3,200K Warm White Fresnel LED, 12-35 deg

Hire 300W Warm White LED Fresnel

High-Output Stage and Broadcast Wash Light

The F300WWMZ is the highest-output LED fresnel in the Edwards hire fleet. A single 300W 3,200K COB LED producing over 14,000 lux at 2.5 metres at its tightest zoom, with an 8,000Hz PWM frequency that makes it the most broadcast-safe LED fixture Edwards offers. It is warm white only, fixed at 3,200K tungsten colour temperature, and it is brighter than a 1,200W halogen fresnel at full output while running on 300W. Hire code FRESWW3.

The 3,200K colour temperature is the natural home temperature of incandescent stage lighting, so it is the right choice whenever an event should feel warm and enveloping rather than cool and clinical. Gala dinners, awards ceremonies, theatre productions, and corporate presentations where a welcoming atmosphere is intended all benefit from the richness that 3,200K gives to skin tones and fabrics. For cameras set to tungsten white balance it is a perfect match. For cameras set to daylight it requires a white balance adjustment.

The 150mm Fresnel lens and manual zoom from 12 to 35 degrees give a wide range of coverage options. At 12 degrees it produces a concentrated, long-throw spot suitable for illuminating a single lecturer or performer from a significant distance. At 35 degrees it produces a wide wash suitable for covering a full stage width from a mid-distance hanging position. The barn door, gel frame, and Neutrik PowerCON power cable are all included.

Key specifications:

• 300W 3,200K COB LED, fixed warm white
• CRI: 90
• PWM: 8,000Hz, the highest in the Edwards LED fresnel fleet
• Zoom: 12° to 35° manual
• Output: 14,223 lux at 2.5m at 12°, 4,990 lux at 2.5m at 35°
• Dimming: 0-100%, 8/16-bit, 3 dimming curves
• Strobe: 1-25Hz
• Lens: 150mm Fresnel
• DMX modes: 1ch, 2ch, 3ch
• Power: Neutrik PowerCON in/out, 300W
• Barn door: included
• Gel frame: included
• Cooling: sensor thermostat controlled variable speed fan
• Weight: 5kg

What It's Used For

Main stage wash for theatre and school productions. Two to four FRESWW3 units hung above the front of the stage, angled at 45 degrees downward toward the performance area, provide an even and generous warm wash that covers the full width of most school and amateur theatre stages. The output exceeds a 1,200W halogen fresnel so the stage is properly illuminated for both the live audience and any camera present, without the heat, power consumption, or lamp fragility of the incandescent alternative. No dimmer pack is required; these run directly from DMX and a standard PowerCON mains supply.

Corporate presentation front lighting. For a corporate stage where the presenter needs to look warm, confident, and well-lit for both the room and the camera, two FRESWW3 units as front wash at 45 degrees give a professional three-dimensional illumination that the flat overhead lighting of most venues cannot produce. The 3,200K warmth flatters most skin tones, particularly under the yellow-shifted LED house lighting found in many hotels and function centres, where a cool white fixture would create an unpleasant contrast.

Broadcast and video key lighting. The 8,000Hz PWM is confirmed and is the safest LED frequency in the fleet for camera use. At this switching speed the LED cycle is far above the threshold for visible flicker at any standard frame rate or shutter speed, making the FRESWW3 the first recommendation when a broadcast engineer or video producer asks what LED fresnels Edwards offers for camera-safe key lighting. The CRI of 90 is lower than the FRESF96 and FRESF200 (CRI 95+), so for very critical colour work the variable white units are preferable; for most corporate and event broadcast applications CRI 90 is entirely adequate.

Conference and awards night stage wash. The warm quality of 3,200K works particularly well for awards nights and gala dinners where the stage needs to feel celebratory and human rather than clinical. Combined with PARBATT or PIXBAR12H colour wash behind the stage, the FRESWW3 front wash creates a complete and professional stage picture that photographs and streams well without any further processing.

Replacement for legacy halogen fresnels. If a client or technician has previously used the Edwards FRES1200 halogen fresnels and dimmer packs, the FRESWW3 provides a direct functional replacement with significantly less complexity. No dimmer pack, no expensive replacement lamps, direct DMX control, far lower power consumption, and similar colour character at 3,200K. The output exceeds the FRES1200, so the two fixtures are interchangeable for most applications.

Large school events, prize-givings, and assemblies. Where a single fresnel needs to illuminate a wide area from a ceiling bar or stands at the back of a hall, the FRESWW3 at 35 degrees wide zoom provides generous coverage. Two units at the front of a standard school hall stage cover the full presenting area at adequate intensity for both the live audience and a recording camera.

Frequently Asked Questions — FRESWW3 Hire

How does the FRESWW3 compare to the FRESF96 and FRESF200?

The FRESWW3 is fixed at 3,200K warm white and cannot change colour temperature. The FRESF96 and FRESF200 are variable white, adjustable from 2,700K to 5,700K or 6,500K respectively. If you need to match a specific camera white balance, or want the flexibility to shift from warm to cool during an event, choose the variable white models. If 3,200K warm is correct for the event and you need maximum output and the highest broadcast-safe PWM frequency in the fleet, the FRESWW3 is the better choice. The FRESWW3 also produces significantly more light than either variable white unit, so for larger stages or longer throw distances it is often the right answer regardless of the colour temperature consideration.

Can I use it for a livestream or video recording?

Yes, with one consideration. The 8,000Hz PWM makes it the safest LED fresnel in the fleet for camera use; flicker is not a concern. The consideration is colour temperature: the FRESWW3 is fixed at 3,200K, which is the correct setting for cameras on tungsten white balance. If the camera operator intends to shoot on daylight white balance (5,600K), the FRESWW3 will render as orange on camera without a correction gel. Confirm the camera's white balance setting before the event. For events where the white balance is unknown or flexible, a variable white unit (FRESF96 or FRESF200) gives more control.

Does it need a dimmer pack?

No. The FRESWW3 is self-powered and connects directly to a standard mains outlet via its Neutrik PowerCON connector. It is controlled by DMX via a 5-pin XLR input, or can be operated in manual mode from the 4-button LCD panel on the fixture. A separate dimmer pack is not required.

Is it noisy?

It has a sensor thermostat controlled variable speed fan. At lower output levels and in cooler environments the fan runs slowly and is relatively quiet. At full output in a warm environment it becomes audible, though quiet by the standards of comparable 300W fixtures. It is not suitable for environments where any fan noise is unacceptable — such as a recording studio or a quiet theatre scene with live dialogue. For those applications, the FRESF96 or FRESF200 are fanless and completely silent.

Can it be gelled?

Yes. A gel frame is included. Standard 130mm theatrical gel squares fit the gel frame and allow colour correction (CTO, CTB, half CTO) or creative colour work. Gel is not included in the hire and will need to be provided separately if required, or ask the Edwards team at the time of booking.

How many do I need for a stage?

For a typical school hall stage or corporate presentation stage of 6 to 8 metres wide, two FRESWW3 units provide adequate front wash coverage when positioned at 45 degrees from each side of the stage, hung or stood at approximately head height above the sightline. For wider stages or where more uniform coverage is needed across a deeper stage, three or four units give more even illumination and reduce the intensity falloff at the edges. The Edwards hire team can advise based on the specific venue dimensions.

What is the difference between the 8-bit and 16-bit dimming modes?

16-bit dimming provides 65,536 steps of intensity resolution rather than 256 steps. At low output levels this difference is visible: 8-bit dimming can produce a visible stepping effect when fading slowly, while 16-bit dimming is smooth across the full range. For most event applications 8-bit is adequate. For theatre where smooth slow fades are part of the lighting design, use 16-bit mode. The fixture also has three dimming curves that change the response characteristic of the fader, allowing linear, square law, or S-curve dimming to suit different controllers and operator preferences.

Is delivery and setup a