Colour effect filters
Light the world your way
Looking for long-lasting, high-quality lighting filters in a vast range of colours that are always consistent from batch to batch? You’re in the right place. All our filters are expertly developed and checked against scientifically generated parameters so you can be confident in their results time and time again. Your colour, your rules.
Browse the full range of LEE colour effect filters in numeric or chroma order or search via keyword. Hover over a swatch to see its full name and read a brief description, click through to explore the complete specs, or select multiple filters by clicking their + buttons to build your own collection. You can also download a PDF to take your selected colours — and the filters’ key specs — with you on the go.
- 002 Rose Pink
002 Rose Pink
Strong pink wash, good for cycloramas.
002 - 003 Lavender Tint
003 Lavender Tint
Subtle cool wash for stage and studio lighting.
003 - 004 Medium Bastard Amber
004 Medium Bastard Amber
Naturally enhances skin tones.
004 - 007 Pale Yellow
007 Pale Yellow
Sunlight.
007 - 008 Dark Salmon
008 Dark Salmon
Enhances dark skin tones, sunsets, ballroom sets.
008 - 009 Pale Amber Gold
009 Pale Amber Gold
Perfect warm front light for any skin tone.
009 - 010 Medium Yellow
010 Medium Yellow
A pure bright yellow. Great for special effects and accents. Use with caution in acting areas.
010 - 013 Straw Tint
013 Straw Tint
Warmer than other straw colours. A good sunlight effect when used in contrast with ambers and blues.
013 - 015 Deep Straw
015 Deep Straw
A warm amber light. Good for effects such as candlelight and fire.
015 - 017 Surprise Peach
017 Surprise Peach
Good for skin tones and creating a moody lighting effect.
017 - 019 Fire
019 Fire
A strong red/amber. Great for fire effects.
019 - 020 Medium Amber
020 Medium Amber
Good for afternoon sunlight and candlelight. Also great for side lighting.
020 - 021 Gold Amber
021 Gold Amber
Great for sunsets, cyclorama lighting and fire effects.
021 - 022 Dark Amber
022 Dark Amber
A good backlight.
022 - 024 Scarlet
024 Scarlet
Great for pantomimes, ballroom sets and fire effects.
024 - 025 Sunset Red
025 Sunset Red
A good warm stage wash, TV studio wash or sunset effect.
025 - 026 Bright Red
026 Bright Red
A vibrant red, good for cyclorama lighting.
026 - 027 Medium Red
027 Medium Red
Good for cyclorama lighting, side lighting and footlights. Also good for colour mixing.
027 - 029 Plasa Red
029 Plasa Red
Good for fire effects, musicals and cycloramas.
029 - 035 Light Pink
035 Light Pink
A warm wash good for musical reviews.
035 - 036 Medium Pink
036 Medium Pink
Good for general washes and side lighting.
036 - 046 Dark Magenta
046 Dark Magenta
A very strong pink, good for backlighting.
046 - 048 Rose Purple
048 Rose Purple
Good for emulating evening. Great backlight.
048 - 049 Medium Purple
049 Medium Purple
A strong cheerful glow, good for cycloramas and pantomimes.
049 - 052 Light Lavender
052 Light Lavender
Good for general areas and side lights. Great for a basic followspot colour as well as an excellent backlight.
052 - 053 Paler Lavender
053 Paler Lavender
A subtle cool wash.
053 - 058 Lavender
058 Lavender
An excellent backlight that creates a new dimension.
058 - 061 Mist Blue
061 Mist Blue
A cool wash good for night scenes.
061 - 063 Pale Blue
063 Pale Blue
Cool front light wash, good for creating an overcast look for cold weather.
063 - 068 Sky Blue
068 Sky Blue
Good for morning skin tones and night skies. Great for cyclorama lights.
068 - 071 Tokyo Blue
071 Tokyo Blue
A deep blue, used for midnight scenes and cyclorama lighting.
071 - 075 Evening Blue
075 Evening Blue
Good for night scenes and romantic moonlight.
075 - 079 Just Blue
079 Just Blue
A good colour mixing blue. Great for cyclorama lighting.
079 - 085 Deeper Blue
085 Deeper Blue
A deep warm blue. Good for back and side lighting.
085 - 088 Lime Green
088 Lime Green
Use with gobos for leafy glades. Good for pantomimes, giving a slightly sinister atmosphere.
088 - 089 Moss Green
089 Moss Green
Good mood creator. Used with gobos, creates a great foliage effect.
089 - 090 Dark Yellow Green
090 Dark Yellow Green
Highlighting for forest effects.
090 - 100 Spring Yellow
100 Spring Yellow
A sunlight wash – use with gobos, disco and dark skin tones.
100 - 101 Yellow
101 Yellow
Sunlight and window effect – pleasant in acting areas.
101 - 102 Light Amber
102 Light Amber
A warm yellow colour. Great for candlelight or warm bright sunlight effects.
102 - 103 Straw
103 Straw
Pale sunlight through a window and a good warm winter effect.
103 - 104 Deep Amber
104 Deep Amber
Good for sunlight effect, accents and side light. Be careful of skin tones under the reddish tint of this colour.
104 - 105 Orange
105 Orange
Good for light entertainment and functions. Creates a good fire effect when used with 106 or 104.
105 - 106 Primary Red
106 Primary Red
Strong red effect. Good with cyclorama lighting.
106 - 107 Light Rose
107 Light Rose
Good for general washes and followspots.
107 - 108 English Rose
108 English Rose
Warm tint wash. Dark flesh tones and softer skin tones.
108 - 109 Light Salmon
109 Light Salmon
Interesting backlight.
109 - 110 Middle Rose
110 Middle Rose
Pleasing effects for theatrical lighting.
110 - 111 Dark Pink
111 Dark Pink
Good for cyclorama lighting.
111 - 113 Magenta
113 Magenta
Very strong – used carefully for small areas on set.
113 - 115 Peacock Blue
115 Peacock Blue
A pleasing effect on set Good for cyclorama and backlighting (e.g. ice rinks, galas, etc).
115 - 116 Medium Blue-Green
116 Medium Blue-Green
A pleasing effect for theatrical lighting.
116 - 117 Steel Blue
117 Steel Blue
Good for cool washes. Adds a pale green tint. Great for emulating icy weather on stage.
117 - 118 Light Blue
118 Light Blue
A strong night effect.
118 - 119 Dark Blue
119 Dark Blue
Good for mood effects created by backlighting and side lighting. Creates great contrast.
119 - 120 Deep Blue
120 Deep Blue
A pleasing effect for theatrical lighting.
120 - 121 LEE Green
121 LEE Green
Good for dense foliage, tropical jungle or woodland effect.
121 - 122 Fern Green
122 Fern Green
Good for cycloramas and creates a great mood effect.
122 - 124 Dark Green
124 Dark Green
Good for cycloramas and backlighting.
124 - 126 Mauve
126 Mauve
Good for backlighting. Dark magenta / purple adds drama and mood.
126 - 127 Smokey Pink
127 Smokey Pink
Good for cycloramas, set lighting and discos.
127 - 128 Bright Pink
128 Bright Pink
Created for use as backlighting and side lighting. Great for musicals.
128 - 130 Clear
130 Clear
Used in animation and projection work.
130 - 131 Marine Blue
131 Marine Blue
Good for romantic moonlight. Often used in ballet and underwater scenes.
131 - 132 Medium Blue
132 Medium Blue
Deep moonlight. Great for colour mixing.
132 - 134 Golden Amber
134 Golden Amber
Great for emulating a sunset. Also good for side lighting and cyclorama lighting.
134 - 135 Deep Golden Amber
135 Deep Golden Amber
A great fire effect.
135 - 136 Pale Lavender
136 Pale Lavender
Great for pantomimes and ballroom sets. Also enhances dark skin tones in follow spots.
136 - 137 Special Lavender
137 Special Lavender
Good for moonlight and musical / romantic scenes. Enhances skin tones.
137 - 138 Pale Green
138 Pale Green
Good with gobos for wooded scenes.
138 - 139 Primary Green
139 Primary Green
Good for set lighting and cyclorama lighting.
139 - 140 Summer Blue
140 Summer Blue
Good for light midday sky. Light blue tinted wash.
140 - 141 Bright Blue
141 Bright Blue
Very dramatic when used as moonlight.
141 - 142 Pale Violet
142 Pale Violet
Great Moonlight effect. Good for cyclorama lighting and highlighting foliage on plants.
142 - 143 Pale Navy Blue
143 Pale Navy Blue
Great moonlight / night effect.
143 - 144 No Colour Blue
144 No Colour Blue
A clean blue with hints of green. Good for moonlight and sidelight.
144 - 147 Apricot
147 Apricot
Good for sunrise, sunset and lamplight effects.
147 - 148 Bright Rose
148 Bright Rose
Great for fire effects and musicals.
148 - 151 Gold Tint
151 Gold Tint
A pleasing effect for theatrical lighting.
151 - 152 Pale Gold
152 Pale Gold
Used with interior lighting to enhance skin tones.
152 - 153 Pale Salmon
153 Pale Salmon
Good for backlighting in conjunction with white light.
153 - 154 Pale Rose
154 Pale Rose
A pleasing effect for theatrical lighting. A good lamplight effect.
154 - 156 Chocolate
156 Chocolate
Warms light and reduces the intensity.
156 - 157 Pink
157 Pink
Great for dance sequences (useful for softening white costumes without affecting skin tones).
157 - 158 Deep Orange
158 Deep Orange
A great fire effect.
158 - 159 No Colour Straw
159 No Colour Straw
A warm effect. Sunlight.
159 - 161 Slate Blue
161 Slate Blue
A pure medium blue. Good for skies, moonlight and dusk effects.
161 - 162 Bastard Amber
162 Bastard Amber
A warm white / warm wash. Good lamplight effect.
162 - 164 Flame Red
164 Flame Red
Great for fire effects.
164 - 165 Daylight Blue
165 Daylight Blue
Great for moonlight effect.
165 - 169 Lilac Tint
169 Lilac Tint
A pale lavender. Good for almost white light with a cool tint.
169 - 170 Deep Lavender
170 Deep Lavender
Great for set lighting, discos and theatres.
170 - 172 Lagoon Blue
172 Lagoon Blue
A floodlit warm wash. Great for underwater scenes and ballet.
172 - 174 Dark Steel Blue
174 Dark Steel Blue
Great for set lighting. Creates good moonlight shadows.
174 - 176 Loving Amber
176 Loving Amber
Used for backlighting and general areas. Great for sunrise effect and warming skin tones.
176 - 179 Chrome Orange
179 Chrome Orange
A combination of 1/2 CTO and double strength 104, perfect for sunlight.
179 - 180 Dark Lavender
180 Dark Lavender
A pleasing effect for theatrical lighting and backlighting.
180 - 181 Congo Blue
181 Congo Blue
Looks like black light when used with a fluorescent source. Great effect colour. Very saturated.
181 - 182 Light Red
182 Light Red
Good for theatre and television effect lighting as well as cycloramas.
182 - 183 Moonlight Blue
183 Moonlight Blue
Good for moonlight effect and cycloramas.
183 - 192 Flesh Pink
192 Flesh Pink
Good for musical and pantomime key lighting.
192 - 194 Surprise Pink
194 Surprise Pink
Good for musicals.
194 - 195 Zenith Blue
195 Zenith Blue
Creates a good moonlight effect on a dark set. Also good for cycloramas.
195 - 196 True Blue
196 True Blue
Great for moonlight effect.
196 - 197 Alice Blue
197 Alice Blue
Great for cyclorama lighting and creating deep blue skies cyclorama cycloramas.
197 - 198 Palace Blue
198 Palace Blue
Good for dark moonlight or a romantic evening.
198 - 199 Regal Blue
199 Regal Blue
A deep lavender blue that strongly enhances skin tones.
199 - 200 Double C.T. Blue
200 Double C.T. Blue
Converts tungsten (3200K) to daylight (26000K) .
200 - 201 Full C.T. Blue
201 Full C.T. Blue
Converts tungsten (3200K) to photographic daylight (5700K).
201 - 202 Half C.T. Blue
202 Half C.T. Blue
Converts tungsten (3200K) to daylight (4300K).
202 - 203 Quarter C.T. Blue
203 Quarter C.T. Blue
Converts tungsten (3200K) to daylight (3600K).
203 - 204 Full C.T. Orange
204 Full C.T. Orange
Converts daylight (6500K) to tungsten light (3200K).
204 - 205 Half C.T. Orange
205 Half C.T. Orange
Converts daylight (6500K) to tungsten light (3800K).
205 - 206 Quarter C.T. Orange
206 Quarter C.T. Orange
Converts daylight (6500K) to tungsten light (4600K).
206 - 207 Full C.T. Orange + .3ND
207 Full C.T. Orange + .3ND
Converts daylight (6500K) to tungsten (3200K) and reduces light 1 stop.
207 - 208 Full C.T. Orange + .6ND
208 Full C.T. Orange + .6ND
Converts daylight (6500K) to tungsten (3200K) and reduces light 2 stops.
208 - 212 L.C.T.Yellow (Y1)
212 L.C.T.Yellow (Y1)
Reduces colour temperature of low carbon arcs to 3200K.
212 - 213 White Flame Green
213 White Flame Green
Corrects white flame carbon arcs by absorbing ultra violet.
213 - 218 Eighth C.T. Blue
218 Eighth C.T. Blue
Converts tungsten (3200K) to daylight (3400K).
218 - 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 - 223 Eighth C.T. Orange
223 Eighth C.T. Orange
Converts daylight (6500K) to tungsten light (5550K).
223 - 230 Super Correction L.C.T. Yellow
230 Super Correction L.C.T. Yellow
Converts yellow carbon arc (of low colour temperature) to tungsten.
230 - 232 Super Correction W.F. Green
232 Super Correction W.F. Green
Converts white flame arc to 3200K, for use with Tungsten film.
232 - 236 H.M.I. (to Tungsten)
236 H.M.I. (to Tungsten)
Converts HMI to 3200K, for use with Tungsten film.
236 - 237 C.I.D. (to Tungsten)
237 C.I.D. (to Tungsten)
Converts CID to 3200K, for use with Tungsten film.
237 - 238 C.S.I. (to Tungsten)
238 C.S.I. (to Tungsten)
Converts CSI to 3200K, for use with Tungsten film.
238 - 241 LEE Fluorescent 5700 Kelvin
241 LEE Fluorescent 5700 Kelvin
Converts tungsten to fluorescent light of 5700K (cool white/daylight).
241 - 242 LEE Fluorescent 4300 Kelvin
242 LEE Fluorescent 4300 Kelvin
Converts tungsten to fluorescent light of 4300K (white).
242 - 243 LEE Fluorescent 3600 Kelvin
243 LEE Fluorescent 3600 Kelvin
Converts tungsten to fluorescent light of 3600K (warm white).
243 - 244 LEE Plus Green
244 LEE Plus Green
Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC30 green camera filter.
244 - 245 Half Plus Green
245 Half Plus Green
Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC15 green camera filter.
245 - 246 Quarter Plus Green
246 Quarter Plus Green
Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC075 green camera filter.
246 - 247 LEE Minus Green
247 LEE Minus Green
Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC30 magenta camera filter.
247 - 248 Half Minus Green
248 Half Minus Green
Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC15 magenta camera filter.
248 - 249 Quarter Minus Green
249 Quarter Minus Green
Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC075 magenta camera filter.
249 - 278 Eighth Plus Green
278 Eighth Plus Green
Provides very slight green cast. Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting.
278 - 279 Eighth Minus Green
279 Eighth Minus Green
Provides very slight correction. Used on lighting to eliminate unwanted green cast created by discharge light sources on film.
279 - 281 Three Quarter C.T. Blue
281 Three Quarter C.T. Blue
Converts tungsten to daylight.
281 - 283 One and a Half C.T. Blue
283 One and a Half C.T. Blue
Converts tungsten (3200K) to daylight (8888K).
283 - 285 Three Quarter C.T. Orange
285 Three Quarter C.T. Orange
Converts daylight (6500K) to tungsten light (3600K).
285 - 286 One and a Half C.T. Orange
286 One and a Half C.T. Orange
Converts daylight (6500K) to tungsten (2507K).
286 - 287 Double C.T. Orange
287 Double C.T. Orange
Converts daylight (6500K) to tungsten (2147K).
287 - 322 Soft Green
322 Soft Green
A cool green used for gobo cover, pantomimes and cycloramas.
322 - 323 Jade
323 Jade
Used for underwater scenes, cycloramas and backlighting.
323 - 327 Forest Green
327 Forest Green
A deep green for sinister forest scenes, cycloramas and backlighting.
327 - 328 Follies Pink
328 Follies Pink
Great for dramatic stage lighting.
328 - 332 Special Rose Pink
332 Special Rose Pink
Great for Pantomimes, light entertainment etc. A good strong stage wash.
332 - 343 Special Medium Lavender
343 Special Medium Lavender
Good for theatre and T.V. effect lighting and backlighting.
343 - 345 Fuchsia Pink
345 Fuchsia Pink
Good for musicals, pantomimes and sultry scenes.
345 - 352 Glacier Blue
352 Glacier Blue
A cold blue, good for cool atmospheric mood setting.
352 - 353 Lighter Blue
353 Lighter Blue
Good for daylight effects.
353 - 354 Special Steel Blue
354 Special Steel Blue
A cooling blue-green wash for stage and set lighting.
354 - 363 Special Medium Blue
363 Special Medium Blue
Great for cool moonlight and mood effects.
363 - 366 Cornflower
366 Cornflower
Great for pale moonlight and seasonal mood lighting.
366 - 441 Full C.T. Straw
441 Full C.T. Straw
Converts 6500K to 3200K – daylight to tungsten light with a yellow bias.
441 - 442 Half C.T. Straw
442 Half C.T. Straw
Converts 6500K to 4300K – daylight to tungsten light with a yellow bias.
442 - 443 Quarter C.T. Straw
443 Quarter C.T. Straw
Converts 6500K to 5100K – daylight to tungsten light with a yellow bias.
443 - 444 Eighth C.T. Straw
444 Eighth C.T. Straw
Converts 6500K to 5700K – daylight to tungsten light with a yellow bias.
444 - 500 Double New Colour Blue
500 Double New Colour Blue
The strongest of the NCB series for dramatic white face and key light where warmer tones than CTB are required.
500 - 501 New Colour Blue (Robertson Blue)
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.
501 - 502 Half New Colour Blue
502 Half New Colour Blue
A lighter correction in the NCB series.
502 - 503 Quarter New Colour Blue
503 Quarter New Colour Blue
The lightest correction in the NCB series.
503 - 504 Waterfront Green
504 Waterfront Green
Designed for period key light and modern urban horizons.
504 - 505 Sally Green
505 Sally Green
A 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.
505 - 506 Marlene
506 Marlene
Flattering skin tone filter without the comedy pink. Named for Marlene Dietrich who understood the importance of beautiful lighting, especially at a certain age!
506 - 507 Madge
507 Madge
Denser, saturated orange version of 135 avoiding pinky red. Good for backlight, instruments, part of a sunset palette, and getting a party atmosphere. Madge is short for Imagination.
507 - 508 Midnight Maya
508 Midnight Maya
A rich, sultry blue. Like Congo Blue, but allowing greater light transmission so more maintenance friendly – fewer gel changes.
508 - 525 Argent Blue
525 Argent Blue
LSIs Silver Anniversary colour. Great for a foreboding cold winters night, but allows enough light transmission to be useful for general illuminance too.
525 - 550 ALD Gold
550 ALD Gold
A 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.
550 - 600 – Arctic White
600 Artic White
600 - 601 – Silver
601 Silver
601 - 602 – Platinum
602 Platinum
602 - 603 – Moonlight White
603 Moonlight White
603 - 642 Half Mustard Yellow
642 Half Mustard Yellow
Half strength Sodium light effect, designed for use with daylight sources.
642 - 650 Industry Sodium
650 Industry Sodium
Used on tungsten to blend with sodium light.
650 - 651 HI Sodium
651 HI Sodium
Used on tungsten to create a High Pressure Sodium look.
651 - 652 Urban Sodium
652 Urban Sodium
Used on tungsten to create the orange glow associated with Sodium light.
652 - 653 LO Sodium
653 LO Sodium
Used on tungsten to create a Low Pressure Sodium look.
653 - 700 Perfect Lavender
700 Perfect Lavender
In-between 170 Deep Lavender and 345 Fuchsia Pink, and is good for backlighting and romantic atmospheres.
700 - 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 - 703 Cold Lavender
703 Cold Lavender
A colour that would be great for front / key lighting and that works well with 152 Pale Gold.
703 - 704 Lily
704 Lily
A cool lavender with little red content. Good for romantic evening exteriors.
704 - 706 King Fals Lavender
706 King Fals Lavender
A cold lavender.
706 - 707 Ultimate Violet
707 Ultimate Violet
Used in musical performances for general colour washes and set lighting.
707 - 708 Cool Lavender
708 Cool Lavender
For use as a warmer tint without turning yellow and to recreate the colour of fluorescent lighting.
708 - 709 Electric Lilac
709 Electric Lilac
Provides good colour rendering which creates a sharp edge, adding a touch of drama.
709 - 710 Spir Special Blue
710 Spir Special Blue
A cool industrial blue.
710 - 711 Cold Blue
711 Cold Blue
To give a cold/grey HMI effect from a tungsten source. Will also help blend the light when using both tungsten and HMI sources.
711 - 712 Bedford Blue
712 Bedford Blue
A smoky warm blue. Good for skin tones.
712 - 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 - 714 Elysian Blue
714 Elysian Blue
A new deeper version of Alice Blue.
714 - 715 Cabana Blue
715 Cabana Blue
A deep blue that still has enough transmission to work encouragingly well on television.
715 - 716 Mikkel Blue
716 Mikkel Blue
A romantic blue to produce a night effect.
716 - 719 Colour Wash Blue
719 Colour Wash Blue
To allow low intensity tungsten to hold a cold/blue feel.
719 - 721 Berry Blue
721 Berry Blue
Used in musical performances for rear colour wash or set lighting.
721 - 722 Bray Blue
722 Bray Blue
A purer blue with very little red in it.
722 - 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 - 724 Ocean Blue
724 Ocean Blue
Useful at low levels of light. Good for dull skies and moonlight.
724 - 725 Old Steel Blue
725 Old Steel Blue
Cool wash, useful for highlights.
725 - 727 QFD Blue
727 QFD Blue
A special version of 729 Scuba Blue which is good for backlighting and swimming pool effects.
727 - 728 Steel Green
728 Steel Green
Approaching storms. Overcast days. Cold steely light. Malevolent moonlight.
728 - 729 Scuba Blue
729 Scuba Blue
Used in musical performances for a rear colour wash or set lighting.
729 - 730 Liberty Green
730 Liberty Green
A good green for creating mystery and suspense.
730 - 731 Dirty Ice
731 Dirty Ice
Dirtier than 730 Liberty green, more orange, sympathetic with skin tones.
731 - 733 Damp Squib
733 Damp Squib
A dirty green, reduces warmth. Good for cross lighting.
733 - 735 Velvet Green
735 Velvet Green
A beautiful background colour. Victorian melodrama. A night time green.
735 - 736 Twickenham Green
736 Twickenham Green
A powerful green with depth, for music or light entertainment.
736 - 738 JAS Green
738 JAS Green
A rich yellowish green. Useful as a concert stage wash where darker skin tone, costume and set are a consideration.
738 - 740 Aurora Borealis Green
740 Aurora Borealis Green
Primary jungle colour. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.
740 - 741 Mustard Yellow
741 Mustard Yellow
Spooky when used in haze. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.
741 - 742 Bram Brown
742 Bram Brown
Dirtier than 156 Chocolate, good for skin tones. Dims well and doesnt go pink at low light levels.
742 - 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 - 746 Brown
746 Brown
To give a murky, dirty feel to tungsten. A darker, less pink chocolate.
746 - 747 Easy White
747 Easy White
Primarily developed for fluorescents to ensure warm, comfortable light and flattering skin tones.
747 - 748 Seedy Pink
748 Seedy Pink
A smoky pink. Good for tungsten on skin tones.
748 - 763 Wheat
763 Wheat
Adds warmth, sunlight.
763 - 764 Sun Colour Straw
764 Sun Colour Straw
Adds warmth, bright sunlight.
764 - 765 LEE Yellow
765 LEE Yellow
Useful for producing a strong sunlight effect.
765 - 767 Oklahoma Yellow
767 Oklahoma Yellow
A rich blend of bright sunshine and warm ochre overtones.
767 - 768 Egg Yolk Yellow
768 Egg Yolk Yellow
A bold strong chemical yellow, less orange/red than 179 Chrome orange.
768 - 770 Burnt Yellow
770 Burnt Yellow
A colour that feels warm and dense on camera, a balance between 179 and 105.
770 - 773 Cardbox Amber
773 Cardbox Amber
Warm tint for skin tones.
773 - 776 Nectarine
776 Nectarine
Romantic sunset. Period pieces.
776 - 777 Rust
777 Rust
A vivid rust colour effect.
777 - 778 Millennium Gold
778 Millennium Gold
Useful 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.
778 - 779 Bastard Pink
779 Bastard Pink
Deep sunset. Useful on dark skin tones.
779 - 780 AS Golden Amber
780 AS Golden Amber
Between 778 Millennium Gold and 135 Deep Golden Amber, but less red. A strong colour good for backlighting.
780 - 787 Marius Red
787 Marius Red
Nice deep full red. Rose leaf colour.
787 - 789 Blood Red
789 Blood Red
For a deep saturated red effect. Used when a strong vivid red effect is required.
789 - 790 Moroccan Pink
790 Moroccan Pink
A rich natural pink, good for producing late afternoon sun effects.
790 - 793 Vanity Fair
793 Vanity Fair
A rich glamorous pink, good for use on special occasions.
793 - 794 Pretty n Pink
794 Pretty n Pink
Creates warm and soft effects.
794 - 795 Magical Magenta
795 Magical Magenta
Rich mixture of red and pinks.
795 - 797 Deep Purple
797 Deep Purple
Used in musical performances for general colour washes and set lighting.
797 - 798 Chrysalis Pink
798 Chrysalis Pink
A new deeper lavender with a dash of rose blusher.
798 - 799 Special KH Lavender
799 Special KH Lavender
A deep lavender that brings out the UV.
799 - Technical Filters
- 200 Double C.T. Blue
200 Double C.T. Blue
Converts tungsten (3200K) to daylight (26000K) .
200 - 201 Full C.T. Blue
201 Full C.T. Blue
Converts tungsten (3200K) to photographic daylight (5700K).
201 - 202 Half C.T. Blue
202 Half C.T. Blue
Converts tungsten (3200K) to daylight (4300K).
202 - 203 Quarter C.T. Blue
203 Quarter C.T. Blue
Converts tungsten (3200K) to daylight (3600K).
203 - 204 Full C.T. Orange
204 Full C.T. Orange
Converts daylight (6500K) to tungsten light (3200K).
204 - 205 Half C.T. Orange
205 Half C.T. Orange
Converts daylight (6500K) to tungsten light (3800K).
205 - 206 Quarter C.T. Orange
206 Quarter C.T. Orange
Converts daylight (6500K) to tungsten light (4600K).
206 - 207 Full C.T. Orange + .3ND
207 Full C.T. Orange + .3ND
Converts daylight (6500K) to tungsten (3200K) and reduces light 1 stop.
207 - 208 Full C.T. Orange + .6ND
208 Full C.T. Orange + .6ND
Converts daylight (6500K) to tungsten (3200K) and reduces light 2 stops.
208 - 209 0.3ND
209 0.3ND
Reduces light 1 stop, without changing colour.
209 - 210 0.6ND
210 0.6ND
Reduces light 2 stops, without changing colour.
210 - 211 0.9ND
211 0.9ND
Reduces light 3 stops, without changing colour.
211 - 212 L.C.T.Yellow (Y1)
212 L.C.T.Yellow (Y1)
Reduces colour temperature of low carbon arcs to 3200K.
212 - 213 White Flame Green
213 White Flame Green
Corrects white flame carbon arcs by absorbing ultra violet.
213 - 218 Eighth C.T. Blue
218 Eighth C.T. Blue
Converts tungsten (3200K) to daylight (3400K).
218 - 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 - 223 Eighth C.T. Orange
223 Eighth C.T. Orange
Converts daylight (6500K) to tungsten light (5550K).
223 - 226 LEE U.V.
226 LEE U.V.
Transmission of less than 50% at 410nms.
226 - 230 Super Correction L.C.T. Yellow
230 Super Correction L.C.T. Yellow
Converts yellow carbon arc (of low colour temperature) to tungsten.
230 - 232 Super Correction W.F. Green
232 Super Correction W.F. Green
Converts white flame arc to 3200K, for use with Tungsten film.
232 - 236 H.M.I. (to Tungsten)
236 H.M.I. (to Tungsten)
Converts HMI to 3200K, for use with Tungsten film.
236 - 237 C.I.D. (to Tungsten)
237 C.I.D. (to Tungsten)
Converts CID to 3200K, for use with Tungsten film.
237 - 238 C.S.I. (to Tungsten)
238 C.S.I. (to Tungsten)
Converts CSI to 3200K, for use with Tungsten film.
238 - 239 Polariser
239 Polariser
Made from 0.006 (150 micron) Triacetate. Reduces glare and reflection when used in conjunction with LEE Polarising Camera Filter.
Available in widths of 19″ (48 cms) x single ft pieces, up to 10ft
239 - 241 LEE Fluorescent 5700 Kelvin
241 LEE Fluorescent 5700 Kelvin
Converts tungsten to fluorescent light of 5700K (cool white/daylight).
241 - 242 LEE Fluorescent 4300 Kelvin
242 LEE Fluorescent 4300 Kelvin
Converts tungsten to fluorescent light of 4300K (white).
242 - 243 LEE Fluorescent 3600 Kelvin
243 LEE Fluorescent 3600 Kelvin
Converts tungsten to fluorescent light of 3600K (warm white).
243 - 244 LEE Plus Green
244 LEE Plus Green
Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC30 green camera filter.
244 - 245 Half Plus Green
245 Half Plus Green
Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC15 green camera filter.
245 - 246 Quarter Plus Green
246 Quarter Plus Green
Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC075 green camera filter.
246 - 247 LEE Minus Green
247 LEE Minus Green
Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC30 magenta camera filter.
247 - 248 Half Minus Green
248 Half Minus Green
Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC15 magenta camera filter.
248 - 249 Quarter Minus Green
249 Quarter Minus Green
Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC075 magenta camera filter.
249 - 269 LEE Heat Shield
269 LEE Heat Shield
A transparent flexible film used to extend the life of filter. The shield should be placed between the light source and the filter, allowing distance between the shield and the filter.
269 - 270 LEE Scrim
270 LEE Scrim
A perforated reflector producing a very soft reflection. Silver on one side and black on reverse.
270 - 271 Mirror Silver
271 Mirror Silver
Produces hard reflection. White backed
271 - 272 Soft Gold Reflector
272 Soft Gold Reflector
Produces soft reflection. White backed.
272 - 273 Soft Silver Reflector
273 Soft Silver Reflector
Produces soft reflection. White backed.
273 - 274 Mirror Gold
274 Mirror Gold
Produces hard reflection. White backed.
274 - 275 Black Scrim
275 Black Scrim
A flexible perforated material that is black on both sides. Can be used on windows to reduce light intensity, without causing any unwanted reflections.
275 - 278 Eighth Plus Green
278 Eighth Plus Green
Provides very slight green cast. Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting.
278 - 279 Eighth Minus Green
279 Eighth Minus Green
Provides very slight correction. Used on lighting to eliminate unwanted green cast created by discharge light sources on film.
279 - 280 Black Foil
280 Black Foil
Used to reduce unwanted light spill or to control unwanted light reflection.
280 - 281 Three Quarter C.T. Blue
281 Three Quarter C.T. Blue
Converts tungsten to daylight.
281 - 283 One and a Half C.T. Blue
283 One and a Half C.T. Blue
Converts tungsten (3200K) to daylight (8888K).
283 - 285 Three Quarter C.T. Orange
285 Three Quarter C.T. Orange
Converts daylight (6500K) to tungsten light (3600K).
285 - 286 One and a Half C.T. Orange
286 One and a Half C.T. Orange
Converts daylight (6500K) to tungsten (2507K).
286 - 287 Double C.T. Orange
287 Double C.T. Orange
Converts daylight (6500K) to tungsten (2147K).
287 - 298 0.15ND
298 0.15ND
Reduces light 1/2 stop, without changing colour.
298 - 299 1.2ND
299 1.2ND
Reduces light 4 stops, without changing colour.
299 - 441 Full C.T. Straw
441 Full C.T. Straw
Converts 6500K to 3200K – daylight to tungsten light with a yellow bias.
441 - 442 Half C.T. Straw
442 Half C.T. Straw
Converts 6500K to 4300K – daylight to tungsten light with a yellow bias.
442 - 443 Quarter C.T. Straw
443 Quarter C.T. Straw
Converts 6500K to 5100K – daylight to tungsten light with a yellow bias.
443 - 444 Eighth C.T. Straw
444 Eighth C.T. Straw
Converts 6500K to 5700K – daylight to tungsten light with a yellow bias.
444 - 642 Half Mustard Yellow
642 Half Mustard Yellow
Half strength Sodium light effect, designed for use with daylight sources.
642 - 650 Industry Sodium
650 Industry Sodium
Used on tungsten to blend with sodium light.
650 - 651 HI Sodium
651 HI Sodium
Used on tungsten to create a High Pressure Sodium look.
651 - 652 Urban Sodium
652 Urban Sodium
Used on tungsten to create the orange glow associated with Sodium light.
652 - 653 LO Sodium
653 LO Sodium
Used on tungsten to create a Low Pressure Sodium look.
653 - 740 Aurora Borealis Green
740 Aurora Borealis Green
Primary jungle colour. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.
740 - 741 Mustard Yellow
741 Mustard Yellow
Spooky when used in haze. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.
741 - SC15 Special Cyan
SC15 Special Cyan
Special Cyan 15 reduces the red component (600nm-700nm) of light sources by approx. 25% compared to the blue and green wavelengths (400nm-600nm).
SC15 - SC30 Special Cyan
SC30 Special Cyan
Special Cyan 30 reduces the red component (600nm-700nm) of light sources by approx. 50% compared to the blue and green wavelengths (400nm-600nm).
SC30 - SC60 Special Cyan
SC60 Special Cyan
Special Cyan 60 reduces the red component (600nm-700nm) of light sources by approx. 75% compared to the blue and green wavelengths (400nm-600nm).
SC60 - Diffusion Lighting Filters
- 129 Heavy Frost
129 Heavy Frost
A strong diffusion that eliminates nearly all shadows. Flame retardant.
129 - 184 Cosmetic Peach
184 Cosmetic Peach
A warm highlight or front light; complimentary for most skin tones.
184 - 186 Cosmetic Silver Rose
186 Cosmetic Silver Rose
A warm highlight, leaning towards pink. Brings out pink pigment in skin tones
186 - 187 Cosmetic Rouge
187 Cosmetic Rouge
A 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.
187 - 188 Cosmetic Highlight
188 Cosmetic Highlight
A warm highlight leaning toward amber, good for warm front light, complimentary to most skin tones. Barbara Walters favourite colour!
188 - 189 Cosmetic Silver Moss
189 Cosmetic Silver Moss
A cool highlight leaning towards yellow-green; good for use on mid range skin tones, avoid use on very dark and very pale skin tones.
189 - 191 Cosmetic Aqua Blue
191 Cosmetic Aqua Blue
A cool highlight leaning towards blue, good for cool front light.
191 - 216 White Diffusion
216 White Diffusion
216 - 217 Blue Diffusion
217 Blue Diffusion
As White Diffusion but with the addition of Eighth C.T. Blue
217 - 220 White Frost
220 White Frost
Used for soft light effects. Flame retardant.
220 - 221 Blue Frost
221 Blue Frost
Used for soft light effects with the addition of 218. Flame retardant.
221 - 224 Daylight Blue Frost
224 Daylight Blue Frost
Used for soft light effects with the addition of 201 Full CTB.
224 - 225 Neutral Density Frost
225 Neutral Density Frost
Used for soft light effects with the addition of 0.6 Neutral Density.
225 - 228 Brushed Silk
228 Brushed Silk
Directional soft lighting effect used for scattering light in one direction only.
228 - 229 Quarter Tough Spun
229 Quarter Tough Spun
Softens light, reduces intensity. Manufactured from non-woven Polyester.
229 - 250 Half White Diffusion
250 Half White Diffusion
A medium diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
250 - 251 Quarter White Diffusion
251 Quarter White Diffusion
A weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
251 - 252 Eighth White Diffusion
252 Eighth White Diffusion
A weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
252 - 253 Hampshire Frost
253 Hampshire Frost
A light frost effect.
253 - 255 Hollywood Frost
255 Hollywood Frost
A light frost effect that softens edges.
255 - 256 Half Hampshire Frost
256 Half Hampshire Frost
Extra light frost effect.
256 - 257 Quarter Hampshire Frost
257 Quarter Hampshire Frost
Extra light frost effect.
257 - 258 Eighth Hampshire Frost
258 Eighth Hampshire Frost
Extra light frost effect.
258 - 400 LEELux
400 LEELux
A dense white diffuser used for wide beam spreads; creates an even, soft, field of light without shadows. Manufactured on a 125 micron polyester base.
400 - 402 Soft Frost
402 Soft Frost
A strong diffuser that creates a wide field of soft illumination. Diffusion characteristics similar to 216, falls between 216 and 129.
402 - 404 Half Soft Frost
404 Half Soft Frost
A useful diffuser without too much light loss but very pliable to handle. Diffusion characteristics fall between 251 and 252.
404 - 410 Opal Frost
410 Opal Frost
A weak diffusion used for softening spotlight beam edges without altering shape. Manufactured on a 23 micron polyester base.
410 - 414 Highlight
414 Highlight
A useful diffuser without too much light loss. Diffusion characteristics similar to 252.
414 - 414P Perforated Highlight
414P Perforated Highlight
A combination of both direct and soft diffused light. Designed for use on Kino Flo and similar soft light fixtures. Flame Retardant.
414P - 416 Three Quarter White Diffusion
416 Three Quarter White Diffusion
A strong to medium diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
416 - 420 Light Opal Frost
420 Light Opal Frost
A weak diffusion similar to Opal Frost, but less diffuse. Manufactured on a 36 micron polyester base.
420 - 429 Quiet Frost
429 Quiet Frost
A strong diffuser that creates a wide field of soft illumination but is thicker than the 402 Soft Frost. Diffusion characteristics similar to 416.
429 - 430 Grid Cloth
430 Grid Cloth
Produces a strong diffusion effect. Comes in three weights.
430 - 432 Light Grid Cloth
432 Light Grid Cloth
Produces a medium diffusion effect. Comes in three weights.
432 - 434 Quarter Grid Cloth
434 Quarter Grid Cloth
Produces a weak diffusion effect. Comes in three weights.
434 - 439 Heavy Quiet Frost
439 Heavy Quiet Frost
A strong diffuser (pliable to handle) that virtually eliminates shadows at close distance.
439 - 439P Perforated Heavy Quiet Frost
439P Perforated Heavy Quiet Frost
A combination of both direct and strongly diffused light. Designed for use on Kino Flo and similar soft light fixtures. Flame Retardant.
439P - 450 Three Eighth White Diffusion
450 Three Eighth White Diffusion
A medium/weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
450 - 452 Sixteenth White Diffusion
452 Sixteenth White Diffusion
A weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
452 - 460 Quiet Grid Cloth
460 Quiet Grid Cloth
Produces a strong diffusion effect. Comes in three weights.
460 - 462 Quiet Light Grid Cloth
462 Quiet Light Grid Cloth
Produces a medium diffusion effect. Comes in three weights.
462 - 464 Quiet Quarter Grid Cloth
464 Quiet Quarter Grid Cloth
Produces a weak diffusion effect. Comes in three weights.
464 - 705 Lily Frost
705 Lily Frost
Smoothes PAR or flood washes of large areas. Useful for houselights and a good colour wash for evening events.
705 - 717 Shanklin Frost
717 Shanklin Frost
201 with frost to soften the beam of profile units.
717 - 718 Half Shanklin Frost
718 Half Shanklin Frost
202 with frost to soften the beam of profile units.
718 - 720 Durham Daylight Frost
720 Durham Daylight Frost
Smoothes PAR or flood washes of large areas. Useful for houselight and good for entrances from natural light.
720 - 749 Hampshire Rose
749 Hampshire Rose
Combines flesh tone warmer 154 with some Hampshire frost.
749 - 750 Durham Frost
750 Durham Frost
A frost that almost completely softens shutter edges and removes hot spots.
750 - 774 Soft Amber Key 1
774 Soft Amber Key 1
Used for producing a warm key light colour. Flame retardant.
774 - 775 Soft Amber Key 2
775 Soft Amber Key 2
Used for producing a warm key light colour. Flame retardant.
775 - 791 Moroccan Frost
791 Moroccan Frost
Smoothes PAR or flood washes of large areas. Useful for houselights and good for interior colour washes.
791 - Zircon - LED Lighting Filters
- 801 Zircon Minus Green 1
801 Zircon Minus Green 1
Longer life filter for use by photographers to remove large green casts produced by some LEDs.
801 - 802 Zircon Minus Green 2
802 Zircon Minus Green 2
Longer life filter for use by photographers to remove medium green casts produced by some LEDs.
802 - 803 Zircon Minus Green 3
803 Zircon Minus Green 3
Longer life filter for use by photographers to remove light green casts produced by some LEDs.
803 - 804 Zircon Minus Green 4
804 Zircon Minus Green 4
Longer life filter for use by photographers to remove fine green casts produced by some LEDs.
804 - 805 Zircon Minus Green 5
805 Zircon Minus Green 5
Longer life filter for use by photographers to remove tint green casts produced by some LEDs.
805 - 806 Zircon Warm Amber 2
806 Zircon Warm Amber 2
Longer life filter for major warm up correction of cool white LED to Tungsten.
806 - 807 Zircon Warm Amber 4
807 Zircon Warm Amber 4
Longer life filter for medium warm up correction of white LED to Tungsten.
807 - 808 Zircon Warm Amber 6
808 Zircon Warm Amber 6
Longer life filter for correction of warm white LED to Tungsten.
808 - 809 Zircon Warm Amber 8
809 Zircon Warm Amber 8
Longer life filter for fine correction of warm white LED to Tungsten.
809 - 810 Zircon Diffusion 1
810 Zircon Diffusion 1
Strongest diffusion on thick polyester for easy use on panels and in channels. Can be used close to LED chip to blur the pixels.
810 - 811 Zircon Diffusion 2
811 Zircon Diffusion 2
Strong diffusion on thick polyester for easy use on panels and in channels. Can be used close to LED chip to provide some blurring of the pixels.
811 - 812 Zircon Diffusion 3
812 Zircon Diffusion 3
Medium diffusion on thick polyester for easy use on panels and in channels. Provides reasonable diffusion properties without too much loss of light.
812 - 813 Zircon Warm Amber 5 (O32)
813 Zircon Warm Amber 5 (O32)
Longer life filter for medium warm up correction of white LED with minus green tint.
813 - 814 Zircon Warm Amber 9 (R31)
814 Zircon Warm Amber 9 (R31)
Longer life filter for fine warm up and minus green correction of warm white LED.
814 - 815 Zircon Dark Density
815 Zircon Dark Density
Longer life filter for LED fixtures, used to reduce the light level by approx. 80%.
815 - 816 Zircon Mid Density
816 Zircon Mid Density
Longer life filter for LED fixtures, used to reduce the light level by approx. 60%.
816 - 817 Zircon Pale Density
817 Zircon Pale Density
Longer life filter for LED fixtures, used to reduce the light level by approx. 40%.
817 - 818 Zircon Cool Blue 6
818 Zircon Cool Blue 6
Longer life filter used to cool down the colour of warm white LEDs so that they look whiter.
818 - 819 Zircon Cool Blue 8
819 Zircon Cool Blue 8
Longer life filter used to slightly cool down the colour of warm white LEDs so that they look whiter.
819 - 820 Zircon Cool Blue 10
820 Zircon Cool Blue 10
Longer life filter used to very slightly cool down the colour of warm white LEDs, allowing different batches of LEDs to be used together.
820 - 821 Zircon UV Blue Blocker
821 Zircon UV Blue Blocker
Longer life filter used to block UV and blue light
821
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