Ra 97 300W glass Fresnel with four switchable sources (3200K, 5600K, dual, RGBW) and a 10°–65° motorized zoom.
$768.00
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Four Light Sources In One Fixture3200K / 5600K / Dual / RGBW
Tungsten, daylight, blended white and full color without swapping heads
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Glass Fresnel, 10°–65° ZoomMotorized
Go from a tight 10° pool to a 65° flood from the console
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34,800 / 37,600 lm Output123 / 133 lm/W
Measured photometric output at both color temperatures, not a chip rating
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16-Bit Flicker-Free DimmingCamera Safe
Linear 0–100% dimming that broadcast and film cameras will not see strobing
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Copper-Pipe Air CoolingBarn Doors Included
Quiet enough to work in the same room as an open microphone
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$768.00
The FN400 runs an imported integrated COB with CRI Ra ≥ 90 and up to 97, so skin tones and fabric colors land where the camera expects them instead of drifting warm or green. Output reaches 34,800 lm at 3200K and 37,600 lm at 5600K, with efficacy up to 133 lm/W. For interview setups, product shots and broadcast work, that combination means less time in the grade and fewer gel corrections on set.
Four light-source modes live in the same fixture: 3200K for a tungsten look, 5600K for daylight, a dual-color mix for any point between the two, and full RGBW when the scene needs color. One FN400 can stand in for a tungsten fresnel on set, a daylight unit by a window, and a color wash for a stage moment — which is three fewer fixtures to buy, store and truck.
The glass Fresnel lens with motorized 10°–65° zoom gives you the classic soft-edged fresnel beam with console-controlled spread: a wide gentle pool for a two-shot, then a tight accent on a single performer without touching the fixture. Manual focus is there when you are working alone with no desk, so the FN400 fits both a broadcast gallery and a one-person corporate shoot.
Dimming is 0–100% linear at 16-bit resolution and flicker-free, which is what keeps slow-motion and high-frame-rate footage clean instead of showing rolling banding on every fade. The electronic strobe adds 1–30 flashes per second when a scene calls for it, so the same fixture covers the moody music-video moment and the straight-on corporate headshot.
Copper-pipe air cooling keeps fan noise to a whisper, which is the difference between a usable light and a distraction in broadcast studios, theatres and quiet interview sets. The LED engine is rated for 50,000–100,000 hours, so the fixture is built for years of daily service rather than a season of shoots.
A single 5-channel DMX mode — Focus, Speed, Dimmer, Strobe and Function — keeps patching and programming short. There is no hidden personality to hunt for: five channels cover spread, fade, strobe and mode, which means a volunteer or a first-time operator can run the FN400 from a small console without a manual open on the desk.
The aluminum body with black epoxy coating ships with rotating barn doors, a signal cable and a power cable — everything needed to mount, focus and go, with no separate accessory order. At $768 for the single-fixture package, a two- or three-light interview kit costs a fraction of a comparable broadcast fresnel.
The FN400 runs an imported integrated COB with CRI Ra ≥ 90 and up to 97, so skin tones and fabric colors land where the camera expects them instead of drifting warm or green. Output reaches 34,800 lm at 3200K and 37,600 lm at 5600K, with efficacy up to 133 lm/W. For interview setups, product shots and broadcast work, that combination means less time in the grade and fewer gel corrections on set.
Four light-source modes live in the same fixture: 3200K for a tungsten look, 5600K for daylight, a dual-color mix for any point between the two, and full RGBW when the scene needs color. One FN400 can stand in for a tungsten fresnel on set, a daylight unit by a window, and a color wash for a stage moment — which is three fewer fixtures to buy, store and truck.
The glass Fresnel lens with motorized 10°–65° zoom gives you the classic soft-edged fresnel beam with console-controlled spread: a wide gentle pool for a two-shot, then a tight accent on a single performer without touching the fixture. Manual focus is there when you are working alone with no desk, so the FN400 fits both a broadcast gallery and a one-person corporate shoot.
Dimming is 0–100% linear at 16-bit resolution and flicker-free, which is what keeps slow-motion and high-frame-rate footage clean instead of showing rolling banding on every fade. The electronic strobe adds 1–30 flashes per second when a scene calls for it, so the same fixture covers the moody music-video moment and the straight-on corporate headshot.
Copper-pipe air cooling keeps fan noise to a whisper, which is the difference between a usable light and a distraction in broadcast studios, theatres and quiet interview sets. The LED engine is rated for 50,000–100,000 hours, so the fixture is built for years of daily service rather than a season of shoots.
A single 5-channel DMX mode — Focus, Speed, Dimmer, Strobe and Function — keeps patching and programming short. There is no hidden personality to hunt for: five channels cover spread, fade, strobe and mode, which means a volunteer or a first-time operator can run the FN400 from a small console without a manual open on the desk.
The aluminum body with black epoxy coating ships with rotating barn doors, a signal cable and a power cable — everything needed to mount, focus and go, with no separate accessory order. At $768 for the single-fixture package, a two- or three-light interview kit costs a fraction of a comparable broadcast fresnel.
| Input power | AC 100–240V, 50/60Hz |
| Power consumption | 300W |
| Voltage range | Universal — works on US and EU mains |
| LED | Imported integrated COB, 300W |
| Color modes | 3200K / 5600K / 3200K+5600K / full-color RGBW |
| Luminous flux | 34,800 lm (3200K) / 37,600 lm (5600K) |
| Efficacy | 123 / 133 lm/W |
| CRI | Ra ≥ 90 (up to 97) |
| Average lifespan | 50,000–100,000 hours |
| Lens | Glass Fresnel |
| Beam angle | 10°–65° (motorized via DMX or manual focus) |
| Dimming | 0–100% linear, 16-bit flicker-free |
| Strobe | Electronic, 1–30 flashes/sec |
| Protocol | DMX512 |
| DMX channels | 5 CH (Focus / Speed / Dimmer / Strobe / Function) |
| Cooling | Ultra-quiet copper-pipe air cooling |
| Housing | Aluminum, black epoxy coating |
| Accessories | Rotating barn doors, signal cable, power cable |
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