The ARRI L7-C Color LED Fresnel is part of is at the vanguard of a new generation of lighting equipment that can be seamlessly integrated into the studio or onto the set without sacrificing features or performance.
The key characteristic of any Fresnel is flood to spot capability and the L7-C meets and exceeds expectations with an impressive beam angle of 15-50°. There's simply no learning curve or accommodation to be made when swapping out L7s fixture for fixture with standard Fresnels. In fact, you're not going to be moving them around or juggling scrims in high places thanks to the 100 - 0% on-board dimming.
The L7-C is a "fully tune-able" white light source, too, allowing you to match existing fixtures from a warm 2,700K to ice-blue 10,000K. The on-board controller allows manual intensity control as well as color temperature and +/- green. Specific color shades and skin tones can be matched through the full gamut color mixing feature. All of the functions can be controlled via DMX, an ideal feature for broadcast studios. And the L7-C will be seen but not heard thanks to its dead quiet passive cooling system. While inclement weather might annoy the talent it won't kill your light since L7-C has an IP54 rating making it impervious to falling rain and splashing water.
The L7-C LED source produces the equivalent of a 750W tungsten light while drawing only 220W for a savings of a whopping 75% over similar output tungsten lights. And low heat means lower AC bills in the studio. You can actually run 9 L7s off of a 20A, 110V outlet as opposed to two 1,000W or three 650W standard fixtures. When it comes to performance and features, the L7-C might just be the perfect light source.
| Rating | 220W |
| Color Range |
Color tune-able: 2700 - 10,000K Green - Magenta adjustment, full gamut color mixing |
| CRI | CRI > 90, CQS > 90 |
| Beam Angle | 15 - 50°, continuously focusable |
| Operating Voltage | 90 - 264V AC, 50 - 60Hz |
| Dimming | Integrated, 0 - 100% Continuous, 16-bit |
| Weather Resistance | IP54 rated, can withstand rain and splashing water |
| Cooling | Passive |
| Operating Temperature | 32 - 95°F (0 to +35°C) |
| Mount |
Stand mount Sliding stirrup, high strength tilt lock, 1 1/8" (28.5 mm) junior stud |
| Control | 5-Pin DMX + RDM, on-board controller, USB |
| Dimensions |
11.8 x 8.7 x 14.8 - 18.9" (flood - spot focus) 303 x 220 x 375 - 480 mm (flood - spot focus) Lens diameter: 7.0" (175 mm) |
| Weight | 24 lb (11 kg) |
REVIEW SNAPSHOT®
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Reviewed by 4 customers
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Comments about Arri L7-C Color LED Fresnel (Stand Mount):
We use these lights on location for everything from interviews to commercial work. Very versitile light with decent power (feels close to a 400 HMI). Very little heat and flicker free. The only downside, they are quite heavy but worth it for what they do.
Pros
Cons
Best Uses
Comments about Arri L7-C Color LED Fresnel (Stand Mount):
I fell in love with this light while working on a web series, which means low budget, small crew, tight places. This light could do it all, and was used 90% of the time. The low amp draw with good output along with the color changing (both Color Temperature, and also "party colors") was perfect. Can't wait to use it for everything.
Pros
Cons
Best Uses
Comments about Arri L7-C Color LED Fresnel (Stand Mount):
WE are going to replace all 14 Fresnels in the studio with the LED lights, these are fantastic, they are not HOT and the subjects like this, they draw little power and I like that. Best technology in a long time, Thanks ARRI.
Pros
Cons
Best Uses
Comments about Arri L7-C Color LED Fresnel (Stand Mount):
I purchased this light not to replace but to supplement the flash I work with now. I'd been contemplating starting an HMI collection but the relative high globe replacement costs and electricity consumption kept me away. Whilst I didn't expect the output to match the 1.2k HMI I was pleasantly surprised by the output. But the most impressive feature is the level of control built in to the unit. No messing around with ND grids or CC filters speeds up the workflow enormously.
I usually shoot medium format digital at 50 ISO so I'm under no illusions that these lights with their present output can replace flash with the work I do now. But it is an exciting entry into continuous light sources for me. Another string in the bow.
The predicted ability to upgrade the "Light Engine" (Arri's term for the LED array) to more powerful units in the future is another unique selling point.
Displaying reviews 1-4
REVIEW SNAPSHOT®
by PowerReviewsPros
Cons
Best Uses
REVIEWS
Reviewed by 4 customers
Sort by
Displaying reviews 1-4
Pros
Cons
Best Uses
Comments about Arri L7-C Color LED Fresnel (Stand Mount):
We use these lights on location for everything from interviews to commercial work. Very versitile light with decent power (feels close to a 400 HMI). Very little heat and flicker free. The only downside, they are quite heavy but worth it for what they do.
Pros
Cons
Best Uses
Comments about Arri L7-C Color LED Fresnel (Stand Mount):
I fell in love with this light while working on a web series, which means low budget, small crew, tight places. This light could do it all, and was used 90% of the time. The low amp draw with good output along with the color changing (both Color Temperature, and also "party colors") was perfect. Can't wait to use it for everything.
Pros
Cons
Best Uses
Comments about Arri L7-C Color LED Fresnel (Stand Mount):
WE are going to replace all 14 Fresnels in the studio with the LED lights, these are fantastic, they are not HOT and the subjects like this, they draw little power and I like that. Best technology in a long time, Thanks ARRI.
Pros
Cons
Best Uses
Comments about Arri L7-C Color LED Fresnel (Stand Mount):
I purchased this light not to replace but to supplement the flash I work with now. I'd been contemplating starting an HMI collection but the relative high globe replacement costs and electricity consumption kept me away. Whilst I didn't expect the output to match the 1.2k HMI I was pleasantly surprised by the output. But the most impressive feature is the level of control built in to the unit. No messing around with ND grids or CC filters speeds up the workflow enormously.
I usually shoot medium format digital at 50 ISO so I'm under no illusions that these lights with their present output can replace flash with the work I do now. But it is an exciting entry into continuous light sources for me. Another string in the bow.
The predicted ability to upgrade the "Light Engine" (Arri's term for the LED array) to more powerful units in the future is another unique selling point.
Displaying reviews 1-4