List of products by brand ARRI

ARRI lighting: reference-grade illumination for cinema, broadcast and streaming

ARRI (Arnold & Richter Cine Technik) has operated from Munich since 1917, and its tools are specified where failure is expensive: feature production, OB units, studio grids and live streaming stages. That heritage is backed by a long record of industry recognition for engineering contributions, and ARRI’s lighting portfolio is explicitly positioned alongside its camera systems, so colour science, control protocols and mechanical standards align across departments.

Search intent around ARRI lighting is typically technical. Buyers look for measurable photometrics (lux at distance), colour metrics (CRI, TLCI, TM-30), stability at high frame rates, repeatable beam geometry, and interoperability with infrastructure such as DMX, RDM, Art-Net, sACN and wireless CRMX. ARRI answers those needs with three complementary families: LED panel lights for scalable soft sources, LED spotlights for cuttable and directional work, and classic daylight & tungsten Fresnels and open-face systems for facilities that retain established dimmer and ballast workflows.

SkyPanel X: modular LED panel that shifts between soft, hard and open-face

SkyPanel X is a modular platform configurable as X21 (2:1), X22 (2:2) and X23 (2:3). Each panel uses a full-spectrum, six-colour RGBACL engine and provides up to eight pixel zones per panel for pixel mapping, cueing and on-camera effects. In native hard operation ARRI specifies up to 4,800 lux at 10 m (5,600 K), a practical number for medium throws on stages and exterior work where diffusion loss must stay controlled.

Beam behaviour is configured at the front of the lamphead rather than via add-on optics that compromise efficiency. With the HyPer Optic, SkyPanel X forms a round hard beam around 11° for punchy keys, window-motivated highlights and long-throw bounce. With the X21 Dome (or an adapter that accepts S60 front accessories), the unit becomes a controlled soft source with a field around 107°. In open-face configuration the field broadens toward 121°, useful for bounce, ambience and wide coverage on compact rigs.

For location reliability, SkyPanel X carries an IP66 rating and integrates its power supply inside a rugged housing. Control options target both rental and installed environments: wired DMX plus internal wireless LumenRadio CRMX, and ARRI’s LiOS3 software with simplified DMX profiles for multi-panel assemblies. A production-relevant feature is ARRI ALEXA Modes, which supports camera-oriented colour matching when the lighting and camera departments need consistent sensor response across multiple sources.

SkyPanel: the soft-light baseline for studios and stages

The SkyPanel family established itself as a predictable soft source across television studios, live entertainment and narrative production. Classic S-series sizes (S30, S60, S120, S360) scale aperture without changing operating logic. The commonly referenced S60 format provides an aperture of approximately 645 × 300 mm, mounts to standard rigging via a 28 mm spigot, and is specified with a variable 2,800 K to 10,000 K white range on colour variants, plus green–magenta correction and colour control options that map cleanly to desk workflows.

For engineering teams, SkyPanel’s control behaviour is a differentiator. ARRI documentation describes host/client operation for fixture linking and practical limits such as up to 32 fixtures on a DMX data link in the supported topology. That level of operational detail is central in permanent installations, where address management, line loading and predictable troubleshooting determine whether a studio can recover during a live transmission window.

L-Series Plus: Fresnel optics with network-native connectivity

L-Series Plus is aimed at studios and live environments where Fresnel optics remain the daily tool for shaping and controlling spill. The range centres on L5-C Plus and L7-C Plus, each using a focusable Fresnel system that moves from spot to flood while keeping a homogeneous field and familiar accessory support (barndoors, scrims and standard front hardware). Stable product identifiers (for example, the L5-C Plus family beginning at L1.0048800) support inventory control and accurate tender documentation without relying on ambiguous marketing names.

Connectivity is a core reason to choose L-Series Plus for broadcast. The fixtures support DMX with full RDM feedback for remote addressing and status monitoring, and implement direct network control via Art-Net and Streaming ACN (sACN). Bi-directional reporting of system state, operating hours and DMX settings helps technical managers plan service cycles and isolate faults without bringing fixtures down from height.

Orbiter: directional LED system with interchangeable optics and high colour fidelity

Orbiter is a universal, directional LED spotlight built around the ARRI Spectra six-colour engine (red, green, blue, amber, cyan and lime). ARRI specifies a calibrated 2,000 K to 20,000 K range and very high colour quality around CRI > 98 and TLCI > 95 in the critical 3,200–5,600 K region. Orbiter supports multiple control workflows: CCT, HSI, gel libraries, x/y coordinates, source matching, effects and sensor-oriented tools that help crews reproduce looks across episodes or across multiple stages.

Optics define Orbiter’s value. It can operate optic-free for a broad field, mount open-face optics (commonly 15°, 30°, 60°) for efficient throw, or use projection optics for tight beams and pattern control. The quick-lock mounting system (QLM) enables fast swaps under time pressure, and the removable control panel (often powered via PoE in rigged installs) allows the head to be flown while the interface remains accessible.

M-Series: daylight HMI punch with lens-less MAX Technology

For productions that still specify traditional daylight punch, the M-Series remains a reference: M8, M18 (1,200/1,800 W), M40 (2,500/4,000 W) and M90 (6,000/9,000 W). These lampheads use the patented MAX Technology reflector concept, combining aspects of PAR and Fresnel without heavy spread lenses. The M18 is specified as an 1,800 W open-face head with a focusable beam (commonly referenced in the 20°–60° region depending on lamp configuration), which keeps changeovers fast when weather, sun angle and schedule shift.

Infrastructure detail is part of the specification. ARRI documentation for the M40 notes cable-loss compensation when paired with compatible electronic ballasts, supporting long cable runs up to 100 m. For rigging electrics and gaffers, that capability directly affects generator placement, distro strategy and head-to-ballast positioning while keeping output predictable.

Daylight & tungsten: continuity with classic Fresnel practice

ARRI’s daylight & tungsten portfolio remains relevant in studios that maintain dimmer rooms, scrim workflows and classic Fresnel shadow behaviour. ARRI lists daylight Fresnel and open-face fixtures spanning roughly 125 W to 18,000 W, and tungsten Fresnels from 150 W to 24,000 W. In many facilities, these fixtures coexist with LED systems: tungsten heads handle practical-matching keys and hard shadow work, while SkyPanel and Orbiter handle colour-critical cues, fast recall and networked control.

Where each family fits in a modern purchase order

For scalable soft sources, grid coverage and pixel-mapped effects, specify SkyPanel and SkyPanel X. For Fresnel cut-and-focus in studio and live production, specify L-Series Plus. For directional, colour-accurate light where optics swaps and projection control replace a cart of specialised heads, specify Orbiter. For maximum daylight output and traditional ballast workflows, specify M-Series. This structure mirrors how gaffers, programmers and broadcast engineers build lighting systems: by beam role, control role and service expectations.