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A durable, heat resistant polycarbonate film used in the preparation of color scrollers to allow the passage from a color to clear.
(Transmission = 100%).
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Good where a tint of color is needed. Excellent for natural skin tones.
(Transmission = 78%).
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Very pale warm white. Perfect for enhancing the HPL lamp in a Source Four.
(Transmission = 88%).
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Converts 5500K to 4900K
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Converts 5500K to 4500K
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Converts 5500K to 3800K
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Converts 5500K to 3200K. Nice strong amber. Less pink than R04.
(Transmission = 58%).
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Converts 5500K to 2900K
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(Transmission = 92%).
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(Transmission = 81%).
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(Transmission = 73%).
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(Transmission = 50%).
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Slightly off white. Good for interiors.
(Transmission = 92%).
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Warmer straw. Flattering to skin tones.
(Transmission = 86%).
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Very pale yellow. Interior lighting to create industrial mood.
(Transmission = 80%).
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Double 4515. Medium yellow with green tone. Bright sunlight accents. Not flattering on skin. Combine with 4430 for rich foliage washes.
(Transmission = 75%).
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Double 4530. Strong yellow with green tone. Deep sunlight rays.
(Transmission = 70%).
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4530 + 4560. Very strong sunlight with no red accents.
(Transmission = 66%).
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A soft medium yellow. Can be used for creating naturalistic effects such as early morning sunlight or for special effects.
(Transmission = 82%).
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Greener yellow than 10. Special effects and accents. Use with caution on skin tones.
(Transmission = 88%).
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Deep yellow with amber tones. Strong, late day sunlight. Flattering on skin.
(Transmission = 64%).
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Excellent area light. Light pink-amber tint. Safe for most light skin tones.
(Transmission = 68%).
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A pale reddish gold, good for creating sunrise or sunset, or simulating incandescent light. A flattering naturalistic backlight color. Can be used for warm area lighting.
(Transmission = 58%).
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Heavier pink-amber tint. Useful for dance. Especially useful when balanced with a cool color. Good general warm tint in striplights.
(Transmission = 56%).
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Warm pinkish amber. Afternoon sunset. Good sidelight.
(Transmission = 56%).
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A medium salmon color which evokes feeling of a tropical island. A good sunset color. Interesting backlight and accent color. Good for warm tonal effects.
(Transmission = 52%).
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Useful for amber cyc light and late sunsets.
(Transmission = 43%).
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An amber with some green content. A good sunlight transition color that shows the progression of the sun from white or yellow to amber later in the day.
(Transmission = 39%).
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Flattering Firelight
(Transmission = 23%).
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Provides a romantic sunlight through windows for evening effects.
(Transmission = 32%).
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Very pale red. Subtle warming on skin tones. Warmer than R05.
(Transmission = 67%).
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Double 4615. Pale red with peach tones. Nice on skin when paired with a cooler cross light.
(Transmission = 55%).
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Double 4630. Medium red with pale salmon accents. Romantic subtle back or side lighting.
(Transmission = 39%).
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4660 + 4630. Strong salmon red. Deeper and more orange than 32. Beautiful backlight.
(Transmission = 30%).
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Toasted red-amber color. Useful in re-creating setting sun or as a dramatic cyc.
(Transmission = 18%).
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Vibrant red. Good alternative primary.
(Transmission = 12%).
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A pale almost colorless pink.
(Transmission = 65%).
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A pink tint that is excellent for most skin tones. A good color for warm area lighting. Lighter than 33.
(Transmission = 71%).
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Partial green absorbing filter.
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Partial green absorbing filter.
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Partial green absorbing filter.
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Converts cool white fluorescents to daylight.
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Useful for bright musicals. Creates a happy atmosphere.
(Transmission = 45%).
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Between 33 and 333. Excellent on all skin tones. Not as cool as 333.
(Transmission = 71%).
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Double 4815. Pretty pink. Slightly more blue than 34. Nice for musicals and "happy" lighting.
(Transmission = 61%).
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Double 4830. Rich pink accent. Excellent in follow-spots.
(Transmission = 46%).
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4830 + 4860. Deep rich pink. Lighter than 332. Romantic backlight or accent color.
(Transmission = 38%).
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Blue Pink, Use in general washes and toning.
(Transmission = 56%).
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Pale Magenta. Cooler than 3318. Useful on many skin tones.
(Transmission = 65%).
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Double 4715. Medium cool magenta. Nice fill light without adding warmth.
(Transmission = 52%).
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Double 4730. Strong pink/magenta. Interesting side light with slight bluish cast.
(Transmission = 37%).
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4760 + 4730. Clean dominant magenta. Good choice for CYM color mixing.
(Transmission = 28%).
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A sultry, deep purple. Good for musicals or concert lighting. Excellent special effects color.
(Transmission = 10%).
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Light orange with high blue content.
(Transmission = 24%).
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More red than 342.
(Transmission = 8%).
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Musical pink. Lush accents. Very versatile color.
(Transmission = 26%).
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Good for eerie or dramatic effects. Beautiful backlight color.
(Transmission = %).
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Touch of color when white light is not desirable.
(Transmission = 54%).
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Pale no color lavender. Slightly cooler than 351. Tones without adding color.
(Transmission = 61%).
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Double 4915. Excellent cool on skin tones. Nice warm tones during nighttime.
(Transmission = 47%).
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Double 4930. Rich comfortable lavender. Compliments darker skin tones.
(Transmission = 29%).
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4960 + 4930. Dynamic, lush backlight. More red than 357.
(Transmission = 18%).
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Deep reddish purple. Nice as saturated special accent.
(Transmission = 3%).
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Deep icy blue with violet undertones. Moonlight illusions.
(Transmission = 4%).
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The original Congo Blue. A purple-blue, highly saturated, for modeling effects and non-realistic atmospheres.
(Transmission = 2%).
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Boosts 3200K to 3300K
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Boosts 3200K to 3500K
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Boosts 3200K to 3800K
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Boosts 3200K to 4100K
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(Transmission = 41%).
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Boosts 3200K to 5500K
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Bright nighttime area light. Crisp moonlight.
(Transmission = 10%).
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Very pale blue tint with a hint of red. Nice no-color definition when crossed with 51.
(Transmission = 57%).
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Double 4215. Pale blue with reddish cast.
(Transmission = 42%).
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Double 4230. Medium blue with red tones. Nice cool crosslight on most skin tones.
(Transmission = 24%).
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4260 + 4230. Deep red blue. Enhances deep blues in costumes and scenery. Vibrant backlight.
(Transmission = 15%).
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(Transmission = 9%).
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Helps maintain white light when dimmer is at low intensity.
(Transmission = 62%).
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The slightest blue tint. Excellent for eliminating amber shift when lights are running low on a dimmer. Good for cool area light.
(Transmission = 52%).
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Helps maintain white light when dimmer is at low intensity.
(Transmission = 54%).
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A soft clean blue. Good choice for cool area lighting. Can also be used to shift the amber of lamps running at low dimmer levels.
(Transmission = 32%).
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A clean light red blue. Creates naturalistic daylight fill color. Good cool area light.
(Transmission = 32%).
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Useful for achieving depressed moods and dull skies.
(Transmission = 35%).
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Clean blue with more red than 364. A true color correction filter for film. Converts 3200°K to 5500°K. Good for area light.
(Transmission = 36%).
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Photographic lighting filter equal to CC07C. Enhances blue and green transmission by effectively reducing red exposure by 1/4 stop. Heat resistant base. Deep dyed.
(Transmission = 78%).
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Very pale blue green. Interesting industrial daytime skies. Use with caution on skin tones.
(Transmission = 72%).
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Double 4315. Slightly greener than "normal" daylight. Uncomfortable skylight.
(Transmission = 63%).
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Double 4330. Strong eerie daylight. Simulates fluorescent and industrial light sources.
(Transmission = 50%).
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4360 + 4330. Strong cyan. Fantasy water scenes.
(Transmission = 39%).
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(Transmission = 18%).
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A crisp, clean blue-green. Useful as a water effect or as a sidelight for dance.
(Transmission = 32%).
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A soothing green blue. More blue than 76. A good conventional moonlight color. Interesting tonal color.
(Transmission = 6%).
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Distinctive greenish blues. Useful for romantic moonlight.
(Transmission = 9%).
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A rich clean red blue that warms to lavender when dimmed.
(Transmission = 15%).
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Rich deep indigo blue. Slightly more red than 81.
(Transmission = 10%).
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Primary blue. For use with three color light primary system in cyc lighting.
(Transmission = 9%).
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(Transmission = 6%).
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Good for non-realistic night skies.
(Transmission = 4%).
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Sunny spring mornings.
(Transmission = 85%).
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Pale, balanced green without yellow tones. Nice for leaf breakups and foliage washes.
(Transmission = 67%).
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Double 4415. Golden green wash. Less saturated but strong, balanced green. Excellent for exterior landscaping.
(Transmission = 52%).
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Double 4430. Rich bright green. Good transmission of color.
(Transmission = 32%).
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4460 + 4430. Bright saturated clean green.
(Transmission = 18%).
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Adds partial green to balance with fluorescents.
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Adds partial green to balance with fluorescents.
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Adds partial green to balance with fluorescents.
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To balance daylight sources to cool white fluorescents.
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Sunny spring mornings.
(Transmission = 82%).
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Useful for mood, mystery and toning.
(Transmission = 45%).
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Strong dominant green. Less yellow than 90. "Christmas tree" green.
(Transmission = 15%).
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Primary green for three color primary system.
(Transmission = 7%).
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Useful for mood of mystery and for toning scenery that has been spattered in blues.
(Transmission = 59%).
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Useful for mood of mystery and for toning scenery that has been spattered in blues.
(Transmission = 35%).
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Neutral greys to reduce intensity without affecting color temperature.
(Transmission = 50%).
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A half stop neutral density.
(Transmission = 70%).
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Helpful in balancing brightness of lamps of different wattage.
(Transmission = 25%).
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Warms light and reduces intensity.
(Transmission = 35%).
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(Transmission = 33%).
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(Transmission = 17%).
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Changes ellipsoidal into flood or scoop.
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Has twin qualities of wide diffusion and warm center.
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Creates a slash of light for stretching light along stairs, tables, cycs, etc. Diffuses while maintaining compactness of beam.
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Good on scoops for cyc lighting.
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Removes lens shadows.
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Densest diffusion of the series. Spreads the light almost 1800.
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Lighter than 100-103. An excellent diffuser for HMI, CID and CSI sources softening the beam slightly while maintaining excellent transmission.
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A range of diffusion materials adapted from cinematography-used for softening the shadow of the beam while maintaining a relatively high color temperature because of the use of ultra-white pigments in the manufacturing process.
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A range of diffusion materials adapted from cinematography-used for softening the shadow of the beam while maintaining a relatively high color temperature because of the use of ultra-white pigments in the manufacturing process.
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A range of diffusion materials adapted from cinematography-used for softening the shadow of the beam while maintaining a relatively high color temperature because of the use of ultra-white pigments in the manufacturing process.
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Retains the diffusion properties of 104 but with less light loss.
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A lighter version on the popular 112 Opal Tough Frost.
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A good medium cosmetic diffuser.
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Unique polymer base which deflects convected heat, minimizing the effects of high temperature.
(Transmission = 100%).
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Specially coated film reflects infrared energy to extend the life of colour in super hot lighting fixtures.
(Transmission = 100%).
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A virtually transparent film, specially coated to absorb ultraviolet rays.
(Transmission = 100%).
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