Each PB12 bar features 96 individual RGBWW programmable pixels, delivering rich color and vibrant effects with industry-leading pixel density. From quick setups to granular control, the system scales smoothly: generate designs that transition across all your INFINIBARs via Sidus Link, take deeper per-pixel control with Sidus Link Pro, or bring CRMX control into your workflow. The pixel mapping capabilities unlock creative looks that feel polished on camera, while remaining intuitive to program on the day.

A defining strength of the PB12 is its infinite blending design. Because the bars are rectangular and flat with edge-to-edge illumination, they can be seamlessly connected end-to-end with no visible gaps—ideal when you want a continuous line of light or a unified practical inside the frame. Use the ten splicing connectors on each INFINIBAR to build flat or 3D triangles, hexagons, squares, straight runs, or even spinning stars with three, four, or six points. The ability to interconnect fixtures and share AC power across multiple lights opens up efficient rigging strategies and expressive shapes that read beautifully on camera. Ask MPS about available accessories to support your preferred configurations.

The creative engine doesn’t stop at hardware. The PB12 offers 7 built-in Pixel FX, and with Sidus Link you can independently address pixels and coordinate cues across multi-light arrays. Tap into Magic Infinity FX to sculpt complex motion and color: control up to 1,024 pixels across multiple bars, adjust positions and lengths virtually, and orchestrate patterns that extend for over 42 feet of continuous, responsive lighting. For productions that need fast iteration without sacrificing nuance, this workflow is a major advantage, second only in pixel density to the Aputure MT Pro.

Mounting is as flexible as the effects. Use the built-in high-strength neodymium magnets to snap fixtures to ferromagnetic surfaces, or rely on the included INFINIBAR Rail and Clamp system to rig onto stands and clamps. Multiple 1/4-20 inch points make it easy to integrate with common grip gear, while the flat design allows for discreet placement on sets and transparent integration into production design. Whether you’re concealing a source in a set piece or composing a graphic array for a music video or product shoot, the PB12 adapts.

Power options keep pace with real-world schedules. Run on the internal battery for approximately 80 minutes at max output (59.2Wh) when you’re moving fast, or plug into external power for continuous operation. For larger builds, daisy chain power across an array to simplify cabling and keep your footprint tidy. The kit’s all-new protective hard case streamlines transport and protects your gear between locations, so the lights you rely on arrive ready to work.

When your project calls for even more output and coverage, the INFINIBAR PB12 also comes in an 8-Light Kit. It introduces a 330W power adapter with 8-way splitters and delivers eight times the output of a standalone fixture, plus additional accessories for building ambitious arrays or volume-friendly installations. For the 4-Light Kit highlighted here, you get a focused, mobile package that still scales into multi-fixture designs thanks to the series’ thoughtful interconnectivity.

At its core, this kit is about practical, seamless lighting with creative range. Build clean lines without visible gaps, map per-pixel animations, or wash a set with soft, tunable color—all with hardware that rigs quickly and software that lets you compose looks across multiple bars. Create soft light and dynamic effects in frame or behind the camera with this 4-foot pixel bar system, then reconfigure it for the next scene in minutes.

Get all the details or reserve yours here APUTURE INFINIBAR PB12 4′ 4-LIGHT KIT APUTURE INFINIBAR PB12. If you’re exploring shapes, power sharing, or expanded arrays, ask MPS about accessories and additional INFINIBAR options to match your production’s needs.

MPS Film is proud to announce the addition of the Clavius Primes Full-Frame Lens Set to our rental inventory—an exciting new option for filmmakers seeking exceptional optical performance and versatility.

Designed with modern cinematography in mind, these primes deliver outstanding sharpness, color consistency, and a cinematic character that makes them an excellent choice for narrative, commercial, and high-end production work.

The Set Includes

• 28mm T2.2

• 38mm T1.9

• 58mm T1.5

• 88mm T1.8

Key Specifications

• Coverage: Full-Frame

• Front Diameter: 95mm

• Image Circle: 46mm

• Close Focus: 0.5m – 1.0m (varies by focal length)

• Consistent build for seamless lens swaps on set

• Designed for cinematic rendering with controlled fall-off and pleasing bokeh

Why Choose the Clavius Primes?

The Clavius Primes bring a modern, high-performance lens design into an accessible and production-ready set. They provide:

• Full-Frame Coverage – ensuring compatibility with today’s most advanced cinema cameras.

• Fast Apertures – ranging from T1.5 to T2.2 for beautiful shallow depth of field and low-light performance.

• Unified Mechanics – consistent front diameters and focus throw for efficient workflow with matte boxes and follow focus systems.

• Cinematic Look – crisp yet natural rendering with smooth highlight roll-off.

Rent the Clavius Primes Today

Whether you’re shooting a feature, commercial, or branded content, the Clavius Primes deliver a balance of precision and artistry that cinematographers will appreciate.

Available now at MPSfilm.com

Whether you’re shooting in Dallas, Austin, or anywhere across Texas, the DZOFilm X-TRACT offers unmatched versatility, allowing filmmakers to capture extreme close-ups in tight spaces with dramatic depth and stunning clarity. If you’ve been searching for a macro zoom probe lens rental near you, MPS has the answer.

A Cinematic Game-Changer for Macro and Specialty Work

Unlike traditional macro lenses, the DZOFilm X-TRACT system features a 3X zoom range (30mm–90mm), enabling dynamic reframing without repositioning the camera. The integrated remote focus and zoom motor system allows for smooth, precise lens control — even when mounted on sliders, jibs, or motion-control rigs.

The articulating lens tip is a standout feature, offering ±35° tilt in any direction. This opens up creative possibilities for inserting the lens through narrow openings or angling shots around corners and obstacles, perfect for highly stylized product sequences, packaging reveals, and science or nature content.

Full Kit Rental – What’s Included

At MPS Studios, we provide the complete X-TRACT Kit as listed by DZOFilm and Duclos Lenses. The rental includes:

• 30-90mm Full-Frame Probe Zoom Lens (PL mount)
• Remote Lens Controller with:
  • Focus and zoom motor controls
  • Power cables
  • Extension cables
• Two interchangeable lens tips:
  • Standard straight probe
  • Articulating probe (±35° tilt)
• Macro Extension Tube
• Relay Module
• Illuminated tip with integrated lighting
• Hard shell transport case

All accessories are carefully maintained and tested to ensure they perform flawlessly on set.

Mobile Production Service is proud to announce the arrival of the Nanlux Evoke 5000B, now available for rent. This groundbreaking LED monolight represents a leap in production lighting—delivering serious punch, flexibility, and industry-leading build quality tailored for demanding shoots.

5000 Watts of LED Power with Bi-Color Flexibility

At its core, the Evoke 5000B is an LED powerhouse equivalent to a 9 kW HMI or 24 kW tungsten fixture. It consumes 5000 W on 200–240 V power and slightly more (5200 W) on 100–125 V systems.

The fixture delivers an astonishing 555,250 lux at 3.3 feet using its 5600 K reflector configuration. But power is only part of the story—what sets the Evoke 5000B apart is its broad 2700–6500 K color range with seamless ±80 green/magenta tint adjustment thanks to Nanlux’s proprietary Nebula B4 light engine .

This flexibility means dialing in warmth for natural tungsten looks, crisp mid-day daylight, or fine-tuning to match fluctuating ambient light—all without swapping gels.

Exceptional Color Accuracy and Efficiency

The Nebula B4 engine uses four types of white-light LED chips, improving white-light efficiency by approximately 30% over conventional full-color bi-color systems.

The Evoke 5000B achieves outstanding color rendition with CRI and TLCI ratings near 97–98, and TM-30 Rf/Rg values averaging 96/102. You get ultra-accurate and consistent light—ideal for high-end video, broadcast, or film production.

Rugged, Weatherproof Design for Any Location

Built with high-strength magnesium alloy and sealed to IP66 standards, the Evoke 5000B is a true storm-rated workhorse. Whether on outdoor sets, backlots, or studio environments, rain and dust won’t slow it down.

Weighing in at around 43 kg (95 lb), the unit is one-piece and rugged. Its stackable skid housing makes it highly transportable between locations.

Built-for-Professionals: Control & Utility

The monolight’s hardware ergonomics reflect serious on-set thinking. An included motorized yoke allows 540° of horizontal pan and a 270° vertical tilt with electronic adjustment—ideal when rigging high or heavy.

Balance rails and disc brakes lock securely, while the PosiTight mount system keeps modifiers firmly in place—even when swinging or panning.

On the back, you’ll find user-friendly control: three knobs, four buttons, and a 4.3″ display with a modern UI. Dimming is smooth and precise from 0–100% in 0.1% increments, with refined optimization across the curve.

Control on Set or Offsite

You can tweak settings either on-board or remotely. The Evoke 5000B supports wired controller, Nanlink App (wireless), DMX/RDM, LumenRadio CRMX, and Art-Net/sACN protocols.

For deeper creative use, the light includes 12 built-in special effects—complete with customizable speed and intensity—plus five fan modes (Smart, Full, Low, Pause, Off) (newsshooter.com).

A Home for Nanlux Modifiers

The NL-mount system ensures seamless compatibility with Nanlux’s full range of modifiers, including those designed for the Evoke 2400B line. From spot attachments to softboxes or projection lenses, your modifiers click on securely, maintaining balance and performance.

Why Mobile Production Service is Excited

At Mobile Production Service, we are committed to giving you access to top-tier tools that elevate your production. The Evoke 5000B stands out because:

• It combines HMI-level output and tungsten-like dimming finesse in one unit.
• The full bi-color and tint control means fewer gels, fewer bulbs, and faster setup.
• Rugged IP66 design opens creative possibilities even in challenging weather.
• Motorized yoke and remote control modes address real-world production needs.
• Built-in effects and smart fans add extra value without added gear or noise.

Use Cases and Rental Scenarios

Commercials and branded content shoots: Achieve crisp, high-contrast light for outdoor car spots or warm, cinematic interiors—plus consistent color across cut scenes.

Feature and episodic production: Reliably light large backlot or practical-set shooting with weather protection and motorized adjustment—avoid sticky rigging or noisy crew resets.

Music videos and live programming: Take advantage of effects for stylized looks, or use full wireless control for tight live timelines.

Documentary and location work: Access daylight and evening flexibility with breeze, dust, and light showers—they won’t bring this light down.

Availability & Rental Details

The Nanlux Evoke 5000B is in stock now at Mobile Production Service. Our rental package includes:

• Main unit with motorized yoke
• Power cable and accessories
• Control via onboard panel, wired controller, or wireless Nanlink
• Modifier-ready NL mount

Reach out to our team for custom packages, crew support, and bundled rates on modifiers or additional units. We’re here to craft the right setup for your project.

Final Thoughts

The Nanlux Evoke 5000B feels like a milestone: raw output, precision tinting, rugged design, and smart control—all wrapped into one LED fixture. It’s rare to find that level of power in a bi-color LED, especially one that handles extreme environments and heavy modifiers so gracefully.

If you’re planning a show, shoot, or set where high-quality, flexible lighting matters—and logistics are part of the conversation—the Evoke 5000B deserves a close look. And through Mobile Production Service, it’s ready for you to reserve, rent, and refine.

Curious to experience it in person? Want to bundle it with other gear or discuss custom rental setups? Drop us a note or include the Evoke 5000B next time you plan a shoot. We’re excited to light your story.

About Mobile Production Service: We deliver top-tier film gear with flexible rentals, expert support, and a service-first approach—so you can focus on storytelling, not technical hassle.

For inquiries, quotes or to reserve the Evoke 5000B today, by adding to your quote request cart or by contacting our rentals team at 214-630-1655.

The Hudson Spider LED Light delivers an equivalent maximum output of 12,280 lumens
in a lightweight, flexible design. Built around a 36” diameter fixture, the Redback operates in
folded, flat, and parabolic configurations and breaks down into a 12” x 8” cylinder for easy
transportation. At just over seven pounds with front and rear Baby pin mounts, this DMX-
capable light is easy to move and sets up in less than five minutes, making it one of the most
efficient lighting systems in the industry.

Greig Fraser, ASC (whose credits include Zero Dark Thirty, Lion and Rogue One: A Star Wars Story) told
American Cinematographer “The fact I don’t have to cut or diffuse it, to make it appropriate for 90% of
situations is amazing. It means my single light needs one person to set it, rather than four.” In an environment
where COVID protocols limit staffing onset, the Hudson Spider Light’s ease of set up and movement frees resources
for other set needs.

Functionality is definitely the name of the game for the Hudson Spider Light. It offers a variety of modes,
including parabolic, flat, diffused, undiffused and no backing. Pair it with the Deluxe Kit’s 72”
umbrella accessory and you get white bounce and silver bounce options. Mounting is simple,
allowing it to be used with megabooms and C-Stands, or even mounted to a car.

The attached ballast and dimmer provide local light controls and it pairs seamlessly with LiteGear power
units when battery power is needed. This system responds to virtually any lighting need on set
and makes it an ideal option for almost any job.

DPs are raving about the Hudson Spider Light’s adaptability and usefulness. Matthew Lloyd, CSC, used
the Redback every day of shooting on Spiderman Far From Home, telling the Hudson team that
the Redback “is the most versatile fixture I have ever seen, does anything and goes anywhere.”
Redback still shoots draw admirers too. Graham Shelton, DP, found the lights indispensable
noted to Hudson, “For anyone shooting interior beauty or fashion work you really can’t go
wrong with this light as your key…the quality and output of the Redback is really outstanding.”

Although versatility has made this light one of our most in-demand products, its foundation is
creating high-quality light. Described as creating a soft light that wraps beautifully, the Spider
Light flatters talent. When used in parabolic mode, DPs and gaffers have found it needs little if
any additional diffusing and creates ideal lighting in a variety of settings.

Adam Suschitzky, BSC, used it when shooting various Marcella scenes, including day and night
interior and exterior settings, and told Hudson its “beautiful quality of light and output are a massive
advantage to any production.”The Hudson Spider Light and Redback Deluxe Kit brings versatility and
lighting quality thatmakes it essential for all production needs. Call today for availability and scheduling
of this must-have piece of equipment!

About MPS Studios: For nearly 40 years, our 35+ highly specialized, factory trained, and
industry-savvy workforce has provided world-class services to clients around the corner and
around the globe. Not only do we focus on providing the friendliest, most comfortable atmosphere
and the most functional facility imaginable, but we also aim to give you the best rental experience
possible. Call on our Dallas, Austin, and Denver offices to customize a package designed specifically
for your movie, commercial, or tv show.

Being the worthy successor to the ARRI SkyPanel, the ARRI Orbiter is the newest LED fixture from ARRI. It features systems designed completely from the ground up, guaranteeing both the easiest and the most versatile use over a wide range of mediums including but not limited to motion pictures, television and broadcasting, live theater and performance, and still photography.

It is ultra-bright, completely color tunable, and maneuverable in any direction. It fully harnesses and adapts ARRI’s most powerful software and technology to date to create one of the most powerful and technologically advanced LED luminaires on the market. Let us take a look at some of the innovations the ARRI Orbiter is bringing to the table for image capture.

Orbiter Key Features

Quick Lighting Mount

One new key feature the ARRI Orbiter introduces is the QLM, or Quick Lighting Mount, which allows for a wide and increasing array of changeable optics that can be specifically built and customized for any situation. The QLM exponentially increases the versatility of the unit when compared to other LEDs of its kind.

Widely varying optics can be connected with the use of the QLM, allowing for wildly changing properties and effects. This can be done on the fly with no downgrade in the power of the beam, the power of the output, or the quality of coloring given from the unit.

ARRI has already designed a number of optic attachments for the Orbiter, with more options, including third-party support, coming down the line. The already designed attachments include the open face optic, the dome optic, and the projection optic. They each excel in specific areas and can be used to incorporate your unique ideas into your production.

If you need the light to reach long distances, you can attach the open face optic to the Orbiter, including several different beam angles 15°, 30°, and 60.

If you need to light up a large area, the dome optic can be attached, providing a wide, open light that covers vast spaces and illuminates them thoroughly, domes come in 3 different sizes.

The projection optic can offer more precise lighting, which can then be further adjusted with cutters or more specific focus, optics available are 15°,25°, and 35°.

To support third-party development, a QLM attachment will be made that allows for universal adaptability with both current and future products made for the Orbiter.

With the creation and incorporation of the QLM, the ARRI Orbiter is allowed to become whatever light fixture you need in the moment, and there will be plenty of room in the future for even further innovation that can provide more than you could ever imagine for the lighting of your production, regardless of the size and scale.

ARRI Spectra Six-Color Light Engine

Another one of the ARRI Orbiters greatest features is the new ARRI Spectra six-color light engine. Designed with the ARRI Orbiter in mind, ARRI Spectra features red, green, blue, amber, cyan and lime LEDs, which can blossom into an incredibly vast color range with impeccably accurate color definition.

The highest color rendition across the vast spectrum of the CCT range will be fully supported. Compared to previous ARRI units such as the ARRI SkyPanel, the ARRI Orbiter with Spectra allows for 15% better color approximation, making sure the color you want is the color you get. You can also switch from High Color Rendering Mode to High Output Mode for 20% more output.

The ARRI Orbiter is given a very wide CCT range of 2,000 to 20,000 K, the largest of any ARRI unit, allowing for ultra-color rendition regardless of color temperature. With the versatility and endless possibilities of the ARRI Orbiter and the new ARRI Spectra light engine, skin tones are allowed to look more bold, natural, and impressive than ever, whether for film, television, theatrical productions, or still photography. It is completely tunable, allowing for lossless tuning down to zero with absolutely no skips in color or unstable jumps. What you get with the ARRI Orbiter is incredibly potent brightness with absolute tenability.

ARRI’s Orbiter is seemingly as powerful as the sun itself, likewise, bringing with it a brand new day for the industry of digital lighting and image capture as a whole. Quite possibly the most technologically advanced luminaire on the market, ARRI has taken their game to a totally new level with the Orbiter. Outperforming any other ARRI unit in versatility and function, without sacrificing one for the other, the state-of-the-art-electronics in the Orbiter allow it to perform more tasks than any other lighting unit available.

The Orbiter doesn’t just outperform other fixtures, it eclipses them on the track and passes it twice before the bell rings. Four times faster than the SkyPanel, with 125 times more memory than the SkyPanel built in at launch, the ARRI Orbiter arrives on the market already dwarfing its predecessor.

Not only that, but the adaptability and software infrastructure built into the ARRI Orbiter open it up to be further advanced in real-time with no limits, having extensive updates, including new software features, being provided for it well into the distant future like we had with the Skypanel series. It is a very sleek piece of technology, oh and it’s also weatherproof.

LIOS – Lighting Operating System

Taking full advantage of all past software development the ARRI team has ever accomplished, including a longstanding and venerated history in both digital lighting and image capture, ARRI has provided for the Orbiter a new OS built from the ground up, designed specifically for the Orbiter. LiOS, or Lighting Operating System, is ARRIs magnum opus when it comes to its software technology. Absorbing into itself and enhancing all prior leaps made in the field of lighting technology, LiOS is a veritable capstone, standing as the most powerful and intuitive OS in the industry.

Everything the ARRI SkyPanel attempted and worked towards has been exhaustively matured and perfected in the development of the ARRI Orbiter and its LiOS. The ARRI Orbiter blows its competitors out of the water.

The biggest feature of LiOS is its range of color modes. These include CCT, HIS, RGBACL, Gel Selection, X/Y Coordinates, Source Matching, and Effect. Most powerful of all, however, is the new color sensor mode, developed exclusively for the ARRI Orbiter.

The color sensor mode takes full advantage of the ARRI Orbiters full suite of built-in sensors to accurately and finely measure the ambient light around it and then fully recreate it through the Orbiters own output. The things that can be done with this feature will be incredibly versatile, allowing for a whole new generation to further explore and innovate in the field of digital lighting for image capture.

Multiple Sensors

Orbiter also comes stacked with a color sensor, a 3-axis accelerometer for motion sensing, a magnetometer for directional sensing, an ambient light sensor, and heat sensors.

Surely, the ARRI Orbiter is a luminaire to be reckoned with. On top of its power, the ARRI Orbiter will prove to be both incredibly versatile in its applications and unbeatably user-friendly.

Intuitive & Removeable Controller 

One of its most attractive features for the user is a removable control panel with a 4” full-color electronic that can be taken away from the unit and used to control the unit as a remote control.

This remote unit will provide full functionality for the ARRI Orbiter with an incredibly intuitive and easy-touse interface, so you can pick up the control from wherever you need to be stationed and start lighting the room the way you want to light it.

With the remote control panel, the device can be operated from up to 15 meters away. It will stay connected by wire to ensure no weakness in signal affects your ability to control the device.

On top of this, the ARRI Orbiter features nearly universal connectivity for any device imaginable to sync up and interact with it, making it the perfect universal tool.

Orbiter Input/ Outputs

Included in its design is a full setup of the most popular inputs and outputs on the market, making sure you can hook up the ARRI Orbiter to whatever device it needs to be hooked up to. The ARRI Orbiter is also equipped for all modes of wireless connectivity, with not one but two separate EtherCON ports, which can support right out of the box sACN and Art-Net 4.

Adaptability with an oncoming plethora of third-party add-ons has also been guaranteed to keep coming steadily down the line, promising to further enhance both the capabilities and connectivity of the ARRI Orbiter.

An SD card slot is used for both future software expansions, which will be plentiful, and for making sure the firmware stays up to date so that the Orbiter stays functioning at a high standard. Connectivity is rounded out with both USB-A and USB-C ports, allowing unlimited communication with many other devices.

The plethora of support and maintenance being promised for the future of the ARRI Orbiter makes it a luminaire of nearly infinite potential. Given ARRIs solid reputation and history in the industry, with each new unit eclipsing the one before it in terms of both power and versatility, the appeal and purchase of the ARRI Orbiter seems like an absolute given.

With an unlimited range of applications spanning from the motion picture industry to broadcast television, theatrical performances and live entertainment to still photography, the ARRI Orbiter is the perfect unit for anyone in need of adaptable, flawless lighting for their professional project.

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Technical Specifications

Conclusion 

With a smorgasbord of features already built-in, as well as a generation of support and innovation guaranteed by both ARRI and third-party developers, the ARRI Orbiter is no-question a must onset when it comes to lighting for your next commercial, photoshoot, movie or live performance. The Orbiter’s capabilities and power are guaranteed to keep improving in years to come, mirroring what we witness with ARRI’s Skypanel line of upgrades. 

As always, we are committed to offering you the latest technology in professional lighting and camera to make your next project come to life, be on the lookout for the Orbiter soon for rent at MPS Studios.  

In case you haven’t see yet it here’s ARRI’s Orbiter Keynote presentation which goes into more detail and has a full demo of the light in action:

Sources:

https://microsites.arri.com/orbiter/

https://www.arri.com/en/company/arri-news/news-stories/news-stories-2019/arri-introduces-orbiter-the-ultra-bright-led-point-source-with-a-variety-of-optics

https://lightingkeynote.arri.com/

https://microsites.arri.com/orbiter/orbiter-tech-specs.html

The 180mm is one of 10 various focal lengths that make up the Cooke Anamorphic/i Special Flair lens series. These lenses allow for next-level visuals when it comes to flare, bokeh, and aberration, offering remarkable optical and mechanical performance over the entire field of view.

Equipped with the /i “intelligent” Technology, the 180mm Anamorphic is designed for all PL mounted professional motion picture film and electronic cameras. The /i Technology is a feature that enables film and digital cameras to automatically record key lens and camera data, such as lens setting, aperture and depth-of-field, focusing distance, hyperfocal distance, and more, captured frame by frame – for use in post-production and real-time displays. This technology streamlines both production and post, which saves significant time and cost and takes out the guesswork while allowing for greater creative freedom.

Another great feature about the 180mm is that it comes with the Cooke Look®, which, according to the Cooke website, is “a sharp, subtle, smooth rendering that provides dimensionality and high contrast, and pleases the eye.” It has certainly caught the attention of Austin-based DP Peter Simonite.

“I recently shot with the Cooke Anamorphics from MPS on a commercial project for Amazon. The 180mm is a beautiful addition to the Cooke set,” Simonite said. “I love the clarity and the unique character of these lenses, and especially the look of the 180mm. When we put the 180mm up, everyone behind the monitors was thrilled.”

MPS’s 180mm is one of just a few in the United States. Also available at MPS are the 25mm, 32mm, 40mm, 50mm, 65mm MACRO, 75mm, 100mm, and 135mm focal lengths – just one lens shy of the complete set.

“It’s great having tools like this in Texas so I can deliver the quality the directors I work with are looking for,” added Simonite. MPS is proud to now offer the Cooke 180mm Anamorphic lens to further its never-ceasing support of Texas filmmakers and beyond.

ABOUT MPS STUDIOS

For nearly 40 years, MPS Studios has provided the equipment and support services to production companies making movies, commercials, and television shows. A staff of highly specialized, factory-trained, and industry-savvy technicians provides world-class service to clients around the corner and around the globe. The company offers cameras, lighting/grip/electric, sound stages, and lighting repair. Inventory includes ARRI ALEXA Mini, ARRI ALEXA EV and Plus, RED Weapons and Dragons, hundreds of lenses, and thousands of filters. Lighting inventory includes ARRI M-series HMI’s, Kino Flo, Mole Richardson. Contact MPS Camera & Lighting Austin, MPS Studios Dallas, or MPS Denver to have a rental package customized for your next project. www.mpsfilm.com

Looking to offer its customers the highest quality production equipment at the most cost-effective prices, MPS Studios “a full-service camera, lighting, and studio rental company with locations in Austin and Dallas “has announced the availability of the LED lamp-based L-Series of Fresnel lights from ARRI within its rental inventory. MPS Studios’ extensive inventory of lighting/grip/electric equipment – including the only ARRIMAX 18K PAR’s in Texas – makes it the premiere source for lighting equipment in the Southeast region and surrounding areas of the U.S.

The ARRI L7-C is so close to a conventional Fresnel in look and design that it allows users to mix and match older tungsten lights with the new LED versions, which are 25% brighter and, at just 220w, use less than a quarter of the power of a 1000w tungsten Fresnel fixture with equivalent light output.

With an estimated LED bulb lifetime of 50,000 hours, MPS Studios now offers the ARRI L7-C (color-controllable) fixtures to customers for almost any application, from large television studios to small interview setups and everything in-between. The L7-C can be adjusted from 2700K-10000K, with an additional green/magenta control. It also features a “Hue Mode” for theatrical color effects.

“The L-Series, and particularly the L7-C fixture, distinguishes itself by providing unmatched tune-ability, color fidelity, high build quality and ease of use; which makes it a great addition to our inventory,” said Brad Beasley, Vice President of MPS Studios, and head of lighting/grip/electric and studios departments in the MPS Studios Dallas office. “Our customers require the highest quality gear to complete their projects and there are no better Fresnels on the market today, in terms of reliability and performance, than ARRI’s L7-C Series.”

Three simple knobs on the L7-C permit the brightness, color temperature and green/magenta point to be fine-tuned, while a focus knob on the side of each fixture allows for smooth adjustment of the beam spread, just like conventional sources.”

The L-Series is the first LED fixture to truly incorporate the Fresnel characteristics of continuous focusability from spot to flood and a smooth, homogenous light field. The L-Series takes full advantage of LED technology and allows for complete control over the color and intensity of light. Light emitted from the L7 is specifically calibrated for optimal reproduction on broadcast and digital cinema cameras, ensuring pleasing skin tones and vividly rendered colors. Constructed to be robust and ergonomic, the L7 meets the quality and design standard for which ARRI is known.

“Yet another benefit of the L7-C Fresnels is that they burn cold,” said Beasley. “A lack of forward heat coming from the fixtures significantly reduces studio air conditioning costs and allows for a much cooler work environment. This makes life easier on set, both for the technicians behind the lights and the talent in front of them.”

Beasley added that MPS Studios’ line of grip/electric trucks and generators, which are used on a wide variety of production projects across the Southeast region of the country, provide the support needed to power these lights (the trucks are packed with both grip and electric packages; offered in 1-ton to 10-ton packages, and towable and truck-mounted generators up to 1200 AMP) in any environment.

About MPS Studios

For nearly 40 years, MPS Studios has provided the equipment and support services to production companies making movies, commercials, and television. A staff of highly specialized, factory trained, and industry-savvy technicians provide world-class service to clients around the corner and around the globe. The company offers cameras, lighting/grip/electric, sound stages, and complete post services through deliverables. Contact MPS Camera & Lighting Austin or MPS Studios Dallas location to have a rental package or post service customized for your next project. www.mpsfilm.com.