Mired Shift Calculator

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Mired Shift -138
  • 750Durham FrostA frost that almost completely softens shutter edges and removes hot spots.
  • 702Special Pale LavenderA cold lavender when used with a full tungsten source, but warms as the source is dimmed. Good as a fill for slow sunset fades.
  • 003Lavender TintSubtle cool wash for stage and studio lighting.
  • 169Lilac TintA pale lavender. Good for almost white light with a cool tint.
  • 136Pale LavenderGreat for pantomimes and ballroom sets. Also enhances dark skin tones in follow spots.
  • 170Deep LavenderGreat for set lighting, discos and theatres.
  • 345Fuchsia PinkGood for musicals, pantomimes and sultry scenes.
  • 703Cold LavenderA colour that would be great for front / key lighting and that works well with 152 Pale Gold.
  • 704LilyA cool lavender with little red content. Good for romantic evening exteriors.
  • 705Lily FrostSmoothes PAR or flood washes of large areas. Useful for houselights and a good colour wash for evening events.
  • 052Light LavenderGood for general areas and side lights. Great for a basic followspot colour as well as an excellent backlight.
  • 194Surprise PinkGood for musicals.
  • 798Chrysalis PinkA new deeper lavender with a dash of rose blusher.
  • 701ProvenceThe colour of the Lavender fields of the south of France. A redder version of 180 for use on cameras balanced to tungsten sources.
  • 058LavenderAn excellent backlight that creates a new dimension.
  • 343Special Medium LavenderGood for theatre and T.V. effect lighting and backlighting.
  • 700Perfect LavenderIn-between 170 Deep Lavender and 345 Fuchsia Pink, and is good for backlighting and romantic atmospheres.
  • 707Ultimate VioletUsed in musical performances for general colour washes and set lighting.
  • 180Dark LavenderA pleasing effect for theatrical lighting and backlighting.
  • 706King Fals LavenderA cold lavender.
  • 344VioletA good dusk and romantic effect. Also good for skin tones.
  • 137Special LavenderGood for moonlight and musical / romantic scenes. Enhances skin tones.
  • 053Paler LavenderA subtle cool wash.
  • 502Half New Colour BlueA lighter correction in the NCB series.
  • 709Electric LilacProvides good colour rendering which creates a sharp edge, adding a touch of drama.
  • 142Pale VioletGreat Moonlight effect. Good for cyclorama lighting and highlighting foliage on plants.
  • 199Regal BlueA deep lavender blue that strongly enhances skin tones.
  • 508Midnight MayaA rich, sultry blue. Like Congo Blue, but allowing greater light transmission so more maintenance friendly - fewer gel changes. The visual equivalent of listening to Maya Angelou reading prose and a nod to working together on 'Moon on a Rainbow Shawl'.
  • 181Congo BlueLooks like black light when used with a fluorescent source. Great effect colour. Very saturated.
  • 799Special KH LavenderA deep lavender that brings out the UV.
  • 071Tokyo BlueA deep blue, used for midnight scenes and cyclorama lighting.
  • 198Palace BlueGood for dark moonlight or a romantic evening.
  • 713J.Winter BlueA very dark blue with a high UV content. Good when used in high concentrations for a moody and powerful stage colour wash.
  • 120Deep BlueA pleasing effect for theatrical lighting.
  • 085Deeper BlueA deep warm blue. Good for back and side lighting.
  • 716Mikkel BlueA romantic blue to produce a night effect.
  • 363Special Medium BlueGreat for cool moonlight and mood effects.
  • 195Zenith BlueCreates a good moonlight effect on a dark set. Also good for cycloramas.
  • 119Dark BlueGood for mood effects created by backlighting and side lighting. Creates great contrast.
  • 715Cabana BlueA deep blue that still has enough transmission to work encouragingly well on television.
  • 723Virgin BlueThis is a pure blue, not too green and not too lavender, yet still feels warm for a blue with an early morning feel.
  • 721Berry BlueUsed in musical performances for rear colour wash or set lighting.
  • 722Bray BlueA purer blue with very little red in it.
  • 714Elysian BlueA new deeper version of Alice Blue.
  • 079Just BlueA good colour mixing blue. Great for cyclorama lighting.
  • 710Spir Special BlueA cool industrial blue.
  • 197Alice BlueGreat for cyclorama lighting and creating deep blue skies cyclorama cycloramas
  • 075Evening BlueGood for night scenes and romantic moonlight.
  • 712Bedford BlueA smoky warm blue. Good for skin tones.
  • 719Colour Wash BlueTo allow low intensity tungsten to hold a cold/blue feel.
  • 525Argent BlueLSI's Silver Anniversary colour. Great for a foreboding cold winter's night, but allows enough light transmission to be useful for general illuminance too.
  • 200Double C.T. BlueConverts tungsten (3200K) to daylight (2600K)
  • 711Cold BlueTo give a cold/grey HMI effect from a tungsten source. Will also help blend the light when using both tungsten and HMI sources.
  • 366CornflowerGreat for pale moonlight and seasonal mood lighting.
  • 500Double New Colour BlueThe strongest of the NCB series for dramatic 'white' face and key light where warmer tones than CTB are required.
  • 283One and a Half C.T. BlueConverts tungsten (3200K) to daylight (8888K)
  • 201Full C.T. BlueConverts tungsten (3200K) to photographic daylight (5700K).
  • 717Shanklin Frost201 with frost to soften the beam of profile units.
  • 720Durham Daylight FrostSmoothes PAR or flood washes of large areas. Useful for houselight and good for entrances from natural light.
  • 708Cool LavenderFor use as a warmer tint without turning yellow and to recreate the colour of fluorescent lighting.
  • 501 New Colour Blue (Robertson Blue)An alternative to the CTB series with warmer tones and a lesser green cast for face and key light.
  • 281Three Quarter C.T. BlueConverts tungsten to daylight.
  • 202Half C.T. BlueConverts tungsten (3200K) to daylight (4300K).
  • 718Half Shanklin Frost202 with frost to soften the beam of profile units.
  • 061Mist BlueA cool wash good for night scenes.
  • 503Quarter New Colour BlueThe lightest correction in the NCB series.
  • 203Quarter C.T. BlueConverts tungsten (3200K) to daylight (3600K).
  • 218Eighth C.T. BlueConverts tungsten (3200K) to daylight (3400K).
  • 063Pale BlueCool front light wash, good for creating an overcast look for cold weather.
  • 174Dark Steel BlueGreat for set lighting. Creates good moonlight shadows.
  • 161Slate BlueA pure medium blue. Good for skies, moonlight and dusk effects.
  • 068Sky BlueGood for morning skin tones and night skies. Great for cyclorama lights.
  • 132Medium BlueDeep moonlight. Great for colour mixing.
  • 165Daylight BlueGreat for moonlight effect.
  • 141Bright BlueVery dramatic when used as moonlight.
  • 196True BlueGreat for moonlight effect.
  • 143Pale Navy BlueGreat moonlight / night effect.
  • 352Glacier BlueA cold blue, good for cool atmospheric mood setting.
  • 724Ocean BlueUseful at low levels of light. Good for dull skies and moonlight.
  • 140Summer BlueGood for light midday sky. Light blue tinted wash.
  • 117Steel BlueGood for cool washes. Adds a pale green tint. Great for emulating icy weather on stage.
  • 725Old Steel BlueCool wash, useful for highlights.
  • 353Lighter BlueGood for daylight effects.
  • 144No Colour BlueA clean blue with hints of green. Good for moonlight and sidelight.
  • 118Light BlueA strong night effect.
  • 183Moonlight BlueGood for moonlight effect and cycloramas.
  • 172Lagoon BlueA floodlit warm wash. Great for underwater scenes and ballet.
  • 727QFD BlueA special version of 729 Scuba Blue which is good for backlighting and swimming pool effects.
  • 729Scuba BlueUsed in musical performances for a rear colour wash or set lighting.
  • 116Medium Blue-greenA pleasing effect for theatrical lighting.
  • 354Special Steel BlueA cooling blue-green wash for stage and set lighting.
  • 115Peacock BlueA pleasing effect on set Good for cyclorama and backlighting (e.g. ice rinks, galas, etc).
  • 131Marine BlueGood for romantic moonlight. Often used in ballet and underwater scenes.
  • 241LEE Fluorescent 5700 KelvinConverts tungsten to fluorescent light of 5700K (cool white/daylight).
  • 728Steel greenApproaching storms. Overcast days. Cold steely light. Malevolent moonlight.
  • 504Waterfront greenDesigned for period key light and modern urban horizons.
  • 730Liberty greenA good green for creating mystery and suspense.
  • 731Dirty IceDirtier than 730 Liberty green, more orange, sympathetic with skin tones.
  • 733Damp SquibA dirty green, reduces warmth. Good for cross lighting.
  • 243LEE Fluorescent 3600 KelvinConverts tungsten to fluorescent light of 3600K (warm white).
  • 242LEE Fluorescent 4300 KelvinConverts tungsten to fluorescent light of 4300K (white).
  • 219LEE Fluorescent greenGeneral tungsten to fluorescent correction for use when fluorescent colour temp is unknown, to provide medium correction.
  • 323JadeUsed for underwater scenes, cycloramas and backlighting.
  • 322Soft greenA cool green used for gobo cover, pantomimes and cycloramas.
  • 325Mallard greenGood for mood setting and undergrowth.
  • 735Velvet greenA beautiful background colour. Victorian melodrama. A night time green.
  • 124Dark greenGood for cycloramas and backlighting.
  • 327Forest greenA deep green for sinister forest scenes, cycloramas and backlighting.
  • 090Dark yellow greenHighlighting for forest effects.
  • 736Twickenham greenA powerful green with depth, for music or light entertainment.
  • 740Aurora Borealis greenPrimary jungle colour. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.
  • 139Primary greenGood for set lighting and cyclorama lighting.
  • 089Moss greenGood mood creator. Used with gobos, creates a great foliage effect.
  • 122Fern greenGood for cycloramas and creates a great mood effect.
  • 738JAS greenA rich yellowish green. Useful as a concert stage wash where darker skin tone, costume and set are a consideration.
  • 121LEE greenGood for dense foliage, tropical jungle or woodland effect.
  • 088Lime greenUse with gobos for leafy glades. Good for pantomimes, giving a slightly sinister atmosphere.
  • 505Sally greenA fresh, light and airy summer green. 'Under tree canopy' light quality without 'pantomime countryside'. Subtle enough to light faces without having to add too much general cover on top.
  • 138Pale greenGood with gobos for wooded scenes.
  • 244LEE Plus greenUsed on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC30 green camera filter.
  • 213White Flame greenCorrects white flame carbon arcs by absorbing ultra violet.
  • 245Half Plus greenUsed on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC15 green camera filter.
  • 246Quarter Plus greenUsed on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC075 green camera filter.
  • 278Eighth Plus greenProvides very slight green cast. Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting.
  • 226LEE U.V.Transmission of less than 50% at 410nms.
  • 159No Colour StrawA warm effect. Sunlight.
  • 444Eighth C.T. StrawConverts 6500K to 5700K - daylight to tungsten light with a yellow bias.
  • 223Eighth C.T. orangeConverts daylight (6500K) to tungsten light (5550K).
  • 212L.C.T.yellow (Y1)reduces colour temperature of low carbon arcs to 3200K.
  • 007Pale yellowSunlight.
  • 443Quarter C.T. StrawConverts 6500K to 5100K - daylight to tungsten light with a yellow bias.
  • 206Quarter C.T. orangeConverts daylight (6500K) to tungsten light (4600K).
  • 763WheatAdds warmth, sunlight.
  • 103StrawPale sunlight through a window and a good warm winter effect.
  • 764Sun Colour StrawAdds warmth, bright sunlight.
  • 442Half C.T. StrawConverts 6500K to 4300K - daylight to tungsten light with a yellow bias.
  • 205Half C.T. orangeConverts daylight (6500K) to tungsten light (3800K)
  • 162Bastard AmberA warm white / warm wash. Good lamplight effect.
  • 506MarleneFlattering skin tone filter without the comedy 'pink'. Named for Marlene Dietrich who understood the importance of beautiful lighting, especially at a certain age! Also useful as Indian summer at dusk / sepia effect.
  • 774Soft Amber Key 1Used for producing a warm key light colour. Flame retardant.
  • 009Pale Amber GoldPerfect warm front light for any skin tone.
  • 765LEE yellowUseful for producing a strong sunlight effect.
  • 550ALD GoldA 'proper' gold to celebrate the 50th Anniversary of the ALD. It maintains its richness as it dims, becoming more molten as the percentage is reduced. Can be used for anything from early morning sunlight to a kind of surreal candlelight.
  • 013Straw TintWarmer than other straw colours. A good sunlight effect when used in contrast with ambers and blues.
  • 285Three Quarter C.T. orangeConverts daylight (6500K) to tungsten light (3600K).
  • 744Dirty WhiteCorrect a daylight source to an off white tungsten source. Used with a tungsten source provides a "dingy" effect like a smoky bar.
  • 204Full C.T. orangeConverts daylight (6500K) to tungsten light (3200K).
  • 441Full C.T. StrawConverts 6500K to 3200K - daylight to tungsten light with a yellow bias.
  • 286One and a Half C.T. orangeConverts daylight (6500K) to tungsten (2507K)
  • 651HI SodiumUsed on tungsten to create a High Pressure Sodium look.
  • 236H.M.I. (to Tungsten)Converts HMI to 3200K, for use with Tungsten film.
  • 604Full C.T. Eight FiveConverts Daylight (6500K) to Tungsten light (3200K) with a red bias. Creates an orange effect similar to sodium when used on Tungsten.
  • 775Soft Amber Key 2Used for producing a warm key light colour. Flame retardant.
  • 773Cardbox AmberWarm tint for skin tones.
  • 108English RoseWarm tint wash. Dark flesh tones and softer skin tones.
  • 776NectarineRomantic sunset. Period pieces.
  • 147ApricotGood for sunrise, sunset and lamplight effects.
  • 237C.I.D. (to Tungsten)Converts CID to 3200K, for use with Tungsten film.
  • 779Bastard PinkDeep sunset. Useful on dark skin tones.
  • 008Dark SalmonEnhances dark skin tones, sunsets, ballroom sets.
  • 017Surprise PeachGood for skin tones and creating a moody lighting effect.
  • 127Smokey PinkGood for cycloramas, set lighting and discos.
  • 748Seedy PinkA smoky pink. Good for tungsten on skin tones.
  • 238C.S.I. (to Tungsten)Converts CSI to 3200K, for use with Tungsten film.
  • 747Easy WhitePrimarily developed for fluorescents to ensure warm, comfortable light and flattering skin tones.
  • 156ChocolateWarms light and reduces the intensity.
  • 746BrownTo give a murky, dirty feel to tungsten. A darker, less pink chocolate.
  • 653LO SodiumUsed on tungsten to create a Low Pressure Sodium look.
  • 742Bram BrownDirtier than 156 Chocolate, good for skin tones. Dims well and doesn't go pink at low light levels.
  • 208Full C.T. orange + .6NDConverts daylight (6500K) to tungsten (3200K) and reduces light 2 stops.
  • 207Full C.T. orange + .3NDConverts daylight (6500K) to tungsten (3200K) and reduces light 1 stop.
  • 232Super Correction W.F. greenConverts white flame arc to 3200K, for use with Tungsten film.
  • 230Super Correction L.C.T. yellowConverts yellow carbon arc (of low colour temperature) to tungsten.
  • 650Industry SodiumUsed on tungsten to blend with sodium light.
  • 741Mustard yellowSpooky when used in haze. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.
  • 642Half Mustard yellowHalf strength Sodium light effect, designed for use with daylight sources.
  • 643Quarter Mustard yellowQuarter strength Sodium light effect, designed for use with daylight sources.
  • 100Spring yellowA sunlight wash - use with gobos, disco and dark skin tones.
  • 010Medium yellowA pure bright yellow. Great for special effects and accents. Use with caution in acting areas.
  • 101yellowSunlight and window effect - pleasant in acting areas.
  • 102Light AmberA warm yellow colour. Great for candlelight or warm bright sunlight effects.
  • 767Oklahoma yellowA rich blend of bright sunshine and warm ochre overtones.
  • 104Deep AmberGood for sunlight effect, accents and side light. Be careful of skin tones under the reddish tint of this colour.
  • 015Deep StrawA warm amber light. Good for effects such as candlelight and fire.
  • 768Egg Yolk yellowA bold strong chemical yellow, less orange/red than 179 Chrome orange.
  • 179Chrome orangeA combination of 1/2 CTO and double strength 104, perfect for sunlight.
  • 020Medium AmberGood for afternoon sunlight and candlelight. Also great for side lighting.
  • 770Burnt yellowA colour that feels warm and dense on camera, a balance between 179 and 105.
  • 105orangeGood for light entertainment and functions. Creates a good fire effect when used with 106, 166, 104.
  • 287Double C.T. orangeConverts daylight (6500K) to tungsten (2147K)
  • 134Golden AmberGreat for emulating a sunset. Also good for side lighting and cyclorama lighting.
  • 652Urban SodiumUsed on tungsten to create the orange glow associated with Sodium light.
  • 158Deep orangeA great fire effect.
  • 777RustA vivid rust colour effect.
  • 021Gold AmberGreat for sunsets, cyclorama lighting and fire effects.
  • 778Millennium GoldUseful for lighting architecture: it produces a rich amber when used on a tungsten source, or a much cooler effect when used on a HMI lamp.
  • 780AS Golden AmberBetween 778 Millennium Gold and 135 Deep Golden Amber, but less red. A strong colour good for backlighting.
  • 022Dark AmberA good backlight.
  • 135Deep Golden AmberA great fire effect.
  • 025Sunset redA good warm stage wash, TV studio wash or sunset effect.
  • 781Terry redA strong amber red that works well when used against deep reds and dark ambers, in wash combinations and on cycloramas.
  • 507MadgeDenser, saturated orange version of 135 avoiding 'pinky red'. Good for backlight, instruments, part of a sunset palette, and getting a party atmosphere. 'Madge' short for Imagination, is a thank-you to Gary Withers for championing creative lighting in the corporate world.
  • 019FireA strong red/amber. Great for fire effects.
  • 164Flame redGreat for fire effects.
  • 182Light redGood for theatre and television effect lighting as well as cycloramas.
  • 106Primary redStrong red effect. Good with cyclorama lighting.
  • 026Bright redA vibrant red, good for cyclorama lighting.
  • 029Plasa redGood for fire effects, musicals and cycloramas.
  • 789Blood redFor a deep saturated red effect. Used when a strong vivid red effect is required.
  • 027Medium redGood for cyclorama lighting, side lighting and footlights. Also good for colour mixing.
  • 787Marius redNice deep full red. Rose leaf colour.
  • 046Dark MagentaA very strong pink, good for backlighting.
  • 113MagentaVery strong - used carefully for small areas on set.
  • 148Bright RoseGreat for fire effects and musicals.
  • 024ScarletGreat for pantomimes, ballroom sets and fire effects.
  • 166Pale redGood for cyclorama lighting.
  • 193Rosy AmberWarm, emotional and romantic.
  • 157PinkGreat for dance sequences (useful for softening white costumes without affecting skin tones).
  • 107Light RoseGood for general washes and followspots.
  • 109Light SalmonInteresting backlight.
  • 153Pale SalmonGood for backlighting in conjunction with white light.
  • 176Loving AmberUsed for backlighting and general areas. Great for sunrise effect and warming skin tones.
  • 791Moroccan FrostSmoothes PAR or flood washes of large areas. Useful for houselights and good for interior colour washes.
  • 790Moroccan PinkA rich natural pink, good for producing late afternoon sun effects.
  • 004Medium Bastard AmberNaturally enhances skin tones.
  • 151Gold TintA pleasing effect for theatrical lighting.
  • 152Pale GoldUsed with interior lighting to enhance skin tones.
  • 154Pale RoseA pleasing effect for theatrical lighting. A good lamplight effect.
  • 749Hampshire RoseCombines flesh tone warmer 154 with some Hampshire frost.
  • 279Eighth Minus greenProvides very slight correction. Used on lighting to eliminate unwanted green cast created by discharge light sources on film.
  • 249Quarter Minus greenUsed on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC075 magenta camera filter.
  • 248Half Minus greenUsed on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC15 magenta camera filter.
  • 035Light PinkA warm wash good for musical reviews.
  • 247LEE Minus greenUsed on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC30 magenta camera filter.
  • 039Pink CarnationA soft, cool pastel pink, good for backlighting and general colourwash.
  • 110Middle RosePleasing effects for theatrical lighting.
  • 036Medium PinkGood for general washes and side lighting.
  • 192Flesh PinkGood for musical and pantomime key lighting.
  • 341PlumGreat for romantic and atmospheric set lighting.
  • 794Pretty 'n PinkCreates warm and soft effects.
  • 111Dark PinkGood for cyclorama lighting.
  • 002Rose PinkStrong pink wash, good for cycloramas.
  • 328Follies PinkGreat for dramatic stage lighting.
  • 128Bright PinkCreated for use as backlighting and side lighting. Great for musicals.
  • 793Vanity FairA rich glamorous pink, good for use on special occasions.
  • 332Special Rose PinkGreat for Pantomimes, light entertainment etc. A good strong stage wash.
  • 795Magical MagentaRich mixture of red and pinks.
  • 048Rose PurpleGood for emulating evening. Great backlight.
  • 049Medium PurpleA strong cheerful glow, good for cycloramas and pantomimes.
  • 126MauveGood for backlighting. Dark magenta / purple adds drama and mood.
  • 797Deep PurpleUsed in musical performances for general colour washes and set lighting.
  • 2991.2NDreduces light 4 stops, without changing colour.
  • 2110.9NDreduces light 3 stops, without changing colour.
  • 2100.6NDreduces light 2 stops, without changing colour.
  • 2090.3NDreduces light 1 stop, without changing colour.
  • 2980.15NDreduces light 1/2 stop, without changing colour.
  • 130ClearUsed in animation and projection work.
  • 186Cosmetic Silver RoseA warm highlight, leaning towards pink. Brings out pink pigment in skin tones
  • 185Cosmetic BurgundyA warm highlight or front light; complimentary for most skin tones.
  • 187Cosmetic RougeA warm highlight leaning toward apricot, good for warm front light, complimentary to most skin tones, beware of use on pale skin: tends to look pink.
  • 188Cosmetic HighlightA warm highlight leaning toward amber, good for warm front light, complimentary to most skin tones. Barbara Walters' favourite colour!
  • 184Cosmetic PeachA warm highlight or front light; complimentary for most skin tones.
  • 189Cosmetic Silver MossA cool highlight leaning towards yellow-green; good for use on mid range skin tones, avoid use on very dark and very pale skin tones
  • 190Cosmetic EmeraldA cool highlight leaning towards blue-green, good for cool front light.
  • 191Cosmetic Aqua BlueA cool highlight leaning towards blue, good for cool front light.
  • 221Blue FrostUsed for soft light effects with the addition of 218. Flame retardant.
  • 217Blue DiffusionAs White Diffusion but with the addition of Eighth C.T. Blue
  • 224Daylight Blue FrostUsed for soft light effects with the addition of 201 Full CTB.
  • 225Neutral Density FrostUsed for soft light effects with the addition of 0.6 Neutral Density.

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