Chromatic Filter
V 2.2
LEE Chromatic Filter
| Nr | Farben Name | Farbe | Live | Verwendung |
| 702 | Special Pale Lavender |
|
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. | |
| 003 | Lavender Tint |
|
Subtle cool wash for stage and studio lighting. | |
| 169 | Lilac Tint |
|
A pale lavender. Good for almost white light with a cool tint. | |
| 136 | Pale Lavender |
|
Great for pantomimes and ballroom sets. Also enhances dark skin tones in follow spots. | |
| 170 | Deep Lavender |
|
Great for set lighting, discos and theatres. | |
| 345 | Fuchsia Pink |
|
Good for musicals, pantomimes and sultry scenes. | |
| 703 | Cold Lavender |
|
A colour that would be great for front / key lighting and that works well with 152 Pale Gold. | |
| 704 | Lily |
|
A cool lavender with little red content. Good for romantic evening exteriors. | |
| 705 | Lily Frost |
|
Smoothes PAR or flood washes of large areas. Useful for houselights and a good colour wash for evening events. | |
| 052 | Light Lavender |
|
Good for general areas and side lights. Great for a basic followspot colour as well as an excellent backlight. | |
| 194 | Surprise Pink |
|
Good for musicals. | |
| 798 | Chrysalis Pink |
|
A new deeper lavender with a dash of rose blusher. | |
| 058 | Lavender |
|
An excellent backlight that creates a new dimension. | |
| 343 | Special Medium Lavender |
|
Good for theatre and T.V. effect lighting and backlighting. | |
| 700 | Perdect Lavender |
|
In-between 170 Deep Lavender and 345 Fuchsia Pink, and is good for backlighting and romantic atmospheres. | |
| 707 | Ultimate Violet |
|
Used in musical performances for general colour washes and set lighting. | |
| 180 | Dark Lavender |
|
A pleasing effect for theatrical lighting and backlighting. | |
| 706 | King Fals Lavender |
|
A cold lavender. | |
| 344 | Violet |
|
A good dusk and romantic effect. Also good for skin tones. | |
| 137 | Special Lavender |
|
Good for moonlight and musical / romantic scenes. Enhances skin tones. | |
| 053 | Paler Lavender |
|
A subtle cool wash. | |
| 709 | Electric Lilac |
|
Provides good colour rendering which creates a sharp edge, adding a touch of drama. | |
| 142 | Pale Violet |
|
Great Moonlight effect. Good for cyclorama lighting and highlighting foliage on plants. | |
| 199 | Regal Blue |
|
A deep lavender blue that strongly enhances skin tones. | |
| 181 | Congo Blue |
|
Looks like black light when used with a fluorescent source. Great effect colour. Very saturated. | |
| 799 | Special KH Lavender |
|
A deep lavender that brings out the UV. | |
| 071 | Tokyo Blue |
|
A deep blue, used for midnight scenes and cyclorama lighting. | |
| 198 | Palace Blue |
|
Good for dark moonlight or a romantic evening. | |
| 713 | J. Winter Blue |
|
A very dark blue with a high UV content. Good when used in high concentrations for a moody and powerful stage colour wash. | |
| 120 | Deep Blue |
|
A pleasing effect for theatrical lighting. | |
| 085 | Deeper Blue |
|
A deep warm blue. Good for back and side lighting. | |
| 716 | Mikkel Blue |
|
A romantic blue to produce a night effect. | |
| 363 | Special Medium Blue |
|
Great for cool moonlight and mood effects. | |
| 195 | Zenith Blue |
|
Creates a good moonlight effect on a dark set. Also good for cycloramas. | |
| 119 | Dark Blue |
|
Good for mood effects created by backlighting and side lighting. Creates great contrast. | |
| 715 | Cabana Blue |
|
A deep blue that still has enough transmission to work encouragingly well on television. | |
| 723 | Virgin Blue |
|
This is a pure blue, not too green and not too lavender, yet still feels warm for a blue with an early morning feel. | |
| 721 | Berry Blue |
|
Used in musical performances for rear colour wash or set lighting. | |
| 722 | Bray Blue |
|
A purer blue with very little red in it. | |
| 714 | Elysian Blue |
|
A new deeper version of 197 Alice Blue. | |
| 079 | Just Blue |
|
A good colour mixing blue. Great for cyclorama lighting. | |
| 710 | Spir Special Blue |
|
A cool industrial blue. | |
| 197 | Alice Blue |
|
Great for cyclorama lighting and creating deep blue skies cyclorama cycloramas | |
| 075 | Evening Blue |
|
Good for night scenes and romantic moonlight. | |
| 712 | Bedford Blue |
|
A smoky warm blue. Good for skin tones. | |
| 719 | Colour Wash Blue |
|
To allow low intensity tungsten to hold a cold/blue feel. | |
| 200 | Double C.T. Blue |
|
Converts tungsten (3200K) to daylight (26000K) | |
| 711 | Cold 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. | |
| 366 | Cornflower |
|
Great for pale moonlight and seasonal mood lighting. | |
| 201 | Full C.T. Blue |
|
Converts tungsten (3200K) to photographic daylight (5700K). | |
| 717 | Shanklin Frost |
|
201 Full CT Blue with frost to soften the beam of profile units. | |
| 720 | Durham Daylight Frost |
|
Smoothes PAR or flood washes of large areas. Useful for houselight and good for entrances from natural light. | |
| 708 | Cool Lavender |
|
For use as a warmer tint without turning yellow and to recreate the colour of fluorescent lighting. | |
| 281 | Three Quarter C.T. Blue |
|
Converts tungsten to daylight. | |
| 202 | Half C.T. Blue |
|
Converts tungsten (3200K) to daylight (4300K). | |
| 718 | Half Shanklin Frost |
|
202 Half CT Blue with frost to soften the beam of profile units. | |
| 061 | Mist Blue |
|
A cool wash good for night scenes. | |
| 203 | Quarter C.T. Blue |
|
Converts tungsten (3200K) to daylight (3600K). | |
| 218 | Eighth C.T. Blue |
|
Converts tungsten (3200K) to daylight (3400K). | |
| 063 | Pale Blue |
|
Cool front light wash, good for creating an overcast look for cold weather. | |
| 174 | Dark Steel Blue |
|
Great for set lighting. Creates good moonlight shadows. | |
| 161 | Slate Blue |
|
A pure medium blue.Good for skies, moonlight and dusk effects. | |
| 068 | Sky Blue |
|
Good for morning skin tones and night skies. Great for cyclorama lights. | |
| 132 | Medium Blue |
|
Deep moonlight. Great for colour mixing. | |
| 165 | Daylight Blue |
|
Great for moonlight effect. | |
| 141 | Bright Blue |
|
Very dramatic when used as moonlight. | |
| 196 | True Blue |
|
Great for moonlight effect. | |
| 143 | Pale Navy Blue |
|
Great moonlight / night effect. | |
| 352 | Glacier Blue |
|
A cold blue, good for cool atmospheric mood setting. | |
| 724 | Ocean Blue |
|
Useful at low levels of light. Good for dull skies and moonlight. | |
| 140 | Summer Blue |
|
Good for light midday sky. Light blue tinted wash. | |
| 117 | Steel Blue |
|
Good for cool washes. Adds a pale green tint. Great for emulating icy weather on stage. | |
| 725 | Ols Steel Blue |
|
Cool wash, useful for highlights. | |
| 353 | Lighter Blue |
|
Good for daylight effects. | |
| 144 | No Colour Blue |
|
A clean blue with hints of green. Good for moonlight and sidelight. | |
| 118 | Light Blue |
|
A strong night effect. | |
| 183 | Moonlight Blue |
|
Good for moonlight effect and cycloramas. | |
| 172 | Lagoon Blue |
|
A floodlit warm wash. Great for underwater scenes and ballet. | |
| 727 | QFD Blue |
|
A special version of 729 Scuba Blue which is good for backlighting and swimming pool effects. | |
| 729 | Scuba Blue |
|
Used in musical performances for a rear colour wash or set lighting. | |
| 116 | Medium Blue-Green |
|
A pleasing effect for theatrical lighting. | |
| 354 | Special Steel Blue |
|
A cooling blue-green wash for stage and set lighting. | |
| 115 | Peacock Blue |
|
A pleasing effect on set Good for cyclorama and backlighting (e.g. ice rinks, galas, etc). | |
| 131 | Marine Blue |
|
Good for romantic moonlight. Often used in ballet and underwater scenes. | |
| 241 | Fluorescent 5700 Kelvin |
|
Converts tungsten to fluorescent light of 5700K (cool white/daylight). | |
| 728 | Steel Green |
|
Approaching storms. Overcast days. Cold steely light. Malevolent moonlight. | |
| 730 | Liberty Green |
|
A good green for creating mystery and suspense. | |
| 731 | Dirty Ice |
|
Dirtier than 730 Liberty Green, more orange, sympathetic with skin tones. | |
| 733 | Damp Squib |
|
A dirty green, reduces warmth. Good for cross lighting. | |
| 243 | Fluorescent 3600 Kelvin |
|
Converts tungsten to fluorescent light of 3600K (warm white). | |
| 242 | Fluorescent 4300 Kelvin |
|
Converts tungsten to fluorescent light of 4300K (white). | |
| 219 | Fluorescent Green |
|
General tungsten to fluorescent correction for use when fluorescent colour temp is unknown, to provide medium correction. | |
| 323 | Jade |
|
Used for underwater scenes, cycloramas and backlighting. | |
| 322 | Soft Green |
|
A cool green used for gobo cover, pantomimes and cycloramas. | |
| 325 | Mallard Green |
|
Good for mood setting and undergrowth. | |
| 735 | Velvet Green |
|
A beautiful background colour. Victorian melodrama. A night time green. | |
| 124 | Dark Green |
|
Good for cycloramas and backlighting. | |
| 327 | Forest Green |
|
A deep green for sinister forest scenes, cycloramas and backlighting. | |
| 090 | Dark ellow Green |
|
Highlighting for forest effects. | |
| 736 | Twickenham Green |
|
A powerful green with depth, for music or light entertainment. | |
| 740 | Aurora Borealis Green |
|
Primary jungle colour. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect. | |
| 139 | Primary Green |
|
Good for set lighting and cyclorama lighting. | |
| 089 | Moos Green |
|
Good mood creator. Used with gobos, creates a great foliage effect. | |
| 122 | Fern Green |
|
Good for cycloramas and creates a great mood effect. | |
| 738 | JAS Green |
|
A rich yellowish green. Useful as a concert stage wash where darker skin tone, costume and set are a consideration. | |
| 121 | LEE Green |
|
Good for dense foliage, tropical jungle or woodland effect. | |
| 088 | Lime Green |
|
Use with gobos for leafy glades. Good for pantomimes, giving a slightly sinister atmosphere. | |
| 138 | Pale Green |
|
Good with gobos for wooded scenes. | |
| 244 | LEE Plus Green |
|
Used on daylight and tungsten light sources to provide green cast when used in conjuction with discharge lighting. Approximately equivalent to CC30 green camera filter. | |
| 213 | White Flame reen |
|
Corrects white flame carbon arcs by absorbing ultra violet. | |
| 245 | Half Plus Green |
|
Used on daylight and tungsten light sources to provide green cast when used in conjuction with discharge lighting. Approximately equivalent to CC15 green camera filter. | |
| 246 | Quarter Plus Green |
|
Used on daylight and tungsten light sources to provide green cast when used in conjuction with discharge lighting. Approximately equivalent to CC075 green camera filter. | |
| 278 | Eight Plus Green |
|
Provides very slight green cast. Used on daylight and tungsten light sources to provide green cast when used in conjuction with discharge lighting. | |
| 226 | LEE U.V. |
|
Transmission of less than 50% at 410nms. | |
| 159 | No Colour Straw |
|
A warm effect. Sunlight. | |
| 444 | Eighth C.T. Straw |
|
Converts 6500K to 5700K - daylight to tungsten light with a yellow bias. | |
| 223 | Eighth C.T. Orange |
|
Converts daylight (6500K) to tungsten light (5550K). | |
| 212 | L.C.T. Yellow (Y1) |
|
Reduces colour temperature of low carbon arcs to 3200K. | |
| 007 | Pale Yellow |
|
Sunlight. | |
| 443 | Quarter C.T.Straw |
|
Converts 6500K to 5100K - daylight to tungsten light with a yellow bias. | |
| 206 | Quarter C.T. Orange |
|
Converts daylight (6500K) to tungsten light (4600K). | |
| 763 | Wheat |
|
Adds warmth, sunlight. | |
| 103 | Straw |
|
Pale sunlight through a window and a good warm winter effect. | |
| 764 | Sun Colour Straw |
|
Adds warmth, bright sunlight. | |
| 442 | Half C.T. Straw |
|
Converts 6500K to 4300K - daylight to tungsten light with a yellow bias. | |
| 205 | Half C.T. Orange |
|
Converts daylight (6500K) to tungsten light (3800K) | |
| 162 | Bastard Amber |
|
A warm white / warm wash. Good lamplight effect. | |
| 774 | Soft Amber Key 1 |
|
Used for producing a warm key light colour. Flame retardant. | |
| 009 | Pale Amber Gold |
|
Perfect warm front light for any skin tone. | |
| 765 | LEE Yellow |
|
Useful for producing a strong sunlight effect. | |
| 013 | Straw Tint |
|
Warmer than other straw colours. A good sunlight effect when used in contrast with ambers and blues. | |
| 285 | Three Quarter C.T.Orange |
|
Converts daylight (6500K) to tungsten light (3600K). | |
| 744 | Dirty White |
|
Correct a daylight source to an off white tungsten source. Used with a tungsten source provides a dingy effect like a smoky bar. | |
| 204 | Full C.T. Orange |
|
Converts daylight (6500K) to tungsten light (3200K). | |
| 441 | Full C.T. Straw |
|
Converts 6500K to 3200K - daylight to tungsten light with a yellow bias. | |
| 651 | HI Sodium |
|
Used on tungsten to create a High Pressure Sodium look. | |
| 236 | H.M.I. (to Tungsten) |
|
Converts HMI to 3200K, for use with Tungsten film. | |
| 604 | Full C.T. Eight Five |
|
Converts Daylight (6500K) to Tungsten light (3200K) with a red bias. Creates an orange effect similar to sodium when used on Tungsten. | |
| 775 | Soft Amber Key 2 |
|
Used for producing a warm key light colour. Flame retardant. | |
| 773 | Cardbox Amber |
|
Warm tint for skin tones. | |
| 108 | English Rose |
|
Warm tint wash. Dark flesh tones and softer skin tones. | |
| 776 | Nectarine |
|
Romantic sunset. Period pieces. | |
| 147 | Apricot |
|
Good for sunrise, sunset and lamplight effects. | |
| 237 | C.I.D. (to Tungsten) |
|
Converts CID to 3200K, for use with Tungsten film. | |
| 779 | Bastard Pink |
|
Deep sunset. Useful on dark skin tones. | |
| 008 | Dark Salmon |
|
Enhances dark skin tones, sunsets, ballroom sets. | |
| 017 | Surprise Peach |
|
Good for skin tones and creating a moody lighting effect. | |
| 127 | Smokey Pink |
|
Good for cycloramas, set lighting and discos. | |
| 748 | Seedy Pink |
|
A smoky pink. Good for tungsten on skin tones. | |
| 238 | C.S.I. (to Tungsten) |
|
Converts CSI to 3200K, for use with Tungsten film. | |
| 747 | Easy White |
|
Primarily developed for fluorescents to ensure warm, comfortable light and flattering skin tones. | |
| 156 | Chocolate |
|
Warms light and reduces the intensity. | |
| 746 | Brown |
|
To give a murky, dirty feel to tungsten. A darker, less pink chocolate. | |
| 653 | LO Sodium |
|
Used on tungsten to create a Low Pressure Sodium look. | |
| 742 | Bram Brown |
|
Dirtier than 156 Chocolate, good for skin tones. Dims well and doesn't go pink at low light levels. | |
| 208 | Full C.T. Orange + 6ND |
|
Converts daylight (6500K) to tungsten (3200K) and reduces light 2 stops. | |
| 207 | Full C.T Orange + ND3 |
|
Converts daylight (6500K) to tungsten (3200K) and reduces light 1 stop. | |
| 232 | Super Correction W.F. Green to Tungsten |
|
Converts white flame arc to 3200K, for use with Tungsten film. | |
| 230 | Super Correction L.C.T. Yellow |
|
Converts yellow carbon arc (of low colour temperature) to tungsten. | |
| 650 | Industry Sodium |
|
Used on tungsten to blend with sodium light. |
Quelle: LEE Filters, aec
