ARRI LED panel series featuring 180 LEDs per L10 unit, phosphor technology, 120° beam angle, DMX control, and 1.5–4h battery runtime for mobile film lighting.
The LED array is based on ARRI's phosphor technology with 180 individual LEDs per panel in the L10 model. The lights feature DMX-512 control, onboard controls, and ARRI LiON battery connection for 1.5 to 4 hours of operation depending on the model. The beam angle is 120° with optional intensifier panels for focusing to 37°. All models are splash-proof according to IP23 and operate silently without fans. The lights use ARRI SkyPanel-compatible accessory rails for barndoors, softboxes, and grids.
ARRI introduced the L-Series in 2017 as a complement to the SkyPanel lights, aiming to create a portable LED solution for location shooting. The development was based on five years of practical SkyPanel experience. In 2019, the L10 model followed as the most powerful variant, and in 2021, ARRI expanded the series with RGBW versions (L-Series C) for color effects. The current Mk II generation from 2022 offers improved battery performance and expanded app control via ARRI Stellar.
DoP Bradford Young used L7 panels for interior facial lighting in "Solo: A Star Wars Story" (2018) because they could be unobtrusively integrated into sets. For "1917" (2019), Roger Deakins employed L5 lights for trench scenes to simulate soft overhead lighting. The compact design allows them to be hidden behind props or mounted on camera rigs. Typical workflow: Key lighting with larger fixtures, L-Series for fill light and accents. Weakness with hard light without modifiers.
Competitors include the Litepanels Gemini series and Aputure Nova panels, which, however, offer less precise color rendering. ARRI SkyPanels remain superior for large setups but are heavier and more power-hungry. Kino Flo LED panels have a similar size but only achieve a CRI of 90. The L-Series is positioned between small on-camera LEDs and large studio lights. For maximum light output: SkyPanel. For battery operation and mobility: L-Series. For budget productions: Aputure alternatives.
Ich schätze die L-Serie für sanftes Fill-Light ohne Farbstiche – der hohe CRI-Wert macht sich bei Hautfarben sofort bemerkbar. In engen Räumen kann ich die L5 problemlos verstecken, während die L10 genug Power für größere Räume liefert, ohne dass ich Generatoren brauche. Das direkte Dimmen über DMX erspart mir ND-Filter und Scrims.
Diese Leuchten geben mir die Flexibilität, auch bei ungeplanten Szenen schnell die richtige Stimmung zu schaffen – von kaltem Morgenlicht bis warmer Abendsonne in Sekunden. Ich kann während der Probe live die Farbtemperatur anpassen und sehe sofort, wie sich die emotionale Wirkung der Szene verändert. Besonders bei Dialogen nutze ich unterschiedliche Temperaturen für verschiedene Charaktere.
Die L-Serie reduziert meine Stromkosten und Generatormiete erheblich – ein L10 verbraucht nur 200W statt 2kW bei Tungsten-Leuchten. Der Akkubetrieb spart täglich 2-3 Stunden Setup-Zeit, da weniger Kabel verlegt werden müssen. Bei 400€ Tagesmiete pro L7 ist das Investment gerechtfertigt, wenn ich bedenke, dass herkömmliche HMI-Setups das Doppelte kosten und mehr Crew brauchen.
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