Set the perfect mood with customizable RGB lighting
The LED lighting built into these seats is not decorative — it functions as bias lighting. A low-level glow behind and around your screen reduces the contrast between the bright display and a pitch-black room. That contrast is what causes eye fatigue during long viewing sessions. Reduce it, and you can watch longer without discomfort.
The light source is positioned in the seat structure itself — typically integrated into the armrest consoles and base trim. This puts the glow exactly where it needs to be: low, directional, never in your sightline and never bouncing off the screen. It illuminates the room, not the picture.
The practical difference shows up around the two-hour mark. In a fully dark room, the eyes are constantly adjusting to the shift between dark surroundings and a bright screen. With properly calibrated bias lighting, that adjustment cycle stops. The viewing session becomes less effortful — which is exactly why professional screening rooms always have controlled ambient light, never total darkness.
Colour temperature matters too. The LED systems in these seats are adjustable: warm white (around 3,000 K) for drama and classic film, neutral daylight (5,000–6,500 K) for sport and animation. Most models also offer hue control for those who want to match lighting to specific content.
Set the perfect mood with customizable RGB lighting

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The LED lighting built into these seats is not decorative — it functions as bias lighting. A low-level glow behind and around your screen reduces the contrast between the bright display and a pitch-black room. That contrast is what causes eye fatigue during long viewing sessions. Reduce it, and you can watch longer without discomfort.
The light source is positioned in the seat structure itself — typically integrated into the armrest consoles and base trim. This puts the glow exactly where it needs to be: low, directional, never in your sightline and never bouncing off the screen. It illuminates the room, not the picture.
The practical difference shows up around the two-hour mark. In a fully dark room, the eyes are constantly adjusting to the shift between dark surroundings and a bright screen. With properly calibrated bias lighting, that adjustment cycle stops. The viewing session becomes less effortful — which is exactly why professional screening rooms always have controlled ambient light, never total darkness.
Colour temperature matters too. The LED systems in these seats are adjustable: warm white (around 3,000 K) for drama and classic film, neutral daylight (5,000–6,500 K) for sport and animation. Most models also offer hue control for those who want to match lighting to specific content.
Low-level ambient light reduces the screen-to-room contrast that strains your eyes during long viewing sessions
LED strips integrated into armrests and base trim — directional, never in your sightline, never bouncing off the screen
Warm white (3,000 K) for drama and classic film; neutral daylight (6,500 K) for sport — set the right tone for what you are watching
Pro screening rooms always use controlled ambient light — never total darkness. Now your home cinema works the same way