Lighting Filter Packs

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 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 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 medium warm up correction of white LED with minus green tint.

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

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

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

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 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 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 medium warm up correction of white LED with minus green tint.

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

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

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

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.

Strong red effect. Good with cyclorama lighting.

Good for set lighting and cyclorama lighting.

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

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

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

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

A warm highlight or front light; complimentary for most 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 warm highlight, leaning towards pink. Brings out pink pigment in skin tones

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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 light frost effect.

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

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

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

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

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

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

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

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

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

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 CC30 green camera filter.

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

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

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

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

Strong red effect. Good with cyclorama lighting.

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 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!

Reduces light 2 stops, without changing colour.

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

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

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

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

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

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

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

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

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

Strong red effect. Good with cyclorama lighting.

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

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!

Reduces light 2 stops, without changing colour.

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

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

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

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

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

Sunlight and window effect – pleasant in acting areas.

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 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 strong night effect.

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

Good for cycloramas and creates a great mood effect.

Good for cycloramas and backlighting.

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

Deep moonlight. Great for colour mixing.

Great for fire effects.

Great for set lighting, discos and theatres.

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

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

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

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

Reduces light 1 stop, without changing colour.

Reduces light 2 stops, without changing colour.

Produces hard reflection. White backed

Produces soft reflection. White backed.

Produces soft reflection. White backed.

Produces hard reflection. White backed.

A cold lavender when used with a full tungsten source, but warms as the source is dimmed. Good as a fill for slow sunset fades.

Good for emulating evening. Great backlight.

Great for set lighting. Creates good moonlight shadows.

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

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

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

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

Great for fire effects.

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

Strong pink wash, good for cycloramas.

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

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

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

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

A cool wash good for night scenes.

Corrects white flame carbon arcs by absorbing ultra violet.

Sunlight.

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

Perfect warm front light for any skin tone.

A warm white / warm wash. Good lamplight effect.

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

A warm wash good for musical reviews.

Subtle cool wash for stage and studio lighting.

A light frost effect that softens edges.

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

Great for set lighting. Creates good moonlight shadows.

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

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

Good for cycloramas and backlighting.

Good with gobos for wooded scenes.

Sunlight.

Sunlight and window effect – pleasant in acting areas.

Great for fire effects.

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

A warm wash good for musical reviews.

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

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

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

A pleasing effect for theatrical lighting.

A pleasing effect for theatrical lighting.

Good for set lighting and cyclorama lighting.

Sunlight and window effect – pleasant in acting areas.

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

A great fire effect.

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

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

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

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

A pleasing effect for theatrical lighting and backlighting.

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

A pleasing effect for theatrical lighting.

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

A strong night effect.

Good for cycloramas and creates a great mood effect.

Sunlight and window effect – pleasant in acting areas.

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

Good for musical and pantomime key lighting.

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

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

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

Converts tungsten to daylight.

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

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

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

Reduces light 1 stop, without changing colour.

Reduces light 2 stops, without changing colour.

Reduces light 3 stops, without changing colour.

Reduces light 1/2 stop, without changing colour.

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

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

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

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

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

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

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

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

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 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 CC30 green camera filter.

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

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

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

A pleasing effect for theatrical lighting.

A great fire effect.

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

Good for emulating evening. Great backlight.

Deep moonlight. Great for colour mixing.

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

Good for cycloramas, set lighting and discos.

Good for emulating evening. Great backlight.

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

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

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

A pleasing effect for theatrical lighting.

Used for underwater scenes, cycloramas and backlighting.

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

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

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

Great for pantomimes, ballroom sets and fire effects.

A vibrant red, good for cyclorama lighting.

Great for dramatic stage lighting.

A pleasing effect for theatrical lighting and backlighting.

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

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

Very dramatic when used as moonlight.

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

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

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

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

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.

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

Great for dramatic stage lighting.

Very strong – used carefully for small areas on set.