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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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Slightly off white. Good for interiors.
(Transmission = 92%).
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Warmer straw. Flattering to skin tones.
(Transmission = 86%).
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(Transmission = 82%).
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(Transmission = 88%).
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Excellent area light. Light pink-amber tint. Safe for most light skin tones.
(Transmission = 68%).
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(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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Provides a romantic sunlight through windows for evening effects.
(Transmission = 32%).
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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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(Transmission = 71%).
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Useful for bright musicals. Creates a happy atmosphere.
(Transmission = 45%).
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(Transmission = 56%).
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(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 = 16%).
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Touch of color when white light is not desirable.
(Transmission = 54%).
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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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Helps maintain white light when dimmer is at low intensity.
(Transmission = 62%).
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(Transmission = 52%).
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Helps maintain white light when dimmer is at low intensity.
(Transmission = 54%).
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(Transmission = 32%).
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(Transmission = 32%).
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Useful for achieving depressed moods and dull skies.
(Transmission = 35%).
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(Transmission = 36%).
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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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(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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(Transmission = 9%).
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NEW!
2008
(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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Sunny spring mornings.
(Transmission = 82%).
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Useful for mood, mystery and toning.
(Transmission = %).
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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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(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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