Colour effect filters

We know colour. Our high-quality lighting filters in a vast range of colours are consistently accurate, long-lasting, and dependable.

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  • 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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