylight LED Fresnel at IBC 2013

  • Zylight F8 LED Fresnel at NAB 2013

    Zylight F8 LED Fresnel at NAB 2013

  • FilmGear LED lighting at IBC 2015

    FilmGear LED lighting at IBC 2015

  • LiteGear LED LiteMat at IBC 2015

    LiteGear LED LiteMat at IBC 2015

  • Dedolight DLED3 shown at IBC 2018

    Dedolight DLED3 shown at IBC 2018

  • Dedolight show the LED Raptor Bicolor at IBC 2018

    Dedolight show the LED Raptor Bicolor at IBC 2018

  • Rotolight Anova Pro 2 LED at NAB 2018

    Rotolight Anova Pro 2 LED at NAB 2018

  • Force 7 LED LEKO light from BBS at IBC 2017

    Force 7 LED LEKO light from BBS at IBC 2017

  • Kino Flo Celeb 850 and Freestyle LED lights at IBC 2017

    Kino Flo Celeb 850 and Freestyle LED lights at IBC 2017

  • PhotonBeard - LED Redhead - at BVE 2015

    PhotonBeard - LED Redhead - at BVE 2015

  • Zylight Fresnel updates at IBC 2014

    Zylight Fresnel updates at IBC 2014

  • Zylight at IBC 2015

    Zylight at IBC 2015

  • Zylight on BroadcastShow LIVE at IBC 2013

    Zylight on BroadcastShow LIVE at IBC 2013

  • Photon Beard on BroadcastShow LIVE at IBC 2013

    Photon Beard on BroadcastShow LIVE at IBC 2013

  • Photon Beard at IBC 2015

    Photon Beard at IBC 2015

  • Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

    Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

  • Rotolight Anova Pro 2 shown at BVE 2018

    Rotolight Anova Pro 2 shown at BVE 2018

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • Cirrolite and Kino Flo at BVE 2017

    Cirrolite and Kino Flo at BVE 2017

  • Cineo HS2 at IBC 2015

    Cineo HS2 at IBC 2015

  • LiteGear at IBC 2015

    LiteGear at IBC 2015

  • Cineo Matchbox at IBC 2015

    Cineo Matchbox at IBC 2015

  • Litepanels at BVE 2015

    Litepanels at BVE 2015

  • LCA - LITEGEAR at BVE 2015

    LCA - LITEGEAR at BVE 2015

  • Rosco at BVE 2015

    Rosco at BVE 2015

  • Photon Beard Platinum Blonde at IBC 2014

    Photon Beard Platinum Blonde at IBC 2014

  • Photon Beard Photon Beam at IBC 2014

    Photon Beard Photon Beam at IBC 2014

  • AC Entertainment Technologies at BVE 2013

    AC Entertainment Technologies at BVE 2013

  • Litepanels at BVE 2012

    Litepanels at BVE 2012

  • Litepanels at IBC2011

    Litepanels at IBC2011

  • Gekko at IBC2011

    Gekko at IBC2011

  • KitPlus filming rig used at BVE 2017

    KitPlus filming rig used at BVE 2017

  • Filming kit review from NAB

    Filming kit review from NAB

  • Kino Flo at NAB 2016

    Kino Flo at NAB 2016

  • Dedolight at NAB 2016

    Dedolight at NAB 2016

  • Dedolight at IBC 2015

    Dedolight at IBC 2015

  • Kino Flo Select at IBC 2015

    Kino Flo Select at IBC 2015

  • LCA - Inteca products at BVE 2015

    LCA - Inteca products at BVE 2015

  • Sonifex at BVE 2012

    Sonifex at BVE 2012

  • Pixelution at BVE North 2011

    Pixelution at BVE North 2011

  • Photon Beard at IBC2011

    Photon Beard at IBC2011

  • Litepanels at NAB 2012

    Litepanels at NAB 2012

  • Ianiro at BVE North 2011

    Ianiro at BVE North 2011

  • Area 48 Color and more from BBS Lighting at IBC 2018

    Area 48 Color and more from BBS Lighting at IBC 2018

  • BBS Lighting Force 7 at NAB 2018

    BBS Lighting Force 7 at NAB 2018

  • DOP Choice Lighting Bracket and Snapbox at IBC 2017

    DOP Choice Lighting Bracket and Snapbox at IBC 2017

  • Hive Lighting at IBC 2015

    Hive Lighting at IBC 2015

  • LSC Lighting at IBC 2015

    LSC Lighting at IBC 2015

  • LCA - Snapgrid lighting control - BVE 2015

    LCA - Snapgrid lighting control - BVE 2015

  • Hive Lighting Wasp Plasma Par at IBC 2014

    Hive Lighting Wasp Plasma Par at IBC 2014

  • Photon Beard at IBC 2016

    Photon Beard at IBC 2016

  • Projects Department on BroadcastShow LIVE at IBC

    Projects Department on BroadcastShow LIVE at IBC

  • Ianiro on BroadcastShow Tour May 2013

    Ianiro on BroadcastShow Tour May 2013

  • Photon Beard: Cyc Hood at NAB 2013

    Photon Beard: Cyc Hood at NAB 2013

  • Photon Beard: Space Light at NAB 2013

    Photon Beard: Space Light at NAB 2013

  • Photon Beard: Square One Light at NAB 2013

    Photon Beard: Square One Light at NAB 2013

  • Rotolight at NAB 2012

    Rotolight at NAB 2012

  • Rotolight and TNP at BVE 2012

    Rotolight and TNP at BVE 2012

  • Datavision at BVE 2012

    Datavision at BVE 2012

  • Rotolight at ProVideo2011

    Rotolight at ProVideo2011

  • Flaghead Photographic at ProVideo2011

    Flaghead Photographic at ProVideo2011

  • Cirrolite at BVE North 2011

    Cirrolite at BVE North 2011

  • PAG at IBC2011

    PAG at IBC2011

  • IDX at IBC2011

    IDX at IBC2011


Related Shows
  • LED Lighting with Den Lennie at BVE

    LED Lighting with Den Lennie at BVE


Articles
Taking on a self employed placement year
Joshua Round The idea of being self-employed or freelancing has always been somewhat terrifying for me. There is a level of uncertainty and responsibility that comes with the freedom of being self-employed, the likes of which makes me wonder why I chose to give it a go for my placement year as part of my university course - (BSc) Television and Broadcasting.
Tags: iss133 | placement year | university | student | education | portsmouth | Joshua Round
Contributing Author Joshua Round Click to read or download PDF
Creating Authentic Content That Counts
Frank le Mair We’re deep into the 2010’s and the way in which we consume content has changed forever. Broadcasters and content owners are fighting for eyeballs in a saturated market where consumers are watching their favourite shows on different devices across a number of platforms. To target millennials and younger generations, who generally consume short bursts of video on YouTube and social media - particularly Snapchat, Instagram and now IGTV - media companies are creating more and more authentic stories and are using platforms that are compelling for this demographic. Unlike generations before them, they have totally new video viewing patterns and ideals.
Tags: iss133 | insight tv | monster energy | amazon | millennial | Frank le Mair
Contributing Author Frank le Mair Click to read or download PDF
Perimeter LED screens management
Nicolas Houel Opened in January 2016, Parc Olympique Lyonnais, also known as Groupama Stadium, is the new home of Olympique Lyonnais football club, one of the most popular clubs in France. Since its inauguration, the stadium was a host of UEFA Euro 2016, and was also chosen to stage, among other important events, the 2018 UEFA Europa League Final and football at the 2024 Summer Olympics.
Tags: iss133 | 3dstorm | graphics | groupama stadium | liveexpert | livecg | deltacast | Nicolas Houel
Contributing Author Nicolas Houel Click to read or download PDF
The Pace of Change
Dick Hobbs - new

The youngest human to stand on the moon (so far) was Charles Moss, the lunar module pilot of Apollo 16. Charlie had a wonderful claim: his father witnessed the Wright Brothers’ first flight at Kitty Hawk, and lived to see his son on the moon.

Does anything capture the speed of technological advance better than that? The whole of the history of powered flight in one lifetime.

Tags: iss133 | state of the nation | st2110 | st2110-10 | Dick Hobbs - new
Contributing Author Dick Hobbs - new Click to read or download PDF
Managing Technological Change
Alan Wheable Continual technological change in the broadcast and media industries can make it difficult to plan for the mid to long term. Typically, broadcasters and media organisation are still implementing the last set of changes to working practices when the next changes come along.
Tags: iss133 | omnitek | ip | waveform | vectorscope | ultra tq | Alan Wheable
Contributing Author Alan Wheable Click to read or download PDF