Auroris · Kendrick Lamar, live
Professional lighting, grip and rigging for South Africa's stages, studios, broadcast suites and live events. Stocked nationally and supported by people who've worked the gigs themselves.
When the curtain goes up on Friday, the rig either works or it doesn't. Lighting designers, gaffers, key grips and broadcast engineers don't have time for back-orders, wrong stock, or distributors who've never been on set. Entertainment Lighting is built around that reality: carrying the brands working SA productions actually book back, with same-day dispatch in CT and JHB, and people who pick up the phone when something fails in the middle of a load-in.
Each format has its own demands: the right colour temperature, lumen output, control protocol, modifiers, mounting hardware. We stock for each, and the team knows the rig from spec through strike.
Touring lighting consoles, moving heads, hazers, follow-spots, pyro, the rig that travels and works the next city.
Profile and Fresnel rigs, gobos, gels, scrollers and the operating console set-ups SA's theatres book year after year.
LED panels with broadcast colour fidelity, soft boxes, key/fill kits and DMX rigs tuned for cameras and live cuts.
Daylight HMI, LED panels with high TLCI/CRI, modifiers, gels and grip from Manfrotto and Avenger, set-rated and rentable.
Continuous and strobe systems, modifiers, backdrop systems, c-stands and the supporting grip that keeps a studio shooting all day.
Trussing, uplighters, AV-grade fixtures, gobos and the cabling that turns conference halls into branded experiences.
Reliable, low-noise stage lighting for church services and live-streamed worship, with control suited to volunteer operators.
Avenger and Manfrotto stands, baby and junior pin, grip heads, sand bags, weights and rigging hardware. The hardware nothing happens without.
We split the catalogue the way a gaffer thinks about it, by what the job needs. Each category carries the working-set brands SA productions book back, direct-imported with original warranty and locally stocked.
HMI, xenon, tungsten and projection lamps for film, theatre follow-spots, studio fixtures and cinema houses. The high-output sources the rest of the rig is built around, original-equipment globes.
Soft, colour-accurate LED for studio, broadcast and film: mats, tiles, ribbon and panels with high TLCI/CRI so faces read true on camera and the live cut holds across sets.
Stands, booms, grip heads, clamps, baby and junior pin, sandbags and rigging hardware, plus the on-board power that runs it: V-mount batteries, chargers and voltage adapters. The set-rated kit nothing gets hung, flagged, flown or powered without.
Gels, diffusion, lenses and colour correction, plus scenic paints, fog and haze machines and fluid. Everything that shapes, colours and fills the beam, the two names every lighting designer specs by.
Lee FiltersLamps, LED, grip, diffusion and atmospherics, the full kit, on the rigs and productions where it earns its keep. LiteMat, Auroris, Manfrotto and Rosco are a few of the working-set names we stock for South African crews.
LiteMat · LEDOnce Upon a Time in Hollywood
Manfrotto · GripSuper-clamp rigging on location
LiteMat · LEDThe Conjuring
Rosco · LEDDMG DASH, road kit
Auroris · CinemaVirtual production stage
Manfrotto · GripFlags, diffusion & grip kit
Avenger · GripBuccaneer stand, studio load-in
Rosco · AtmosphericsV-Hazer, haze & fog
Manufacturer images · production stills and kit indicative of the ranges we stock
Buying online is fine for a clamp. When the rig matters: the touring date, the broadcast cut, the opening night. The difference is who answers the phone at 11pm and how fast a backup ships.
Our team have rigged the gigs themselves. When you brief us with a venue, a camera, or a touring schedule, you get back a kit list that's been thought about.
Touring kit fails. Lamps blow. Cables go down. We hold the spares across three cities so a replacement is on the next flight or vehicle out.
Direct from Avenger, Manfrotto, Rosco and the rest. No grey-market kit, no questionable parallel imports, no warranty disputes with a foreign distributor when something fails three weeks in.
Every brief is answered by a named specialist within one business day. Stocked kit is specced on the spot. Full rig lists, broadcast colour-matching and touring specs get a scoped programme with committed dates, because a working kit list is built on your venue, camera and schedule.
Holdings in CT, JHB and DBN with overnight courier to anywhere else in the country. Install teams in each city.
Manufacturer-backed warranty on every unit, technical support from engineers who know the application.
“We needed an LED panel rig that would match across three studios in three cities, with consistent colour for live cuts. We needed it in six weeks. The Lamphouse stocked it, matched the bin codes, and shipped to all three on the same day.”
A national broadcaster refit moved three regional studios from tungsten to LED in a single capex round. The brief: identical colour rendering across all three sets so the live-cut between cities didn't show a temperature shift, a small thing on camera that the audience notices instantly when the anchor's face shifts hue.
We sourced bin-matched LED panels from a single production batch, paired them with broadcast-rated softboxes and DMX controllers, and shipped pre-kitted to each city ahead of installation. Lighting designers had a single point of contact, single invoice, single warranty. The cut works.
Same approach scales down to a single church rig or up to a touring concert. Spec it once, support it forever. Brief us on your production →
Brief our team with the venue, the camera, the rig requirements and the deadline. We'll come back inside 24 hours with a kit list, lead times, and the price. From a single follow-spot to a national broadcast roll-out, the process is the same.