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Color Effect Filters
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Touch of color when white light is not desirable.
(Transmission = 74.48%).
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(Transmission = 65.4%).
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Touch of color when white light is not desirable.
(Transmission = 43%).
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Excellent for general area washes. A basic followspot color.
(Transmission = 37.8%).
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General area washes.
(Transmission = 25.6%).
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(Transmission = 14.30%).
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Darkest of the magenta purple range.
(Transmission = 4%).
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Highly saturated, good for side and backlighting and non-realistic effect.
(Transmission = 5.86%).
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A rich lavender which will enhance blue and red costumes and scenic pieces. Excellent for nightime scenes. Rich, vivid accents, good in backgrounds.
(Transmission = 6.6%).
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(Transmission = 9%).
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Excellent backlight. Gives good visibility without destroying night illusions.
(Transmission = 22%).
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(Transmission = 19.85%).
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A cool lavender which acts as a neutral in a three color area lighting system. Will work well as a wash for drops or set pieces. Tones the space. Effective as moonlight shadows.
(Transmission = 20.14%).
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(Transmission = 26.42%).
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Excellent for general area washes. A very light cool tint.
(Transmission = 63%).
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(Transmission = 54.48%).
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Useful for very light midday skies. Occasionally used for general cool tint.
(Transmission = 55%).
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A clean slightly green blue. Good moonlight fill.
(Transmission = 40.93%).
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A clean slightly green blue. Goog moonlight fill.
(Transmission = 34.75%).
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(Transmission = 16.87%).
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(Transmission = 32.4%).
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(Transmission = 22%).
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Used for dramatic moonlight effects.
(Transmission = 18.7%).
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(Transmission = 23.31%).
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Useful for beams of realistic moonlight.
(Transmission = 30%).
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Useful for achieving depressed moods and dull skies.
(Transmission = 26.6%).
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Clean medium blue. Good for sky color or moonlight.
(Transmission = 25%).
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Excellent sky color. Useful for cyc and border lights.
(Transmission = 20%).
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(Transmission = 19%).
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(Transmission = 16.1%).
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(Transmission = 18.16%).
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Primary blue. For use with three color light primary system in cyc lighting.
(Transmission = 8%).
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(Transmission = 13%).
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(Transmission = 12.42%).
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Very cold brittle feeling.
(Transmission = 10%).
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(Transmission = 7.55%).
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Good for non-realistic night skies.
(Transmission = 3%).
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(Transmission = 4.17%).
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(Transmission = 2.7%).
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(Transmission = 1%).
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(Transmission = 3%).
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(Transmission = 2%).
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A purple-blue, highly saturated, for modeling effects and non-realistic atmospheres.
(Transmission = 1%).
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(Transmission = 0.92%).
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Used on foliage in moonlight areas or for creating a mood of mystery. Good for toning scenery painted in blues, blue-greens and greens.
(Transmission = 17%).
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Good for fantasy, moonlight and water effects.
(Transmission = 35%).
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Good to create eerie and mysterious effects. Good for night time water effects.
(Transmission = 26.83%).
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(Transmission = 39.19%).
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(Transmission = 31%).
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(Transmission = 37.3%).
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(Transmission = 7.07%).
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(Transmission = 4.37%).
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(Transmission = 10.57%).
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(Transmission = 30%).
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Alternate primary where higher transmission is desired.
(Transmission = 15%).
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Useful for mood, mystery or toning.
(Transmission = 31.1%).
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(Transmission = 51%).
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Good for dense foliage and woodland effects.
(Transmission = 64%).
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Sunny spring mornings.
(Transmission = 69%).
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Sunny spring mornings.
(Transmission = 79.87%).
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Deep straw. Good for late afternoon sunsets or firelight.
(Transmission = 69.9%).
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Much less green than in other straws. Suggests warm sunlight glow when contrasted with ambers and blues.
(Transmission = 70.8%).
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Warmer straw. Flattering to skin tones.
(Transmission = 82%).
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Slightly off white. Good for interiors.
(Transmission = 89%).
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Slightly warm tint for interiors.
(Transmission = 88.73%).
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(Transmission = 71.34%).
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(Transmission = 83.91%).
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A bright, vibrant yellow that evokes exotic sunlight. Use with caution on skin.
(Transmission = 80%).
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Much less green than in other straws. Suggests warm sunlight glow when contrasted with ambers and blues.
(Transmission = 75%).
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Sunlight, accents, area lighting with caution to skin tones.
(Transmission = 64%).
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Warm golden amber with some green. Useful for special effects-candlelight, firelight.
(Transmission = 61.16%).
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Warm pinkish amber. Afternoon sunset. Good sidelight.
(Transmission = 53.9%).
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A rosy amber which produces a romantic sunset color. Useful as sidelight or backlight color.
(Transmission = 52.9%).
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Afternoon sunlight. Lamplight and candlelight. Tends to depress color pigment values.
(Transmission not available).
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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 not available).
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Provides a romantic sunlight through windows for evening effects.
(Transmission = 30%).
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Useful for amber cyc light and late sunsets.
(Transmission = 37%).
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(Transmission = 19%).
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Very useful as a backlight. Dramatic specials and firelight.
(Transmission = 24%).
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Very useful as a backlight. Dramatic specials and firelight.
(Transmission = 27%).
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(Transmission = 25%).
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Strong red amber. Excellent for fire effects.
(Transmission = 17.01%).
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Good for firelight or special effects. Use when red with higher yellow content is needed.
(Transmission = 18%).
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Very deep amber. Red with a touch of blue.
(Transmission = 20%).
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(Transmission = 11%).
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Vibrant red. Good alternative primary.
(Transmission = 9%).
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(Transmission = 6.81%).
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(Transmission = 3.31%).
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(Transmission = 6%).
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(Transmission = 19.31%).
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Subdued sunset effect. Useful in backlights. To create seedy atmosphere.
(Transmission = 11.95%).
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(Transmission = 6%).
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(Transmission not available).
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(Transmission not available).
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Extremely intense, hot pink. Produces strong washes of color for concert and dance. Combined with a complimentary color like turquoise, will create a dynamic, sculptured effect.
(Transmission = 10.6%).
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A deep, saturated pink created for musicals and specials. Excellent for down and backlighting.
(Transmission = 14%).
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A vibrant, almost fluorescent pink with a cool component. Traditionally important as a special effects color in the Broadway musical. Follow spot and dance applications as a modeling color.
(Transmission = 20.41%).
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Musical pink. Lush accents. Very versatile color.
(Transmission = 52.36%).
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(Transmission = 32%).
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(Transmission = 35%).
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Good for general washes and cross lighting.
(Transmission = 46%).
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(Transmission = 47%).
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A cool pink excellent for washes and general illumination. A good follow spot color. A component of early morning sunrise.
(Transmission = 60%).
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(Transmission = 66%).
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(Transmission = 64.8%).
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Good where a tint of color is needed. Excellent for natural skin tones.
(Transmission = 78%).
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A peach amber.
(Transmission = 71%).
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A clean pale pink; useful as a blush for skin tones.
(Transmission = 73.1%).
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A pale blush amber for skin tones and backlight.
(Transmission = 69.4%).
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(Transmission = 61.05%).
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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 = 67.91%).
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Enhances fair skin tones. Suggests strong sunlight.
(Transmission = 50.2%).
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(Transmission = 55%).
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General wash. Good for follow spots.
(Transmission = 48%).
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(Transmission = 36.4%).
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(Transmission = 36%).
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(Transmission = 37%).
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(Transmission = 18.55%).
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(Transmission = 26.3%).
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(Transmission = 53%).
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(Transmission = 60%).
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(Transmission = 61%).
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(Transmission = 57%).
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(Transmission = 52%).
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(Transmission = 56%).
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(Transmission = 54%).
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(Transmission = 51%).
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Afternoon sunlight. Lamplight and candlelight. Tends to depress color pigment values.
(Transmission = 57.61%).
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Daylight Conversion Filters
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Daylight to Tungsten 3200K
(Transmission = 55.4%).
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Daylight to Tungsten 3500K
(Transmission = 61.3%).
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Daylight to Tungsten 3800K
(Transmission = 71%).
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Daylight to Tungsten 4600K
(Transmission = 79%).
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Daylight to Tungsten 5300K
(Transmission = 85.2%).
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Daylight to Tungsten 3200K with a slight yellow bias.
(Transmission = 57.3%).
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Daylight to Tungsten 3800K with a slight yellow bias.
(Transmission = 71.2%).
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Daylight to Tungsten 4600K with a slight yellow bias.
(Transmission = 79.8%).
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Daylight to Tungsten 5300K with a slight yellow bias.
(Transmission = 83.1%).
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Daylight to Tungsten 3200K and reduces light one stop.
(Transmission = 32.5%).
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Daylight to Tungsten and reduces light 2 stops.
(Transmission = 15.6%).
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Diffusion Filters
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A slight diffuser. Softens edge, yet beam shape is maintained.
(Transmission not available).
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Similar characteristics to 214, but less dense.
(Transmission not available).
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Similar characteristics to 215, but less dense.
(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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A moderate frost that creates a soft even effect.
(Transmission not available).
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Similar characteristics to 480, but less dense.
(Transmission not available).
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Similar characteristics to 481, but less dense.
(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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Fluorescent Light Filters
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(Transmission = 32%).
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Converts Tungsten to fluorescent light of 5700K (coolwhite/daylight) used with camera filter.
(Transmission = 27.4%).
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Converts Tungsten to fluorescent light of 4300K (white) used with camera filter.
(Transmission = 37.3%).
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Converts Tungsten to fluorescent light of 3600K (warm white) used with camera filter.
(Transmission = 45.7%).
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Adds green when balancing to fluorescent and other discharge sources. Nominally equivalent to CC30 Green.
(Transmission = 74.2%).
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Adds green when balancing to fluorescent and other discharge sources. Nominally equivalent to CC15 Green.
(Transmission = 81.7%).
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Adds green when balancing to fluorescent and other discharge sources. Nominally equivalent to CC075 Green.
(Transmission = 84.6%).
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Adds green when balancing fluorescents and other discharge sources. Nominally equivalent to CC035 Green.
(Transmission = 87.7%).
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Reduces green from fluorescents and other discharge sources. Nominally equivalent to CC30 Magenta.
(Transmission = 59.1%).
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Reduces green from fluorescent and other discharge sources. Nominally equivalent to CC15 Magenta.
(Transmission = 72%).
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Reduces green from fluorescents and other discharge sources. Nominally equivalent to CC075 Magenta.
(Transmission = 82.4%).
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Reduces green from fluorescents and other discharge sources. Nominally equivalent to CC035 Magenta.
(Transmission = 86.5%).
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Neutral Density Filters
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Reduces light 1/2 stop.
(Transmission = 69.3%).
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Reduces light 1 stop
(Transmission = 51.2%).
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Reduces light 2 stops
(Transmission = 23.5%).
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Reduces light 3 stops
(Transmission = 13.7%).
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Reduces light 4 stops.
(Transmission = 6.6%).
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Other Correction Filters
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(Transmission = 88.7%).
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(Transmission = 88.5%).
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(Transmission = 58.2%).
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(Transmission = 100%).
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(Transmission = 91.5%).
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Reflection Materials
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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(Transmission not available).
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Tungsten Conversion Filters
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Tungsten to Daylight 3200K to 5700K
(Transmission = 34%).
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Tungsten to Daylight 3200K to 5000K
(Transmission = 45.5%).
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Tungsten to Daylight 3200K to 4300K
(Transmission = 55%).
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Tungsten to Daylight 3200K to 3600K
(Transmission = 69.2%).
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Tungsten to Daylight. 3200K to 3400K
(Transmission = 81.3%).
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Tungsten to Daylight 2800K to 10,000K
(Transmission = 16.2%).
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