Colour effect lighting gels

We know colour. In fact, we’re the experts. Based on 50+ years of colour-science expertise, our high-quality lighting gels will let you shoot with confidence and elevate your photographic output.

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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
  • 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
  • 236 H.M.I. (to Tungsten)

    236 H.M.I. (to Tungsten)

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

    236

Other lighting filter ranges

Looking to fine-tune LED inconsistencies? Struggling to convert and manipulate light sources accurately? Need to reduce contrast ratios? Whatever your challenge, we can light the way with our range of lighting gels and filters.

Zircon LED TechnicalDiffusion

light gels being transported in our facility

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