LED Fresnel Engineered With Five-Year Warranty
PrimeTime’s GUS 51 LED Fresnel.
U.S.-based broadcast studio lighting manufacturer, PrimeTime Lighting Systems, has built a long lasting LED Fresnel.
PrimeTime CEO, Glen Harn states, “We’re obsessed with superior engineering that results in features like 100% passive cooling. Broadcast studio sound engineers appreciate the silent PrimeTime LED fixtures. The innovative GUS 51 LED Fresnel broadcast studio light has a super-wide focus range – adjustable from a tight 11° beam angle at full spot to a wide 80° field angle at full flood.”
Harn added, “We’re focused on super high-spec components like our Micro-Fresnel lens. Our lens system with advanced optics results in the most even wash of light likely to be found in any LED Fresnel, with less than 2.8% decrease in brightness from center to outer edge.”
PrimeTime’s GUS 51 LED Fresnel is constructed of machined, extruded, and formed aluminum. Barn doors are included and feature 360-degree rotation and can be locked in place at any angle. The Fresnel has a Television Lighting Consistency Index (TLCI) of 98+ and a 95+ CRI.
PrimeTime products are built to order in Dallas, TX with materials almost entirely sourced in the United States. PrimeTime’s lights are engineered for 100% passive cooling. Harn is so confident of his LED product quality that he guarantees them for five years. “PrimeTime continuously looks for ways to improve our product - make it user-friendly, perform better and last longer.”
You might also like...
Monitoring & Compliance In Broadcast: Monitoring Cloud Infrastructure
If we take cloud infrastructures to their extreme, that is, their physical locality is unknown to us, then monitoring them becomes a whole new ball game, especially as dispersed teams use them for production.
Phil Rhodes Image Capture NAB 2025 Show Floor Report
Our resident image capture expert Phil Rhodes offers up his own personal impressions of the technology he encountered walking the halls at the 2025 NAB Show.
The DOP As Sound Recordist: 32-BIT Float Is Our Godsend
As a cinematographer with several decades of experience on feature films and large broadcast projects, my current work on smaller productions and documentaries has increasingly added the duties of a sound recordist, and with it a greater appreciation for 32-bit…
Microphones: Part 9 - The Science Of Stereo Capture & Reproduction
Here we look at the science of using a matched pair of microphones positioned as a coincident pair to capture stereo sound images.
Monitoring & Compliance In Broadcast: Monitoring Cloud Networks
Networks, by their very definition are dispersed. But some are more dispersed than others, especially when we look at the challenges multi-site and remote teams face.