The smallest, the P100, is designed to mount on-camera, putting out “at least twice the amount of light than most of the 3-6 watt on-camera LEDs”. Fiilex has criticised the current state of the LED lighting market, which it claims is “flooded with an overabundance of low-power on-camera LED panels that produce broad, soft and unshapeable light” and presents the P100 as a solution.
It uses a 12-watt matrix array with a focusing lens that can adjust the beam angle from 30â€“54°, plus bi-colour adjustment from 3000â€“5600K and dimming from full power to 30%. The P100 runs on a proprietary lithium-ion battery, which is supposed to provide two hours of runtime at maximum power.
Marketed for electronic news gathering (ENG) applications, the yoke-mount P180 is “small yet packs a powerful punch” and is supposedly designed such that the user can “quickly adjust their lighting to match the environment”.
Like the P100, the P180 has power adjustment down to 30% and colour temperature tuning from 3000â€“5600K. It consumes 40 watts, accepting 10â€“28 volt DC power from “most standard professional batteries”. The device weighs 300 grams.
Last, but not least â€” especially in oomph â€” is the Fiilex Q500, the first in a new “Quasar” series of studio lights. The manufacturer, if they do say so themselves, reckon it is “a powerful light and technological marvel”. It packs 100 LEDs into a tight-knit array, sitting behind a five-inch glass fresnel providing beam angle adjustment.
The Quasar Q500 takes 160 watts. As well as 2800â€“6500K colour temperature variation there is an additional knob to adjust the light’s hue between green and magenta. Remote DMX control is supported via XLR and RJ45 ports.
The new products were unveiled this week at the CineGear trade show in Los Angeles, USA. Pricing and availability have not been confirmed.
Are you interested in these lights?