For years, HMI and tungsten hot lights have been essential on film sets, delivering the high output needed for large productions, but at the cost of high energy use, increased labor, and limited color control. While hot lights remain vital, today’s fast-paced, sustainability-driven filmmaking calls for more efficient alternatives. LED technology now meets these demands, offering comparable brightness with lower energy consumption and instant color changes, making powerful, adaptable LEDs not just an option but a necessity.
FilmGear® has responded to this industry shift by bringing the quality of our hot lights into our LED solutions. The Zenith and MEGA lights feature IP65-rated durability and up to 2000W output per panel, and coupled with our 19° TIR lenses, they deliver massive, focused lighting power for modern production needs. Below, we talk to industry professionals about harnessing the Zenith & MEGA for their most recent projects.
DISCUSSION:
How Was FilmGear®'s LED Output Applied?
Tyler (Gaffer/ Defender Commercial): “We used the Zenith as a key light for the talent, wrapping the fill side with a bounce and adding a couple of barefaced Zeniths to pump extra F-stops into the room. Despite the cloudy day, we were able to double expose both inside and outside the house, and it looked great. The punchiness of the 19-degree TIR lenses allowed us to bring the light closer to the talent without affecting the makeup, which was softened up with a book light, giving me the F-stops I needed for a textured look. Everyone was very happy with the results.”
Nikola (Director/ Tramps Like Us): ‘“The MEGA had enough punch and output to serve as the key light in a variety of our scenes. It’s a huge time and money saver because, unlike traditional hot lights, you don’t need five people to move it around. It’s a big source with great versatility and modular options, which makes it a lifesaver on set. When you have stunt coordinators and extras, having a nimble lighting setup lets you allocate resources elsewhere to tell your story—that’s everything.”
Thoughts on the build quality?
Nikola: “When it comes to the MEGA, it's built like a tank—very sturdy and durable. Typically, when you compare LED lights with traditional hot lights in terms of output and build quality, the difference in field quality is obvious. However, with the MEGA, there is no visual difference; it truly matches the performance and robustness of hot lights.”
Tyler: “For our Defender commercial shot in the hills of Malibu, we immediately appreciated the IP65 weather-sealed protection from the elements. Owning this unit gives me confidence—it can handle a fall during high-speed shoots while staying durable and easy to use. Just bend your knees and lift with ease!”
What Sets FilmGear® LEDs Apart?
Nikola: “Bang for your buck. It’s hard to find an LED that offers such versatility at this price point. Coupled with the local support, we know FilmGear is just a call away if we need anything. This makes it a straightforward solution in this emerging space because we can always rely on FilmGear’s quality. The results speak for themselves on screen, and that's the beauty of our work—you can see it and judge it.”
Tyler: “Ease of use! The menu was very intuitive, allowing me to quickly navigate to where I wanted to go. I was able to jump on the back of the unit and control the output directly through the menu without needing any external connections. I was also impressed by the pixel control and customization options within the color gamut.”
At FilmGear®, we’re redefining LED technology with our MEGA and Zenith, emphasizing versatility that sets us apart. Engineered by filmmakers for filmmakers, our lights adapt to various production scenarios and continually evolve to your needs on set. The MEGA 1200C transforms easily into a space light, dual, quadruple, or a wall of light while the Zenith line offers exceptional flexibility and unparalleled output. Discover how our LEDs can elevate your productions! To learn more, reach out at info@filmgearusa.com or call (323) 780-8880.
Written by: Jibran Kabani