Light That Does More Than Illuminate

A professional balloon light is more than a lamp enclosed inside an inflatable shape. It is a complete lighting platform that combines a high-performance light source, a specially engineered diffuser envelope, an inflation or support system, electrical control equipment and application-specific mounting accessories.

The result is a large luminous surface that can soften, spread, elevate or visually transform light.

Unlike a conventional spotlight that sends a concentrated beam in one direction, a balloon light turns the entire illuminated envelope into an active light-emitting surface. Depending on the balloon shape, internal reflector and external skirt, it can produce broad 360-degree illumination, controlled downward lighting, soft overhead fill or a more directional wash.

This distinctive principle allows one product to perform several roles:

• illuminating a large working or public area;

• creating soft ambient light for cameras and people;

• becoming a visible decorative feature;

• carrying a logo, message or branded graphic;

• marking an entrance, route, activity zone or emergency location;

• raising a light source without a conventional mast or complex overhead rig.

Our balloon-light portfolio is organized into four professional application families:

Event and Branding, Architecture and Art, Film and Media, and Safety and Rescue.

Each family uses the same fundamental idea—placing a suitable light engine inside a lightweight diffusing structure—but adapts its construction, output, control system and mounting method to a very different purpose.

[IMAGE CONTAINER 01
Suggested visual: A four-part hero image showing an event balloon, an architectural installation, a film set balloon and a rescue-site balloon light.]

From Film-Set Innovation to a Global Lighting Platform

The modern professional lighting balloon emerged from the need to illuminate large film sets with a natural-looking source that could be installed more freely than traditional studio fixtures.

A large point source or open-face lamp can provide powerful output, but it may also create hard shadows, uncomfortable glare and obvious changes in brightness across a scene. Producing a softer result normally requires additional diffusion frames, reflectors, support stands and rigging.

The lighting balloon approached the problem differently. Instead of placing diffusion several metres in front of a lamp, the light source was installed inside a large translucent envelope. The envelope enlarged the apparent source and distributed the light over a much wider surface.

Early professional systems used tungsten and HMI lamps. Helium-filled versions could be floated above sets, streets and large interior spaces where conventional rigging was difficult. Air-filled versions could be suspended, mounted on tripods or installed closer to the subject.

As LED technology developed, balloon lighting became more efficient, controllable and versatile. Adjustable white, bi-colour and RGBW light engines introduced dimming, colour-temperature adjustment, saturated colour effects and DMX-based control. Smaller systems could also operate from batteries or low-voltage DC supplies.

The technology consequently moved far beyond cinema. Today, the same optical principle can be used to light a wedding, define an architectural space, illuminate a night construction site, support a rescue team or carry a brand above a crowded exhibition.

How a Professional Balloon Light Is Constructed

Although designs differ between product families, most professional balloon lights contain five principal systems.

1. The Diffusing Envelope

The visible balloon is an optical component, not simply a decorative cover.

Its translucent material receives the direct light from the internal lamp or LED engine and redistributes it over a much larger area. The fabric formulation, thickness, colour, internal coating and light-transmission rate all influence the final output.

Depending on the application, an envelope may be made from treated textile, nylon-based fabric, TPU, PVC or another engineered material. Selected professional versions may incorporate waterproofing, UV resistance, flame-retardant treatment or reinforced attachment points.

The envelope can also include:

• a reflective upper section to direct more light downward;

• a removable skirt to reduce side spill;

• a black or silver control surface;

• a printed outer cover;

• interchangeable coloured jackets;

• transparent or semi-transparent graphic areas;

• service openings for lamps, cables and internal frames.

A sphere produces a naturally broad distribution. An ellipse extends the luminous surface across a longer area. A tube creates a linear source. A pad or mattress provides a wide, shallow source that can be positioned close to ceilings, actors or reflective surfaces.

2. The Internal Light Engine

At the centre of the balloon is the light-generating assembly.

This may contain LED boards, COB LED modules, conventional lamps, reflectors, sockets, heat-resistant supports, protective cages and electrical connections. The structure must keep the light source correctly positioned while preventing direct contact with the envelope.

Professional film versions may use multiple light modules to create an even illuminated surface. Event products may combine white LEDs with RGB colour modules. Safety products normally prioritize luminous efficiency, dependable operation and broad area coverage.

3. The Inflation System

Balloon lights generally use one of two inflation principles.

Continuous-air balloons use a compact built-in or external fan. The fan maintains the envelope shape while the unit is operating. These products are convenient for tripod mounting, suspended installation and inflatable light towers.

Airtight balloons are sealed after inflation. They may be filled with ordinary air for suspended or ground-based use, or with helium when aerial lift is required. Helium balloons require suitable tethering, lifting calculations and weather assessment.

The choice is not merely aesthetic. It affects packing size, operating noise, lifting capability, installation method, maintenance and suitability for outdoor use.

4. Support, Rigging and Positioning

A balloon light may be:

• installed on a telescopic tripod;

• attached to a pole or vehicle;

• suspended from a truss or ceiling;

• positioned on a weighted floor base;

• tethered as a helium balloon;

• incorporated into an inflatable tower;

• installed on temporary architecture;

• arranged in a multi-unit artistic composition.

The mounting method should always be selected according to the weight, envelope size, centre of gravity, wind conditions, working height and intended area of coverage.

5. Power and Control

The electrical system depends on the selected light source.

LED systems use dedicated drivers and may offer manual dimming, adjustable colour temperature, RGBW mixing, DMX, wireless control or application-based control. Lower-power versions may be compatible with batteries or DC power.

HMI and metal-halide lamps require matched ballasts. Tungsten lamps can normally be operated directly from a suitable AC supply, although dimming requires correctly rated control equipment.

Generator capacity, supply voltage, connector type, cable length, inrush current, earthing and environmental protection must all be considered when configuring a professional system.

[IMAGE CONTAINER 02
Suggested visual: Exploded technical diagram showing the envelope, reflector, light engine, fan, electrical driver, tripod, cable and control unit.]

A Large Soft Source That Can Be Raised, Suspended or Floated

The clearest way to understand a balloon light is to think of it as a large, lightweight softbox whose body can also become part of the installation.

A conventional Fresnel, open-face lamp or focused LED fixture is designed to project light. Its beam can be spotted, flooded, shaped with barn doors or projected across a considerable distance.

A balloon light is primarily designed to distribute light.

This difference changes both the appearance of the illumination and the way a project can be planned.

Compared with Conventional Film and Area Lights

Balloon lights do not replace every conventional luminaire. A cinematographer may still need a Fresnel for a defined sunlight effect, a spotlight for a controlled highlight or a powerful directional unit for a long throw.

Their value appears where a project needs a broad base level of illumination, natural ambient fill, softer facial light, a large overhead source or comfortable visibility across an entire area.

In many applications, one balloon light can also reduce the number of separate fixtures, stands and diffusion frames required to produce a comparable general wash.

[IMAGE CONTAINER 03
Suggested visual: Side-by-side infographic comparing a hard spotlight beam with a broad balloon-light distribution.]

1. Event and Branding Balloon Lights

When the Light Becomes Part of the Experience

Event lighting must do more than make a venue visible. It must create atmosphere, support photography, guide visitors and strengthen the identity of the occasion.

Our Event and Branding range combines practical illumination with the visual presence of an inflatable object. A balloon may appear as an elegant white sphere above a dinner, a colour-changing feature beside a stage, a luminous tube across a fashion installation or a branded helium landmark visible throughout a festival site.

Pearl — Professional White Event Illumination

Pearl is the established general-purpose range for tripod-mounted and suspended event lighting.

It is designed for users who need dependable white illumination with a clean, recognizable balloon form. The broad luminous surface can provide comfortable ambient light for receptions, exhibitions, hospitality spaces, temporary venues and outdoor events.

Depending on configuration, Pearl can be mounted on a telescopic tripod, suspended from a ceiling or truss, or incorporated into a customized installation. Reflector and envelope options allow the user to choose between broader distribution and increased downward output.

Muse — Colour, Atmosphere and Creative Control

Muse extends the balloon-light concept into decorative and programmable illumination.

RGB+W or related multi-channel LED configurations can create saturated colours, pastel tones, warm or cool white and dynamic transitions. Manual, remote or DMX control may be selected according to the project.

Muse is particularly suitable for:

• stage-side decoration;

• corporate colour matching;

• product launches;

• gala dinners;

• music festivals;

• weddings;

• immersive environments;

• branded experiential events.

The balloon is no longer only an illuminator. It becomes a controllable luminous object within the visual design.

Moon — Air-Filled or Helium-Filled Landmark Lighting

Moon is an airtight balloon system that can be filled with air for suspended use or helium for floating installations.

Large spherical, elliptical, cubic and tubular formats allow the light to be positioned well above a crowd or distributed through a high-ceiling venue. Printed logos, graphics or messages can transform the illuminated envelope into a highly visible communication platform.

Moon is appropriate where the installation must provide a combination of:

• illumination;

• decoration;

• orientation;

• branding;

• long-distance visibility;

• aerial visual impact.

Helium operation requires careful attention to net lift, tether arrangement, cable weight, weather and local installation requirements.

Iris-Tube — A Linear Inflatable Light

Iris-Tube introduces a long, luminous line instead of a conventional sphere.

Single units may be suspended vertically or horizontally, while several tubes can be combined into geometric frames, arches, ceiling compositions or scenic structures. White or colour-changing LED configurations make the range useful for fashion shows, concerts, art events, exhibitions and creative set design.

Aero, Aquaflair, Venus and Luna

These series expand the event range beyond conventional balloon geometry.

Aero uses illuminated inflatable tower and sculptural forms to create height and visual rhythm.

Aquaflair introduces floating and water-based illuminated forms for pools, ponds, waterfront venues and controlled aquatic event environments. 

Venus provides a more powerful and versatile balloon-light platform with expanded control, fabric and configuration options.

Luna provides an economical decorative balloon-light platform for projects that prioritize visual effect, accessible configuration and flexible deployment.

Together, these products allow event designers to select not only the brightness and colour of the light, but also its physical form and relationship with the audience.

[IMAGE CONTAINER 04
Suggested visual: Event application collage featuring Pearl, Muse, Moon, Iris-Tube, Aero and a floating Venus installation.]

2. Architectural and Artistic Balloon Lights

Illuminating Space Without Visually Overloading It

Architectural lighting often faces a difficult balance. The system must reveal scale, surfaces and circulation, yet the equipment should not dominate the space or require extensive permanent infrastructure.

The Arcti range applies diffused balloon-light technology to buildings, interiors, public spaces and temporary architectural projects.

Instead of creating isolated pools of hard light, an Arcti installation can establish a softer visual field. It can illuminate a vaulted ceiling, bring out the texture of a façade, fill a courtyard, define a pavilion or introduce a luminous sculptural object into an otherwise empty volume.

Arcti Interior

Arcti Interior is intended for civic buildings, cultural spaces, atriums, halls, churches, museums, galleries and temporary indoor architecture.

Suspended spherical, tubular or customized forms can introduce a large soft source without relying on multiple conventional fixtures distributed around the room.

Typical objectives include:

• creating comfortable general illumination;

• highlighting ceiling height and spatial volume;

• improving ambient light for visitors and cameras;

• establishing a temporary installation without permanent rebuilding;

• integrating lighting with an exhibition or artistic concept.

Arcti Outdoor

Arcti Outdoor adapts the system for façades, courtyards, plazas, temporary structures and open-air architectural environments.

The luminous object can function as a source, a visual landmark or both. Depending on the design, it may wash a building surface, identify an entrance or create a visible focus in a large public area.

Outdoor specifications should be selected according to rain exposure, wind, anchoring, operating temperature, electrical protection and installation duration.

Arcti Commercial

Arcti Commercial is designed for retail environments, hotels, exhibitions, showrooms, shopping centres, restaurants and branded public interiors.

Here, lighting quality and visual identity are closely connected. The balloon can provide useful ambient illumination while its envelope carries a colour, texture, logo or graphic treatment associated with the commercial space.

Arcti Industrial

Arcti Industrial addresses large interiors and temporary operational areas where wide distribution and simplified installation may be more valuable than decorative appearance.

Potential applications include warehouses, temporary production spaces, aircraft hangars, maintenance halls and large covered work areas. The configuration may prioritize output, durability, controlled downward distribution and compatibility with existing industrial power systems.

A Tool for Lighting Designers and Artists

Inflatable lighting offers an unusual creative advantage: scale without equivalent structural mass.

A large illuminated form can occupy an architectural volume, but it can still be transported in a relatively compact package when deflated. This makes balloon lighting particularly suitable for temporary exhibitions, touring installations, festivals and site-specific art.

Custom geometry, printed surfaces, different levels of translucency and programmable colour can allow the lighting system to become part of the artwork itself.

[IMAGE CONTAINER 05
Suggested visual: Architectural balloon lights in an atrium, on a façade, inside a commercial hall and within an art installation.]

3. Film and Media Balloon Lights

Soft Illumination Designed Around the Camera

Film lighting balloons were developed to solve one of production lighting’s most persistent challenges: how to introduce a large, natural-looking source into a location without building an equally large conventional rig.

The Artemis range covers high-output LED balloon lights, classic HMI and tungsten systems, and more compact grip-oriented shapes.

Artemis LED — High-Output Modern Film Lighting

Artemis LED models combine a large diffusing envelope with modern LED light engines.

Available geometries may include:

• Ellipse;

• Sphere;

• Tube;

• Pad or mattress.

Each shape creates a different type of source.

A sphere provides broad ambient illumination. An ellipse spreads light over a longer area. A tube creates a linear reflection and is useful beside vehicles, windows or long sets. A pad forms a wide overhead or side source suitable for studio ceilings, close work and controlled reflections.

Depending on model and light engine, professional LED configurations may offer:

• fixed white light;

• bi-colour or variable white;

• RGBW or RGBWW colour control;

• local dimming;

• DMX control;

• wireless control;

• flicker-managed operation for camera use;

• high colour-rendering options.

Because the envelope already performs the primary diffusion, the crew can establish a broad soft source without placing a separate frame of diffusion in front of every lamp.

Artemis Classic — HMI and Tungsten Balloon Lighting

Traditional light sources continue to have a place in professional cinematography.

HMI balloon lights provide powerful daylight-oriented output for exterior nights, large sets, simulated ambient daylight and situations where the light must compete with other strong sources.

Tungsten balloon lights produce the familiar warm character associated with conventional studio lighting. They can be particularly useful for period interiors, warm night scenes and productions that prefer the spectral and dimming behaviour of tungsten lamps.

Hybrid systems can combine different source types or colour temperatures within the same balloon, subject to the selected lamphead and control design.

These systems normally require more electrical power and thermal management than LED versions. HMI models also require correctly matched electronic ballasts and professional operating procedures.

Artemis Iris, Xpad and Xhalo — Compact Grip Balloon Lights

The compact Artemis grip range brings inflatable diffusion closer to the subject.

Iris provides a small tubular or cylindrical source for faces, reflective surfaces and confined locations.

Xpad creates a shallow, wide source that can function as overhead fill, close soft light or a reflection source for vehicles and product work.

Xhalo introduces a circular or halo-shaped luminous form suited to specialized reflections, beauty lighting and creative set applications.

These compact formats are valuable when a large helium balloon would be unnecessary but a conventional panel still produces a source that is too small or too visibly directional.

Where Film Balloon Lights Perform Best

Film balloons are especially effective for:

• exterior night ambience;

• street and backlot illumination;

• overhead soft light;

• large interior fill;

• vehicle scenes;

• crowd and background exposure;

• green-screen stages;

• television studios;

• interviews;

• commercial photography;

• reflective product and automotive work;

• locations where floor stands must be minimized.

They can often establish the base exposure and atmosphere of a scene, while conventional fixtures are then used for precise keys, edges, highlights and background accents.

Why Cinematographers Use Them

A balloon light can:

• reduce obvious hotspots in the frame;

• produce longer, softer shadow transitions;

• create natural-looking ambient exposure;

• provide a large reflection in eyes, glass, paint and polished surfaces;

• place the source above a set without a heavy lighting bridge;

• illuminate actors as they move through a wider working area;

• reduce the need to relight every camera position;

• create moonlight-like or skylight-like ambience over a large scene.

It should nevertheless be selected as part of a complete lighting plan. For long-distance projection, sharp patterns or highly controlled keys, a focused conventional fixture remains the more appropriate tool.

[IMAGE CONTAINER 06
Suggested visual: Artemis Ellipse, Sphere, Tube and Pad shown on film sets, with a small inset showing Iris, Xpad and Xhalo.]

4. Safety and Rescue Balloon Lights

Wide Visibility Without a Wall of Glare

At a worksite or emergency scene, brightness alone is not enough.

A poorly positioned floodlight may create intense glare for workers, drivers or rescue personnel. Strong directional beams can also produce deep shadows behind vehicles, machinery and debris. Increasing the number of conventional lights may improve coverage but can introduce additional generators, stands, cables and conflicting shadows.

Safety balloon lights address the problem by enlarging and elevating the apparent source.

Sun Safety Balloon Lights

Sun is the core tripod-, pole- and equipment-mounted safety balloon range.

Its diffusing envelope distributes light around the working area, while optional reflector designs can direct a greater proportion of the output downward.

Depending on the required performance level, Sun configurations may use:

• LED;

• tungsten halogen;

• HMI;

• metal-halide light sources.

LED is generally preferred where energy efficiency, immediate restarting, lower maintenance and battery compatibility are important.

HMI or metal halide may be selected for higher-output applications where an AC supply, generator and ballast system are available.

Sun balloon lights may be configured for:

• road and bridge construction;

• railway maintenance;

• industrial shutdowns;

• mining and quarry operations;

• police checkpoints;

• forensic examination;

• firefighting;

• rescue and recovery;

• disaster relief;

• temporary camps;

• logistics yards;

• military training;

• night agriculture;

• outdoor maintenance.

Columus Inflatable Light Towers

Columus combines an inflatable vertical structure with an elevated light source.

The inflatable column raises the lamp above nearby personnel, vehicles and equipment without the weight and mechanical complexity of a conventional steel mast. The tower itself is also highly visible and may assist with orientation or zone identification.

Depending on configuration, the tower can integrate LED, HMI or metal-halide lighting.

Its principal advantages are:

• compact transport when deflated;

• rapid erection;

• elevated light distribution;

• reduced mechanical mast structure;

• visible tower form;

• suitability for temporary and mobile operations.

For rescue organizations, event operators and rental companies, an inflatable tower can perform both a lighting and a site-identification function.

Better Working Light, Not Simply More Light

The purpose of a safety balloon is to improve useful visibility.

A properly selected system can reduce direct glare, soften shadows and allow people to see equipment, ground conditions and one another more comfortably. Broad light distribution can also reduce the need for workers to continually face or move around a concentrated floodlight beam.

Performance must nevertheless be evaluated with real photometric criteria. Total lumens alone do not determine whether a system is suitable. Required illumination in lux, mounting height, working radius, surface reflectance, environmental conditions and the critical task being performed should all be considered.

[IMAGE CONTAINER 07
Suggested visual: Sun balloon light at a rescue scene and a Columus inflatable tower beside a nighttime construction or emergency site.]

Light-Source Options

LED

LED is the most flexible source for modern balloon lighting.

Its principal benefits may include:

• high luminous efficiency;

• relatively low power demand;

• immediate start and restart;

• long operating life;

• reduced lamp replacement;

• smooth electronic dimming;

• adjustable white light;

• RGBW colour options;

• DMX and wireless control;

• compatibility with batteries on selected power levels;

• lower radiant heat than comparable tungsten systems.

For camera applications, the LED driver, dimming frequency, colour rendering and spectral quality should be verified for the intended frame rate and camera system. “LED” alone does not guarantee film-grade performance.

HMI

HMI is an established high-output source for daylight-oriented film and large-area lighting.

It offers strong output relative to tungsten and is especially valuable where a daylight appearance or powerful ambient source is required.

HMI systems require a compatible ballast and professional lamp handling. Dimming range, hot restrike, flicker performance and ballast frequency depend on the selected system.

Tungsten Halogen

Tungsten produces a naturally warm light, normally associated with approximately 3200 K film and studio lighting.

It offers familiar colour behaviour and straightforward lamp technology. However, tungsten systems consume more power and release significantly more heat than modern LED systems with comparable useful output.

They remain relevant where warm traditional light, smooth conventional dimming or compatibility with an existing tungsten production package is preferred.

Metal Halide

Metal-halide lamps provide efficient, high-output illumination for industrial, event and safety applications.

They are generally used with a ballast and may require warm-up or restart time. Their colour quality and consistency depend on the lamp and ballast specification, so they should be selected according to the visual requirements of the project.

RGBW and Tunable-White LED

RGBW and related multi-channel LED systems allow a balloon to operate as both a white illuminator and a colour-changing scenic element.

They are particularly valuable for events, architecture and entertainment applications where the lighting must follow a programme, brand colour or changing visual theme.

For professional white-light use, dedicated white channels normally provide better efficiency and colour quality than generating white exclusively from red, green and blue LEDs.

[IMAGE CONTAINER 08
Suggested visual: Light-source comparison graphic showing LED, RGBW, HMI, tungsten and metal halide with their principal applications.]

Choosing the Right Balloon Light

The correct product should be selected according to the required result rather than wattage alone.

Start with the Primary Purpose

Choose the product family according to the principal task:

• Event and Branding: atmosphere, decoration, logo visibility and visitor experience;

• Architecture and Art: spatial illumination, building enhancement and artistic installation;

• Film and Media: camera-quality soft light and production control;

• Safety and Rescue: dependable visibility, reduced glare and rapid deployment.

Define the Required Distribution

Determine whether the project requires:

• full surrounding illumination;

• primarily downward light;

• a long linear source;

• a wide overhead pad;

• a suspended ambient source;

• an elevated area light;

• a visible decorative object.

A reflector, skirt or alternative envelope shape can significantly change the usable distribution.

Select the Installation Method

Consider whether the light will be:

• tripod mounted;

• ceiling suspended;

• truss mounted;

• ground standing;

• helium floated;

• mounted on a vehicle or machine;

• integrated into an inflatable tower.

The installation method affects the envelope, cable system, accessories, operating height and safety plan.

Select the Light Source

Choose LED where efficiency, control and convenient operation are priorities.

Choose HMI where powerful daylight-oriented film output is required.

Choose tungsten for warm traditional light and established studio behaviour.

Choose metal halide for economical high-output industrial or temporary-area illumination.

Confirm the Electrical Environment

Before ordering, confirm:

• available voltage and frequency;

• mains, generator, battery or vehicle supply;

• maximum available power;

• plug and connector standard;

• cable length;

• ballast or driver position;

• desired dimming and control protocol.

Confirm Environmental Conditions

For outdoor and professional installations, assess:

• maximum expected wind;

• rain and dust exposure;

• ambient temperature;

• installation duration;

• anchoring and tether points;

• access restrictions;

• required fire classification;

• electrical protection level;

• local regulations and permit requirements.

Confirm Camera Requirements

For film, television and photography, specify:

• required CCT range;

• CRI, TLCI or other colour-quality target;

• frame rate;

• shutter settings;

• dimming range;

• flicker requirements;

• DMX or wireless control;

• required reflection shape;

• intended working distance.

[IMAGE CONTAINER 09
Suggested visual: A product-selection flow chart leading users from application to shape, light source, mounting method and control system.]

Important Professional Considerations

A balloon light is lightweight when compared with a conventional structure of similar visual size, but it is still professional equipment.

Outdoor units must be secured correctly. Helium balloons require suitable tether systems and qualified supervision. Wind conditions should be monitored continuously. The permissible operating limit depends on the balloon geometry, surface area, tether arrangement, mounting structure and manufacturer’s instructions.

The balloon envelope should be kept away from hot surfaces, sharp objects and unprotected moving equipment. Electrical equipment must be correctly earthed and protected for the environment.

High-power HMI, metal-halide and tungsten systems require particular attention to heat, lamp condition, ballast compatibility and cool-down procedures.

Product specifications such as IP rating, flame-retardant classification, wind resistance, colour rendering and flicker performance should be confirmed for the exact model. They should not be assumed solely from the product category.

One Technology, Four Different Ways to Use Light

Balloon lighting occupies a distinctive position between technical illumination, scenic design and inflatable engineering.

For an event organizer, it can be a light, a landmark and an advertising surface.

For an architect, it can define volume without permanent construction.

For a cinematographer, it can become a large controllable source that establishes the ambience of an entire scene.

For a rescue or construction team, it can provide broad working visibility with less direct glare than exposed floodlights.

Our four product families have therefore been developed around different outcomes rather than a single standard design:

• Pearl, Muse, Moon, Iris-Tube, Aero, Aquaflair, Venus and Luna for events, décor and branding;

• Arcti Interior, Outdoor, Commercial and Industrial for architecture and art;

• Artemis LED, Artemis Classic, Iris, Xpad and Xhalo for film and media;

• Sun and Columus for construction, emergency response, safety and rescue.

From a compact tripod balloon to a high-output film sphere or a large helium installation, each system can be configured around the desired light quality, power supply, mounting method, control platform and operating environment.

Tell Us What You Need to Illuminate

Provide the application, site dimensions, mounting height, available power, required colour temperature, control method and indoor or outdoor conditions.

Our team can then recommend an appropriate balloon shape, light source, output level, support system and accessory package for the project.