Colour effect filters
We know colour better than any of our competitors. Our high-quality lighting filters are available in a vast range of colours to ensure you can create the perfect shot. Made in the UK, our filters are consistently accurate, long-lasting, and dependable.
Browse the filter colours in our range by clicking on our digital swatches. Explore colour descriptions and read their specifications. Build your own colour collection and download a personalised PDF with your selected colours to keep handy.
- 170 Deep Lavender
170 Deep Lavender
Great for set lighting, discos and theatres.
170 - 136 Pale Lavender
136 Pale Lavender
Great for pantomimes and ballroom sets. Also enhances dark skin tones in follow spots.
136 - 169 Lilac Tint
169 Lilac Tint
A pale lavender. Good for almost white light with a cool tint.
169 - 702 Special Pale Lavender
702 Special Pale Lavender
A cold lavender when used with a full tungsten source, but warms as the source is dimmed. Good as a fill for slow sunset fades.
702 - 137 Special Lavender
137 Special Lavender
Good for moonlight and musical / romantic scenes. Enhances skin tones.
137 - 194 Surprise Pink
194 Surprise Pink
Good for musicals.
194 - 058 Lavender
058 Lavender
An excellent backlight that creates a new dimension.
058 - 180 Dark Lavender
180 Dark Lavender
A pleasing effect for theatrical lighting and backlighting.
180 - 343 Special Medium Lavender
343 Special Medium Lavender
Good for theatre and T.V. effect lighting and backlighting.
343 - 700 Perfect Lavender
700 Perfect Lavender
In-between 170 Deep Lavender and 345 Fuchsia Pink, and is good for backlighting and romantic atmospheres.
700 - 181 Congo Blue
181 Congo Blue
Looks like black light when used with a fluorescent source. Great effect colour. Very saturated.
181 - 707 Ultimate Violet
707 Ultimate Violet
Used in musical performances for general colour washes and set lighting.
707 - 706 King Fals Lavender
706 King Fals Lavender
A cold lavender.
706
- 071 Tokyo Blue
071 Tokyo Blue
A deep blue, used for midnight scenes and cyclorama lighting.
071 - 713 J.Winter Blue
713 J.Winter Blue
A very dark blue with a high UV content. Good when used in high concentrations for a moody and powerful stage colour wash.
713 - 710 Spir Special Blue
710 Spir Special Blue
A cool industrial blue.
710 - 198 Palace Blue
198 Palace Blue
Good for dark moonlight or a romantic evening.
198 - 716 Mikkel Blue
716 Mikkel Blue
A romantic blue to produce a night effect.
716 - 195 Zenith Blue
195 Zenith Blue
Creates a good moonlight effect on a dark set. Also good for cycloramas.
195 - 715 Cabana Blue
715 Cabana Blue
A deep blue that still has enough transmission to work encouragingly well on television.
715 - 723 Virgin Blue
723 Virgin Blue
This is a pure blue, not too green and not too lavender, yet still feels warm for a blue with an early morning feel.
723 - 721 Berry Blue
721 Berry Blue
Used in musical performances for rear colour wash or set lighting.
721 - 120 Deep Blue
120 Deep Blue
A pleasing effect for theatrical lighting.
120 - 363 Special Medium Blue
363 Special Medium Blue
Great for cool moonlight and mood effects.
363 - 085 Deeper Blue
085 Deeper Blue
A deep warm blue. Good for back and side lighting.
085 - 119 Dark Blue
119 Dark Blue
Good for mood effects created by backlighting and side lighting. Creates great contrast.
119
- 115 Peacock Blue
115 Peacock Blue
A pleasing effect on set Good for cyclorama and backlighting (e.g. ice rinks, galas, etc).
115 - 327 Forest Green
327 Forest Green
A deep green for sinister forest scenes, cycloramas and backlighting.
327 - 124 Dark Green
124 Dark Green
Good for cycloramas and backlighting.
124 - 735 Velvet Green
735 Velvet Green
A beautiful background colour. Victorian melodrama. A night time green.
735 - 323 Jade
323 Jade
Used for underwater scenes, cycloramas and backlighting.
323 - 322 Soft Green
322 Soft Green
A cool green used for gobo cover, pantomimes and cycloramas.
322 - 131 Marine Blue
131 Marine Blue
Good for romantic moonlight. Often used in ballet and underwater scenes.
131 - 219 LEE Fluorescent Green
219 LEE Fluorescent Green
General tungsten to fluorescent correction for use when fluorescent colour temp is unknown, to provide medium correction.
219 - 241 LEE Fluorescent 5700 Kelvin
241 LEE Fluorescent 5700 Kelvin
Converts tungsten to fluorescent light of 5700K (cool white/daylight).
241 - 728 Steel Green
728 Steel Green
Approaching storms. Overcast days. Cold steely light. Malevolent moonlight.
728 - 504 Waterfront Green
504 Waterfront Green
Designed for period key light and modern urban horizons.
504 - 730 Liberty Green
730 Liberty Green
A good green for creating mystery and suspense.
730 - 242 LEE Fluorescent 4300 Kelvin
242 LEE Fluorescent 4300 Kelvin
Converts tungsten to fluorescent light of 4300K (white).
242
- 768 Egg Yolk Yellow
768 Egg Yolk Yellow
A bold strong chemical yellow, less orange/red than 179 Chrome orange.
768 - 179 Chrome Orange
179 Chrome Orange
A combination of 1/2 CTO and double strength 104, perfect for sunlight.
179 - 020 Medium Amber
020 Medium Amber
Good for afternoon sunlight and candlelight. Also great for side lighting.
020 - 770 Burnt Yellow
770 Burnt Yellow
A colour that feels warm and dense on camera, a balance between 179 and 105.
770 - 105 Orange
105 Orange
Good for light entertainment and functions. Creates a good fire effect when used with 106 or 104.
105 - 777 Rust
777 Rust
A vivid rust colour effect.
777 - 652 Urban Sodium
652 Urban Sodium
Used on tungsten to create the orange glow associated with Sodium light.
652 - 287 Double C.T. Orange
287 Double C.T. Orange
Converts daylight (6500K) to tungsten (2147K).
287 - 286 One and a Half C.T. Orange
286 One and a Half C.T. Orange
Converts daylight (6500K) to tungsten (2507K).
286 - 204 Full C.T. Orange
204 Full C.T. Orange
Converts daylight (6500K) to tungsten light (3200K).
204 - 441 Full C.T. Straw
441 Full C.T. Straw
Converts 6500K to 3200K – daylight to tungsten light with a yellow bias.
441 - 744 Dirty White
744 Dirty White
Correct a daylight source to an off white tungsten source. Used with a tungsten source provides a “dingy” effect like a smoky bar.
744 - 285 Three Quarter C.T. Orange
285 Three Quarter C.T. Orange
Converts daylight (6500K) to tungsten light (3600K).
285
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