Great for set lighting, discos and theatres.

Great for pantomimes and ballroom sets. Also enhances dark skin tones in follow spots.

A pale lavender. Good for almost white light with a cool tint.

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.

Good for moonlight and musical / romantic scenes. Enhances skin tones.

Good for musicals.

An excellent backlight that creates a new dimension.

A pleasing effect for theatrical lighting and backlighting.

Good for theatre and T.V. effect lighting and backlighting.

In-between 170 Deep Lavender and 345 Fuchsia Pink, and is good for backlighting and romantic atmospheres.

Looks like black light when used with a fluorescent source. Great effect colour. Very saturated.

Used in musical performances for general colour washes and set lighting.

A cold lavender.

A deep blue, used for midnight scenes and cyclorama lighting.

A very dark blue with a high UV content. Good when used in high concentrations for a moody and powerful stage colour wash.

A cool industrial blue.

Good for dark moonlight or a romantic evening.

A romantic blue to produce a night effect.

Creates a good moonlight effect on a dark set. Also good for cycloramas.

A deep blue that still has enough transmission to work encouragingly well on television.

This is a pure blue, not too green and not too lavender, yet still feels warm for a blue with an early morning feel.

Used in musical performances for rear colour wash or set lighting.

A pleasing effect for theatrical lighting.

Great for cool moonlight and mood effects.

A deep warm blue. Good for back and side lighting.

Good for mood effects created by backlighting and side lighting. Creates great contrast.

A pleasing effect on set Good for cyclorama and backlighting (e.g. ice rinks, galas, etc).

A deep green for sinister forest scenes, cycloramas and backlighting.

Good for cycloramas and backlighting.

A beautiful background colour. Victorian melodrama. A night time green.

Used for underwater scenes, cycloramas and backlighting.

A cool green used for gobo cover, pantomimes and cycloramas.

Good for romantic moonlight. Often used in ballet and underwater scenes.

General tungsten to fluorescent correction for use when fluorescent colour temp is unknown, to provide medium correction.

Converts tungsten to fluorescent light of 5700K (cool white/daylight).

Approaching storms. Overcast days. Cold steely light. Malevolent moonlight.

Designed for period key light and modern urban horizons.

A good green for creating mystery and suspense.

Converts tungsten to fluorescent light of 4300K (white).

A bold strong chemical yellow, less orange/red than 179 Chrome orange.

A combination of 1/2 CTO and double strength 104, perfect for sunlight.

Good for afternoon sunlight and candlelight. Also great for side lighting.

A colour that feels warm and dense on camera, a balance between 179 and 105.

Good for light entertainment and functions. Creates a good fire effect when used with 106 or 104.

A vivid rust colour effect.

Used on tungsten to create the orange glow associated with Sodium light.

Converts daylight (6500K) to tungsten (2147K).

Converts daylight (6500K) to tungsten light (3200K).

Converts 6500K to 3200K – daylight to tungsten light with a yellow bias.

Correct a daylight source to an off white tungsten source. Used with a tungsten source provides a “dingy” effect like a smoky bar.

Converts daylight (6500K) to tungsten light (3600K).

Converts HMI to 3200K, for use with Tungsten film.