LEE Lighting Filters Colour Comparison Tool

Strong pink wash, good for cycloramas.

Subtle cool wash for stage and studio lighting.

Naturally enhances skin tones.

Sunlight.

Enhances dark skin tones, sunsets, ballroom sets.

Perfect warm front light for any skin tone.

A pure bright yellow. Great for special effects and accents. Use with caution in acting areas.

Warmer than other straw colours. A good sunlight effect when used in contrast with ambers and blues.

A warm amber light. Good for effects such as candlelight and fire.

Good for skin tones and creating a moody lighting effect.

A strong red/amber. Great for fire effects.

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

Great for sunsets, cyclorama lighting and fire effects.

A good backlight.

Great for pantomimes, ballroom sets and fire effects.

A good warm stage wash, TV studio wash or sunset effect.

A vibrant red, good for cyclorama lighting.

Good for cyclorama lighting, side lighting and footlights. Also good for colour mixing.

Good for fire effects, musicals and cycloramas.

A warm wash good for musical reviews.

Good for general washes and side lighting.

A very strong pink, good for backlighting.

Good for emulating evening. Great backlight.

A strong cheerful glow, good for cycloramas and pantomimes.

Good for general areas and side lights. Great for a basic followspot colour as well as an excellent backlight.

A subtle cool wash.

An excellent backlight that creates a new dimension.

A cool wash good for night scenes.

Cool front light wash, good for creating an overcast look for cold weather.

Good for morning skin tones and night skies. Great for cyclorama lights.

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

Good for night scenes and romantic moonlight.

A good colour mixing blue. Great for cyclorama lighting.

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

Use with gobos for leafy glades. Good for pantomimes, giving a slightly sinister atmosphere.

Good mood creator. Used with gobos, creates a great foliage effect.

Highlighting for forest effects.

A sunlight wash – use with gobos, disco and dark skin tones.

Sunlight and window effect – pleasant in acting areas.

A warm yellow colour. Great for candlelight or warm bright sunlight effects.

Pale sunlight through a window and a good warm winter effect.

Good for sunlight effect, accents and side light. Be careful of skin tones under the reddish tint of this colour.

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

Strong red effect. Good with cyclorama lighting.

Good for general washes and followspots.

Warm tint wash. Dark flesh tones and softer skin tones.

Interesting backlight.

Pleasing effects for theatrical lighting.

Good for cyclorama lighting.

Very strong – used carefully for small areas on set.

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

A pleasing effect for theatrical lighting.

Good for cool washes. Adds a pale green tint. Great for emulating icy weather on stage.

A strong night effect.

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

A pleasing effect for theatrical lighting.

Good for dense foliage, tropical jungle or woodland effect.

Good for cycloramas and creates a great mood effect.

Good for cycloramas and backlighting.

Good for backlighting. Dark magenta / purple adds drama and mood.

Good for cycloramas, set lighting and discos.

Created for use as backlighting and side lighting. Great for musicals.

A strong diffusion that eliminates nearly all shadows. Flame retardant.

Used in animation and projection work.

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

Deep moonlight. Great for colour mixing.

Great for emulating a sunset. Also good for side lighting and cyclorama lighting.

A great fire effect.

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

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

Good with gobos for wooded scenes.

Good for set lighting and cyclorama lighting.

Good for light midday sky. Light blue tinted wash.

Very dramatic when used as moonlight.

Great Moonlight effect. Good for cyclorama lighting and highlighting foliage on plants.

Great moonlight / night effect.

A clean blue with hints of green. Good for moonlight and sidelight.

Good for sunrise, sunset and lamplight effects.

Great for fire effects and musicals.

A pleasing effect for theatrical lighting.

Used with interior lighting to enhance skin tones.

Good for backlighting in conjunction with white light.

A pleasing effect for theatrical lighting. A good lamplight effect.

Warms light and reduces the intensity.

Great for dance sequences (useful for softening white costumes without affecting skin tones).

A great fire effect.

A warm effect. Sunlight.

A pure medium blue. Good for skies, moonlight and dusk effects.

A warm white / warm wash. Good lamplight effect.

Great for fire effects.

Great for moonlight effect.

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

Great for set lighting, discos and theatres.

A floodlit warm wash. Great for underwater scenes and ballet.

Great for set lighting. Creates good moonlight shadows.

Used for backlighting and general areas. Great for sunrise effect and warming skin tones.

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

A pleasing effect for theatrical lighting and backlighting.

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

Good for theatre and television effect lighting as well as cycloramas.

Good for moonlight effect and cycloramas.

A warm highlight or front light; complimentary for most skin tones.

A warm highlight, leaning towards pink. Brings out pink pigment in skin tones

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.

A warm highlight leaning toward amber, good for warm front light, complimentary to most skin tones. Barbara Walters favourite colour!

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.

A cool highlight leaning towards blue, good for cool front light.

Good for musical and pantomime key lighting.

Good for musicals.

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

Great for moonlight effect.

Great for cyclorama lighting and creating deep blue skies cyclorama cycloramas.

Good for dark moonlight or a romantic evening.

A deep lavender blue that strongly enhances skin tones.

Converts tungsten (3200K) to daylight (26000K) .

Converts tungsten (3200K) to photographic daylight (5700K).

Converts tungsten (3200K) to daylight (4300K).

Converts tungsten (3200K) to daylight (3600K).

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

Converts daylight (6500K) to tungsten light (3800K).

Converts daylight (6500K) to tungsten light (4600K).

Converts daylight (6500K) to tungsten (3200K) and reduces light 1 stop.

Converts daylight (6500K) to tungsten (3200K) and reduces light 2 stops.

Reduces light 1 stop, without changing colour.

Reduces light 2 stops, without changing colour.

Reduces light 3 stops, without changing colour.

Reduces colour temperature of low carbon arcs to 3200K.

Corrects white flame carbon arcs by absorbing ultra violet.

As White Diffusion but with the addition of Eighth C.T. Blue

Converts tungsten (3200K) to daylight (3400K).

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

Used for soft light effects. Flame retardant.

Used for soft light effects with the addition of 218. Flame retardant.

Converts daylight (6500K) to tungsten light (5550K).

Used for soft light effects with the addition of 201 Full CTB.

Used for soft light effects with the addition of 0.6 Neutral Density.

Transmission of less than 50% at 410nms.

Directional soft lighting effect used for scattering light in one direction only.

Softens light, reduces intensity. Manufactured from non-woven Polyester.

Converts yellow carbon arc (of low colour temperature) to tungsten.

Converts white flame arc to 3200K, for use with Tungsten film.

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

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

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

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

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

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

Converts tungsten to fluorescent light of 3600K (warm white).

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.

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.

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.

Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC30 magenta camera filter.

Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC15 magenta camera filter.

Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC075 magenta camera filter.

A medium diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A light frost effect.

A light frost effect that softens edges.

Extra light frost effect.

Extra light frost effect.

Extra light frost effect.

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.

A perforated reflector producing a very soft reflection. Silver on one side and black on reverse.

Produces hard reflection. White backed

Produces soft reflection. White backed.

Produces soft reflection. White backed.

Produces hard reflection. White backed.

A flexible perforated material that is black on both sides. Can be used on windows to reduce light intensity, without causing any unwanted reflections.

Provides very slight green cast. Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting.

Provides very slight correction. Used on lighting to eliminate unwanted green cast created by discharge light sources on film.

Used to reduce unwanted light spill or to control unwanted light reflection.

Converts tungsten to daylight.

Converts tungsten (3200K) to daylight (8888K).

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

Converts daylight (6500K) to tungsten (2507K).

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

Reduces light 1/2 stop, without changing colour.

Reduces light 4 stops, without changing colour.

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

Used for underwater scenes, cycloramas and backlighting.

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

Great for dramatic stage lighting.

Great for Pantomimes, light entertainment etc. A good strong stage wash.

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

Good for musicals, pantomimes and sultry scenes.

A cold blue, good for cool atmospheric mood setting.

Good for daylight effects.

A cooling blue-green wash for stage and set lighting.

Great for cool moonlight and mood effects.

Great for pale moonlight and seasonal mood lighting.

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.

A strong diffuser that creates a wide field of soft illumination. Diffusion characteristics similar to 216, falls between 216 and 129.

A useful diffuser without too much light loss but very pliable to handle. Diffusion characteristics fall between 251 and 252.

A weak diffusion used for softening spotlight beam edges without altering shape. Manufactured on a 23 micron polyester base.

A useful diffuser without too much light loss. Diffusion characteristics similar to 252.

A combination of both direct and soft diffused light. Designed for use on Kino Flo and similar soft light fixtures. Flame Retardant.

A strong to medium diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A weak diffusion similar to Opal Frost, but less diffuse. Manufactured on a 36 micron polyester base.

A strong diffuser that creates a wide field of soft illumination but is thicker than the 402 Soft Frost. Diffusion characteristics similar to 416.

Produces a strong diffusion effect. Comes in three weights.

Produces a medium diffusion effect. Comes in three weights.

Produces a weak diffusion effect. Comes in three weights.

A strong diffuser (pliable to handle) that virtually eliminates shadows at close distance.

A combination of both direct and strongly diffused light. Designed for use on Kino Flo and similar soft light fixtures. Flame Retardant.

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

Converts 6500K to 4300K – daylight to tungsten light with a yellow bias.

Converts 6500K to 5100K – daylight to tungsten light with a yellow bias.

Converts 6500K to 5700K – daylight to tungsten light with a yellow bias.

A medium/weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

Produces a strong diffusion effect. Comes in three weights.

Produces a medium diffusion effect. Comes in three weights.

Produces a weak diffusion effect. Comes in three weights.

The strongest of the NCB series for dramatic white face and key light where warmer tones than CTB are required.

An alternative to the CTB series with warmer tones and a lesser green cast for face and key light.

A lighter correction in the NCB series.

The lightest correction in the NCB series.

Designed for period key light and modern urban horizons.

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.

Flattering skin tone filter without the comedy pink. Named for Marlene Dietrich who understood the importance of beautiful lighting, especially at a certain age!

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.

A rich, sultry blue. Like Congo Blue, but allowing greater light transmission so more maintenance friendly – fewer gel changes.

LSIs Silver Anniversary colour. Great for a foreboding cold winters night, but allows enough light transmission to be useful for general illuminance too.

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.

Introducing 599 Nocturnal Blue, a single-gel solution for realistic day-for-night film and photo shoots.

Our innovative window gel was created to simulate a realistic nighttime look in broad daylight by reducing brightness by 8 stops and adding a cool blue tint.

By eliminating the need to layer multiple filters, 599 Nocturnal Blue saves time and material costs on set while also reducing waste.

Adds Depth to Your Shot:

• You can now shoot inside for a day-for-night look while still seeing outside, including movement.
• Streamlined Efficiency: Saves time, reduces waste, and lowers production costs.
• Single-Filter Solution: Replaces complex, layered setups, simplifying your lighting kit.

Half strength Sodium light effect, designed for use with daylight sources.

Used on tungsten to blend with sodium light.

Used on tungsten to create a High Pressure Sodium look.

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

Used on tungsten to create a Low Pressure Sodium look.

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

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.

A colour that would be great for front / key lighting and that works well with 152 Pale Gold.

A cool lavender with little red content. Good for romantic evening exteriors.

Smoothes PAR or flood washes of large areas. Useful for houselights and a good colour wash for evening events.

A cold lavender.

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

For use as a warmer tint without turning yellow and to recreate the colour of fluorescent lighting.

Provides good colour rendering which creates a sharp edge, adding a touch of drama.

A cool industrial 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.

A smoky warm blue. Good for skin tones.

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

A new deeper version of Alice Blue.

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

A romantic blue to produce a night effect.

201 with frost to soften the beam of profile units.

202 with frost to soften the beam of profile units.

To allow low intensity tungsten to hold a cold/blue feel.

Smoothes PAR or flood washes of large areas. Useful for houselight and good for entrances from natural light.

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

A purer blue with very little red in it.

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

Useful at low levels of light. Good for dull skies and moonlight.

Cool wash, useful for highlights.

A special version of 729 Scuba Blue which is good for backlighting and swimming pool effects.

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

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

A good green for creating mystery and suspense.

Dirtier than 730 Liberty green, more orange, sympathetic with skin tones.

A dirty green, reduces warmth. Good for cross lighting.

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

A powerful green with depth, for music or light entertainment.

A rich yellowish green. Useful as a concert stage wash where darker skin tone, costume and set are a consideration.

Primary jungle colour. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.

Spooky when used in haze. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.

Dirtier than 156 Chocolate, good for skin tones. Dims well and doesnt go pink at low light levels.

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

To give a murky, dirty feel to tungsten. A darker, less pink chocolate.

Primarily developed for fluorescents to ensure warm, comfortable light and flattering skin tones.

A smoky pink. Good for tungsten on skin tones.

Combines flesh tone warmer 154 with some Hampshire frost.

A frost that almost completely softens shutter edges and removes hot spots.

Adds warmth, sunlight.

Adds warmth, bright sunlight.

Useful for producing a strong sunlight effect.

A rich blend of bright sunshine and warm ochre overtones.

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

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

Warm tint for skin tones.

Used for producing a warm key light colour. Flame retardant.

Used for producing a warm key light colour. Flame retardant.

Romantic sunset. Period pieces.

A vivid rust colour effect.

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.

Deep sunset. Useful on dark skin tones.

Between 778 Millennium Gold and 135 Deep Golden Amber, but less red. A strong colour good for backlighting.

Nice deep full red. Rose leaf colour.

For a deep saturated red effect. Used when a strong vivid red effect is required.

A rich natural pink, good for producing late afternoon sun effects.

Smoothes PAR or flood washes of large areas. Useful for houselights and good for interior colour washes.

A rich glamorous pink, good for use on special occasions.

Creates warm and soft effects.

Rich mixture of red and pinks.

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

A new deeper lavender with a dash of rose blusher.

A deep lavender that brings out the UV.

Longer life filter for use by photographers to remove large green casts produced by some LEDs.

Longer life filter for use by photographers to remove medium green casts produced by some LEDs.

Longer life filter for use by photographers to remove light green casts produced by some LEDs.

Longer life filter for use by photographers to remove fine green casts produced by some LEDs.

Longer life filter for use by photographers to remove tint green casts produced by some LEDs.

Longer life filter for major warm up correction of cool white LED to Tungsten.

Longer life filter for medium warm up correction of white LED to Tungsten.

Longer life filter for correction of warm white LED to Tungsten.

Longer life filter for fine correction of warm white LED to Tungsten.

Strongest diffusion on thick polyester for easy use on panels and in channels. Can be used close to LED chip to blur the pixels.

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.

Medium diffusion on thick polyester for easy use on panels and in channels. Provides reasonable diffusion properties without too much loss of light.

Longer life filter for medium warm up correction of white LED with minus green tint.

Longer life filter for fine warm up and minus green correction of warm white LED.

Longer life filter for LED fixtures, used to reduce the light level by approx. 80%.

Longer life filter for LED fixtures, used to reduce the light level by approx. 60%.

Longer life filter for LED fixtures, used to reduce the light level by approx. 40%.

Longer life filter used to cool down the colour of warm white LEDs so that they look whiter.

Longer life filter used to slightly cool down the colour of warm white LEDs so that they look whiter.

Longer life filter used to very slightly cool down the colour of warm white LEDs, allowing different batches of LEDs to be used together.

Longer life filter used to block UV and blue light

Special Cyan 15 reduces the red component (600nm-700nm) of light sources by approx. 25% compared to the blue and green wavelengths (400nm-600nm).

Special Cyan 30 reduces the red component (600nm-700nm) of light sources by approx. 50% compared to the blue and green wavelengths (400nm-600nm).

Special Cyan 60 reduces the red component (600nm-700nm) of light sources by approx. 75% compared to the blue and green wavelengths (400nm-600nm).

Strong pink wash, good for cycloramas.

Subtle cool wash for stage and studio lighting.

Naturally enhances skin tones.

Sunlight.

Enhances dark skin tones, sunsets, ballroom sets.

Perfect warm front light for any skin tone.

A pure bright yellow. Great for special effects and accents. Use with caution in acting areas.

Warmer than other straw colours. A good sunlight effect when used in contrast with ambers and blues.

A warm amber light. Good for effects such as candlelight and fire.

Good for skin tones and creating a moody lighting effect.

A strong red/amber. Great for fire effects.

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

Great for sunsets, cyclorama lighting and fire effects.

A good backlight.

Great for pantomimes, ballroom sets and fire effects.

A good warm stage wash, TV studio wash or sunset effect.

A vibrant red, good for cyclorama lighting.

Good for cyclorama lighting, side lighting and footlights. Also good for colour mixing.

Good for fire effects, musicals and cycloramas.

A warm wash good for musical reviews.

Good for general washes and side lighting.

A very strong pink, good for backlighting.

Good for emulating evening. Great backlight.

A strong cheerful glow, good for cycloramas and pantomimes.

Good for general areas and side lights. Great for a basic followspot colour as well as an excellent backlight.

A subtle cool wash.

An excellent backlight that creates a new dimension.

A cool wash good for night scenes.

Cool front light wash, good for creating an overcast look for cold weather.

Good for morning skin tones and night skies. Great for cyclorama lights.

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

Good for night scenes and romantic moonlight.

A good colour mixing blue. Great for cyclorama lighting.

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

Use with gobos for leafy glades. Good for pantomimes, giving a slightly sinister atmosphere.

Good mood creator. Used with gobos, creates a great foliage effect.

Highlighting for forest effects.

A sunlight wash – use with gobos, disco and dark skin tones.

Sunlight and window effect – pleasant in acting areas.

A warm yellow colour. Great for candlelight or warm bright sunlight effects.

Pale sunlight through a window and a good warm winter effect.

Good for sunlight effect, accents and side light. Be careful of skin tones under the reddish tint of this colour.

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

Strong red effect. Good with cyclorama lighting.

Good for general washes and followspots.

Warm tint wash. Dark flesh tones and softer skin tones.

Interesting backlight.

Pleasing effects for theatrical lighting.

Good for cyclorama lighting.

Very strong – used carefully for small areas on set.

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

A pleasing effect for theatrical lighting.

Good for cool washes. Adds a pale green tint. Great for emulating icy weather on stage.

A strong night effect.

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

A pleasing effect for theatrical lighting.

Good for dense foliage, tropical jungle or woodland effect.

Good for cycloramas and creates a great mood effect.

Good for cycloramas and backlighting.

Good for backlighting. Dark magenta / purple adds drama and mood.

Good for cycloramas, set lighting and discos.

Created for use as backlighting and side lighting. Great for musicals.

A strong diffusion that eliminates nearly all shadows. Flame retardant.

Used in animation and projection work.

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

Deep moonlight. Great for colour mixing.

Great for emulating a sunset. Also good for side lighting and cyclorama lighting.

A great fire effect.

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

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

Good with gobos for wooded scenes.

Good for set lighting and cyclorama lighting.

Good for light midday sky. Light blue tinted wash.

Very dramatic when used as moonlight.

Great Moonlight effect. Good for cyclorama lighting and highlighting foliage on plants.

Great moonlight / night effect.

A clean blue with hints of green. Good for moonlight and sidelight.

Good for sunrise, sunset and lamplight effects.

Great for fire effects and musicals.

A pleasing effect for theatrical lighting.

Used with interior lighting to enhance skin tones.

Good for backlighting in conjunction with white light.

A pleasing effect for theatrical lighting. A good lamplight effect.

Warms light and reduces the intensity.

Great for dance sequences (useful for softening white costumes without affecting skin tones).

A great fire effect.

A warm effect. Sunlight.

A pure medium blue. Good for skies, moonlight and dusk effects.

A warm white / warm wash. Good lamplight effect.

Great for fire effects.

Great for moonlight effect.

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

Great for set lighting, discos and theatres.

A floodlit warm wash. Great for underwater scenes and ballet.

Great for set lighting. Creates good moonlight shadows.

Used for backlighting and general areas. Great for sunrise effect and warming skin tones.

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

A pleasing effect for theatrical lighting and backlighting.

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

Good for theatre and television effect lighting as well as cycloramas.

Good for moonlight effect and cycloramas.

A warm highlight or front light; complimentary for most skin tones.

A warm highlight, leaning towards pink. Brings out pink pigment in skin tones

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.

A warm highlight leaning toward amber, good for warm front light, complimentary to most skin tones. Barbara Walters favourite colour!

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.

A cool highlight leaning towards blue, good for cool front light.

Good for musical and pantomime key lighting.

Good for musicals.

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

Great for moonlight effect.

Great for cyclorama lighting and creating deep blue skies cyclorama cycloramas.

Good for dark moonlight or a romantic evening.

A deep lavender blue that strongly enhances skin tones.

Converts tungsten (3200K) to daylight (26000K) .

Converts tungsten (3200K) to photographic daylight (5700K).

Converts tungsten (3200K) to daylight (4300K).

Converts tungsten (3200K) to daylight (3600K).

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

Converts daylight (6500K) to tungsten light (3800K).

Converts daylight (6500K) to tungsten light (4600K).

Converts daylight (6500K) to tungsten (3200K) and reduces light 1 stop.

Converts daylight (6500K) to tungsten (3200K) and reduces light 2 stops.

Reduces light 1 stop, without changing colour.

Reduces light 2 stops, without changing colour.

Reduces light 3 stops, without changing colour.

Reduces colour temperature of low carbon arcs to 3200K.

Corrects white flame carbon arcs by absorbing ultra violet.

As White Diffusion but with the addition of Eighth C.T. Blue

Converts tungsten (3200K) to daylight (3400K).

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

Used for soft light effects. Flame retardant.

Used for soft light effects with the addition of 218. Flame retardant.

Converts daylight (6500K) to tungsten light (5550K).

Used for soft light effects with the addition of 201 Full CTB.

Used for soft light effects with the addition of 0.6 Neutral Density.

Transmission of less than 50% at 410nms.

Directional soft lighting effect used for scattering light in one direction only.

Softens light, reduces intensity. Manufactured from non-woven Polyester.

Converts yellow carbon arc (of low colour temperature) to tungsten.

Converts white flame arc to 3200K, for use with Tungsten film.

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

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

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

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

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

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

Converts tungsten to fluorescent light of 3600K (warm white).

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.

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.

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.

Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC30 magenta camera filter.

Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC15 magenta camera filter.

Used on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC075 magenta camera filter.

A medium diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A light frost effect.

A light frost effect that softens edges.

Extra light frost effect.

Extra light frost effect.

Extra light frost effect.

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.

A perforated reflector producing a very soft reflection. Silver on one side and black on reverse.

Produces hard reflection. White backed

Produces soft reflection. White backed.

Produces soft reflection. White backed.

Produces hard reflection. White backed.

A flexible perforated material that is black on both sides. Can be used on windows to reduce light intensity, without causing any unwanted reflections.

Provides very slight green cast. Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting.

Provides very slight correction. Used on lighting to eliminate unwanted green cast created by discharge light sources on film.

Used to reduce unwanted light spill or to control unwanted light reflection.

Converts tungsten to daylight.

Converts tungsten (3200K) to daylight (8888K).

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

Converts daylight (6500K) to tungsten (2507K).

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

Reduces light 1/2 stop, without changing colour.

Reduces light 4 stops, without changing colour.

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

Used for underwater scenes, cycloramas and backlighting.

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

Great for dramatic stage lighting.

Great for Pantomimes, light entertainment etc. A good strong stage wash.

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

Good for musicals, pantomimes and sultry scenes.

A cold blue, good for cool atmospheric mood setting.

Good for daylight effects.

A cooling blue-green wash for stage and set lighting.

Great for cool moonlight and mood effects.

Great for pale moonlight and seasonal mood lighting.

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.

A strong diffuser that creates a wide field of soft illumination. Diffusion characteristics similar to 216, falls between 216 and 129.

A useful diffuser without too much light loss but very pliable to handle. Diffusion characteristics fall between 251 and 252.

A weak diffusion used for softening spotlight beam edges without altering shape. Manufactured on a 23 micron polyester base.

A useful diffuser without too much light loss. Diffusion characteristics similar to 252.

A combination of both direct and soft diffused light. Designed for use on Kino Flo and similar soft light fixtures. Flame Retardant.

A strong to medium diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A weak diffusion similar to Opal Frost, but less diffuse. Manufactured on a 36 micron polyester base.

A strong diffuser that creates a wide field of soft illumination but is thicker than the 402 Soft Frost. Diffusion characteristics similar to 416.

Produces a strong diffusion effect. Comes in three weights.

Produces a medium diffusion effect. Comes in three weights.

Produces a weak diffusion effect. Comes in three weights.

A strong diffuser (pliable to handle) that virtually eliminates shadows at close distance.

A combination of both direct and strongly diffused light. Designed for use on Kino Flo and similar soft light fixtures. Flame Retardant.

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

Converts 6500K to 4300K – daylight to tungsten light with a yellow bias.

Converts 6500K to 5100K – daylight to tungsten light with a yellow bias.

Converts 6500K to 5700K – daylight to tungsten light with a yellow bias.

A medium/weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

A weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.

Produces a strong diffusion effect. Comes in three weights.

Produces a medium diffusion effect. Comes in three weights.

Produces a weak diffusion effect. Comes in three weights.

The strongest of the NCB series for dramatic white face and key light where warmer tones than CTB are required.

An alternative to the CTB series with warmer tones and a lesser green cast for face and key light.

A lighter correction in the NCB series.

The lightest correction in the NCB series.

Designed for period key light and modern urban horizons.

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.

Flattering skin tone filter without the comedy pink. Named for Marlene Dietrich who understood the importance of beautiful lighting, especially at a certain age!

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.

A rich, sultry blue. Like Congo Blue, but allowing greater light transmission so more maintenance friendly – fewer gel changes.

LSIs Silver Anniversary colour. Great for a foreboding cold winters night, but allows enough light transmission to be useful for general illuminance too.

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.

Introducing 599 Nocturnal Blue, a single-gel solution for realistic day-for-night film and photo shoots.

Our innovative window gel was created to simulate a realistic nighttime look in broad daylight by reducing brightness by 8 stops and adding a cool blue tint.

By eliminating the need to layer multiple filters, 599 Nocturnal Blue saves time and material costs on set while also reducing waste.

Adds Depth to Your Shot:

• You can now shoot inside for a day-for-night look while still seeing outside, including movement.
• Streamlined Efficiency: Saves time, reduces waste, and lowers production costs.
• Single-Filter Solution: Replaces complex, layered setups, simplifying your lighting kit.

Half strength Sodium light effect, designed for use with daylight sources.

Used on tungsten to blend with sodium light.

Used on tungsten to create a High Pressure Sodium look.

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

Used on tungsten to create a Low Pressure Sodium look.

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

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.

A colour that would be great for front / key lighting and that works well with 152 Pale Gold.

A cool lavender with little red content. Good for romantic evening exteriors.

Smoothes PAR or flood washes of large areas. Useful for houselights and a good colour wash for evening events.

A cold lavender.

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

For use as a warmer tint without turning yellow and to recreate the colour of fluorescent lighting.

Provides good colour rendering which creates a sharp edge, adding a touch of drama.

A cool industrial 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.

A smoky warm blue. Good for skin tones.

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

A new deeper version of Alice Blue.

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

A romantic blue to produce a night effect.

201 with frost to soften the beam of profile units.

202 with frost to soften the beam of profile units.

To allow low intensity tungsten to hold a cold/blue feel.

Smoothes PAR or flood washes of large areas. Useful for houselight and good for entrances from natural light.

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

A purer blue with very little red in it.

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

Useful at low levels of light. Good for dull skies and moonlight.

Cool wash, useful for highlights.

A special version of 729 Scuba Blue which is good for backlighting and swimming pool effects.

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

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

A good green for creating mystery and suspense.

Dirtier than 730 Liberty green, more orange, sympathetic with skin tones.

A dirty green, reduces warmth. Good for cross lighting.

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

A powerful green with depth, for music or light entertainment.

A rich yellowish green. Useful as a concert stage wash where darker skin tone, costume and set are a consideration.

Primary jungle colour. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.

Spooky when used in haze. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.

Dirtier than 156 Chocolate, good for skin tones. Dims well and doesnt go pink at low light levels.

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

To give a murky, dirty feel to tungsten. A darker, less pink chocolate.

Primarily developed for fluorescents to ensure warm, comfortable light and flattering skin tones.

A smoky pink. Good for tungsten on skin tones.

Combines flesh tone warmer 154 with some Hampshire frost.

A frost that almost completely softens shutter edges and removes hot spots.

Adds warmth, sunlight.

Adds warmth, bright sunlight.

Useful for producing a strong sunlight effect.

A rich blend of bright sunshine and warm ochre overtones.

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

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

Warm tint for skin tones.

Used for producing a warm key light colour. Flame retardant.

Used for producing a warm key light colour. Flame retardant.

Romantic sunset. Period pieces.

A vivid rust colour effect.

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.

Deep sunset. Useful on dark skin tones.

Between 778 Millennium Gold and 135 Deep Golden Amber, but less red. A strong colour good for backlighting.

Nice deep full red. Rose leaf colour.

For a deep saturated red effect. Used when a strong vivid red effect is required.

A rich natural pink, good for producing late afternoon sun effects.

Smoothes PAR or flood washes of large areas. Useful for houselights and good for interior colour washes.

A rich glamorous pink, good for use on special occasions.

Creates warm and soft effects.

Rich mixture of red and pinks.

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

A new deeper lavender with a dash of rose blusher.

A deep lavender that brings out the UV.

Longer life filter for use by photographers to remove large green casts produced by some LEDs.

Longer life filter for use by photographers to remove medium green casts produced by some LEDs.

Longer life filter for use by photographers to remove light green casts produced by some LEDs.

Longer life filter for use by photographers to remove fine green casts produced by some LEDs.

Longer life filter for use by photographers to remove tint green casts produced by some LEDs.

Longer life filter for major warm up correction of cool white LED to Tungsten.

Longer life filter for medium warm up correction of white LED to Tungsten.

Longer life filter for correction of warm white LED to Tungsten.

Longer life filter for fine correction of warm white LED to Tungsten.

Strongest diffusion on thick polyester for easy use on panels and in channels. Can be used close to LED chip to blur the pixels.

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.

Medium diffusion on thick polyester for easy use on panels and in channels. Provides reasonable diffusion properties without too much loss of light.

Longer life filter for medium warm up correction of white LED with minus green tint.

Longer life filter for fine warm up and minus green correction of warm white LED.

Longer life filter for LED fixtures, used to reduce the light level by approx. 80%.

Longer life filter for LED fixtures, used to reduce the light level by approx. 60%.

Longer life filter for LED fixtures, used to reduce the light level by approx. 40%.

Longer life filter used to cool down the colour of warm white LEDs so that they look whiter.

Longer life filter used to slightly cool down the colour of warm white LEDs so that they look whiter.

Longer life filter used to very slightly cool down the colour of warm white LEDs, allowing different batches of LEDs to be used together.

Longer life filter used to block UV and blue light

Special Cyan 15 reduces the red component (600nm-700nm) of light sources by approx. 25% compared to the blue and green wavelengths (400nm-600nm).

Special Cyan 30 reduces the red component (600nm-700nm) of light sources by approx. 50% compared to the blue and green wavelengths (400nm-600nm).

Special Cyan 60 reduces the red component (600nm-700nm) of light sources by approx. 75% compared to the blue and green wavelengths (400nm-600nm).