200W Variable White Fresnel LED, 9-50

Hire F200VW Variable White LED Fresnel

Silent Broadcast Key Light with Plano-Convex Lens

The F200VW sits between the compact FRESF96 and the high-output FRESWW3 in the Edwards LED fresnel range, and it has two properties that make it the preferred choice for a specific set of applications: it is completely fanless and silent at all output levels, and its cool white reaches 6,500K rather than the 5,700K ceiling of the FRESF96. Two 100W COB LEDs, one cool white at 6,500K and one warm white at 2,700K, mix across the full range to produce any colour temperature between those endpoints. CRI is 95+ throughout. PWM is 1,200Hz. Hire code FRESF200.

The lens is a plano-convex rather than a Fresnel lens. The practical difference is in the beam edge: a Fresnel lens produces a characteristically soft, slightly diffused edge to the beam, which is well suited to general wash applications. A plano-convex lens produces a cleaner, more defined edge that falls between the very soft Fresnel edge and the hard-cut beam of a profile spotlight. For key lighting where some spill control is needed without going all the way to a profile fixture, the plano-convex gives a more workable result from a barn door alone. The barn door and gel clip are both included.

Manual zoom from 20 to 53 degrees. The wide end at 53 degrees covers a broader area from a closer position; the tight end at 20 degrees extends the throw and concentrates the output. At 20 degrees the output is 3,550 lux at 3 metres, which is more than adequate for close-to-medium stage positions and most video and photography applications. At 53 degrees the field broadens to cover a wider area at reduced intensity.

Key specifications:

• 2 x 100W COB LED, cool white 6,500K and warm white 2,700K
• Colour temperature range: 2,700K to 6,500K variable
• CRI: 95+
• PWM: 1,200Hz, broadcast and camera safe
• Zoom: 20° to 53° manual
• Output: 3,550 lux at 3m at 20°, 1,025 lux at 3m at 53°
• Dimming: 0-100%, 16-bit
• Lens: 80mm plano-convex
• DMX modes: 1ch, 1U, 2ch, 5ch, 7ch, User
• Power: True1 in/out, 200W
• Barn door: included
• Gel clip: included
• Cooling: fanless, completely silent
• Weight: 3.2kg

What the 6,500K Upper Limit Adds

The FRESF96 tops out at 5,700K on its cool white end, which covers most video and broadcast applications. Some cameras, however, are set to true daylight white balance at 5,600K to 6,500K; at this setting a 5,700K light source is close but not quite there, and for critical colour work the slight warmth can be visible. The FRESF200 reaches 6,500K, which covers the full daylight range and matches the colour temperature that many outdoor and studio cameras are calibrated to. For photography studios, broadcast environments where the camera white balance is set to true daylight, or gallery and display lighting where a neutral cool white is needed to render colours accurately without any residual warmth, the extra range of the FRESF200 is a meaningful advantage over the FRESF96.

The wider colour temperature range also gives more flexibility when matching an existing ambient light environment. If a room has installed LED downlights running at 4,000K or 5,000K, the FRESF200 can be set to match; the FRESF96 can do this too across most of the range, but the FRESF200 has more headroom at the cool end if the ambient light is particularly cold.

What It's Used For

Broadcast and video key lighting where silence is essential. Recording studios, audio production suites, interview setups, and any environment where a microphone is live during the lighting session cannot tolerate fan noise from a fixture. The FRESF200 is fanless at all output levels, so it contributes zero noise to a recording environment. Combined with the 1,200Hz PWM, CRI 95+, and full colour temperature range from 2,700K to 6,500K, it is one of the most complete broadcast key lights in the Edwards fleet for noise-sensitive environments.

Corporate presentation key lighting. Two FRESF200 units as front wash at 45 degrees from each side of the stage provide clean, variable white key lighting for a corporate presenter that can be adjusted to match any camera white balance requirement on the day. The plano-convex lens gives slightly better beam control than a standard Fresnel, which is useful on stages where the front lights need to be barn-doored to avoid spilling onto a screen or into the audience's eyes. At 3.2kg per unit the fixtures are straightforward to place on stands or clamp to a truss without specialist rigging.

Zoom and hybrid event presenter lighting. A single FRESF200 on a stand at 45 degrees in front of a presenter transforms the quality of a Zoom call, Teams meeting, or hybrid event stream. The fanless operation means it can run in a quiet boardroom environment during an active meeting. The variable colour temperature can be matched to the room's ambient light or to the camera's white balance. The output at 3,550 lux at 3 metres at 20 degrees is sufficient to properly expose a presenter's face even on cameras with limited sensitivity.

Photography and product shooting. For continuous-light photography where a strobe is not appropriate, the FRESF200 provides accurate CRI 95+ illumination across a wide colour temperature range. The variable white allows colour temperature to be set to match a tethered camera's white balance precisely, eliminating any colour cast in the raw file and reducing post-processing time. The plano-convex lens with barn door gives more precise control of where the light falls on a product or subject than a standard Fresnel, allowing clean shadows and contained spill without a reflector.

Gallery and artwork display. CRI 95+ and variable white from 2,700K to 6,500K address two of the key requirements for artwork lighting: accuracy of colour rendering and ability to match the surrounding environment's colour temperature. The beam from the plano-convex lens has a cleaner edge than a standard Fresnel, so the transition between the lit artwork and the unlit wall beside it is more defined. Combined with the barn door, the fixture can be aimed and shaped to illuminate a specific painting or sculpture from a stand position without creating distracting spill on adjacent works.

Theatre and school productions. The FRESF200 is a step up from the FRESF96 in output, which makes it the better choice for larger stages or where the fixture will be positioned further from the subject. At 53 degrees wide zoom it covers a broader area; at 20 degrees tight it reaches further. The fanless operation is appropriate for theatre where any fan noise during quiet scenes or dialogue is unacceptable. No dimmer pack is required, and DMX modes from a single intensity channel up to 7-channel full control give flexibility to match whatever desk is on the hire.

Conference and lecture hall lectern lighting. A single FRESF200 focused on a lectern position, set to match the room's existing colour temperature, and operated on a single DMX fader via the 1U mode, provides clean and reliable presenter illumination for a conference session. The fixture can be left at a preset colour temperature and brought up and down by a single fader without any additional complexity. Combined with the Soundcraft Performer 2's built-in DMX output where MX32D is already on the hire, this can be achieved without a separate lighting controller.

Frequently Asked Questions — FRESF200 Hire

How does the FRESF200 compare to the FRESF96?

The FRESF200 is larger and heavier (3.2kg versus 2.3kg), has higher output (3,550 lux at 3m at 20 degrees versus 1,230 lux at 3m at 20 degrees for the FRESF96), and its cool white reaches 6,500K rather than the FRESF96's 5,700K. Both are fanless, silent, CRI 95+, and 1,200Hz PWM. The FRESF96 is the right choice where a compact and lightweight unit is preferred, or where the output level is sufficient for the application. The FRESF200 is the right choice where more light is needed, where the 6,500K upper range is required to match a daylight camera white balance, or where the plano-convex lens's slightly cleaner beam edge is preferable to the standard Fresnel character of the FRESF96.

How does it compare to the FRESWW3?

The FRESWW3 is a fixed 3,200K warm white only; it cannot change colour temperature. Its output is significantly higher (14,223 lux at 2.5m at 12 degrees), its zoom range extends tighter (12-35 degrees), and its PWM is 8,000Hz rather than 1,200Hz, making it the highest broadcast-safe PWM in the fleet. It has a fan, so it is not silent. The FRESF200 is the better choice where variable colour temperature is required, where silence is essential, or where a compact unit is preferred. The FRESWW3 is the better choice where maximum output is the priority, where fixed 3,200K warm white is correct for the event, or where the highest possible broadcast safety margin is wanted.

Is it safe for camera and broadcast use?

Yes. The 1,200Hz PWM is confirmed and is well above the threshold for visible flicker at standard camera frame rates and shutter speeds. 16-bit dimming ensures smooth output across the full range. For best broadcast performance, run the fixture at 70% output or above; at very low dimming levels some cameras may detect the PWM cycle, so avoid operating at minimum output for camera-primary applications.

What is a plano-convex lens and why does it matter?

A plano-convex lens has one flat face and one convex face, and produces a beam with a cleaner, more defined edge than the characteristic soft edge of a Fresnel lens. In practice this means the FRESF200's beam falls off more crisply at its edges, giving slightly better control when barn-dooring to avoid spill. It is not as hard-edged as a profile spotlight, but it is more precise than a standard Fresnel. For most wash applications the difference is minor; for situations where the beam edge needs to be controlled more carefully, such as avoiding spill onto a screen or into the audience, the plano-convex characteristic is a small advantage.

Does it need a dimmer pack?

No. The FRESF200 is self-powered and connects directly to a standard mains outlet via its True1 connector. DMX control requires a 5-pin XLR input from any DMX source. The 1U mode allows colour temperature to be preset on the LCD panel and the fixture then operated on a single intensity fader, with no need for a dedicated lighting controller.

Can it be gelled?

Yes. A gel clip is included for adding standard gel squares for colour correction or creative colour work. For broadcast events where the camera white balance is set to daylight but a warmer quality is wanted for the room, a half-CTO gel over the FRESF200 at its cool white setting can produce a natural-looking result while retaining camera accuracy. Gel is not included in the hire and should be sourced separately if required.

What mounting options are available?

The FRESF200 can be mounted on a lighting stand, clamped to a truss, hung from a ceiling bar, or floor-mounted. Mounting hardware should be confirmed at the time of booking to ensure the correct equipment is in the truck. Contact the hire team at hire@edwardsnz.co.nz or (09) 571 0551 to discuss your event and venue.