Creamsource Expands Vortex Lighting Series

Vortex4 features a narrow native beam angle of 20° and CCT range from 2200K to 15000K.
Creamsource announced Vortex4, a 1’x1’ 325W high-powered LED for film production. Shipping in March.
“The Vortex lighting system allows us to bring new products to market that help artists easily build out their lighting workflows,” says CEO Tama Berkeljon. “Each Vortex fixture leverages the same artist-focused UI which eliminates learning curves and downtime associated with rigging and programming multiple lights. All Vortex series lights work in concert with each other naturally thanks to the shared platform - it streamlines the entire lighting experience for users.”
Underpinning the Vortex platform is Creamsource’s firmware, CreamOS. “With the latest version, the Vortex4 comes equipped for creative expression with pre-programmed effects, color gels, multi-zone control, and the recently introduced FrameSync technology,” the firm said.
Vortex4 features a narrow native beam angle of 20° and CCT range from 2200K to 15000K. It can be used as a hard punch light to bounce or push through diffusion, or as a creamy soft light with the Creamsource diffuser or dome. This allows users to bring the fixture closer to the subject without the loss of space.
This is an IP65-rated water-resistant fixture that can take on weather, messy effects machines, and extreme dust while integrated internal power supplies simplify rigging and cabling.
Berkeljon continues, “We’re so fortunate to have an incredibly engaged community of customers. Their feedback from real on-set use cases for the Vortex8 enabled us to further refine and enhance the Vortex series.”
Vortex4 adopts ‘Vortex Connect’ a connectivity suite including LumenRadio TimoTwo built in, Ethernet with sACN, Bluetooth, 5pin DMX, Wifi, USB type A and Creamsource Accessory port. This makes interaction possible between Vortex4 and various third-party instruments and protocols.
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.