• 048Rose PurpleGood for emulating evening. Great backlight.
  • 797Deep PurpleUsed in musical performances for general colour washes and set lighting.
  • 049Medium PurpleA strong cheerful glow, good for cycloramas and pantomimes.
  • 126MauveGood for backlighting. Dark magenta / purple adds drama and mood.
  • 798Chrysalis PinkA new deeper lavender with a dash of rose blusher.
  • 701ProvenceColour of the Lavender fields of the south of France. A redder version of 180 for cameras balanced to tungsten.
  • 345Fuchsia PinkGood for musicals, pantomimes and sultry scenes.
  • 703Cold LavenderA colour that would be great for front / key lighting and that works well with 152 Pale Gold.
  • 052Light LavenderGood for general areas and side lights. Great for a basic followspot colour as well as an excellent backlight.
  • 704LilyA cool lavender with little red content. Good for romantic evening exteriors.
  • 170Deep LavenderGreat for set lighting, discos and theatres.
  • 136Pale LavenderGreat for pantomimes and ballroom sets. Also enhances dark skin tones in follow spots.
  • 169Lilac TintA pale lavender. Good for almost white light with a cool tint.
  • 702Special Pale LavenderCold lavender with a full tungsten source, but warms as the source is dimmed. Good as a fill for slow sunset fades.
  • 137Special LavenderGood for moonlight and musical / romantic scenes. Enhances skin tones.
  • 194Surprise PinkGood for musicals.
  • 058LavenderAn excellent backlight that creates a new dimension.
  • 180Dark LavenderA pleasing effect for theatrical lighting and backlighting.
  • 343Special Medium LavenderGood for theatre and T.V. effect lighting and backlighting.
  • 700Perfect LavenderIn-between 170 Deep Lavender and 345 Fuchsia Pink, and is good for backlighting and romantic atmospheres.
  • 181Congo BlueLooks like black light when used with a fluorescent source. Great effect colour. Very saturated.
  • 707Ultimate VioletUsed in musical performances for general colour washes and set lighting.
  • 706King Fals LavenderA cold lavender.
  • 709Electric LilacProvides good colour rendering which creates a sharp edge, adding a touch of drama.
  • 142Pale VioletGreat Moonlight effect. Good for cyclorama lighting and highlighting foliage on plants.
  • 199Regal BlueA deep lavender blue that strongly enhances skin tones.
  • 508Midnight MayaA rich, sultry blue. Like Congo Blue, but greater light transmission so maintenance friendly - fewer gel changes.
  • 799Special KH LavenderA deep lavender that brings out the UV.
  • 071Tokyo BlueA deep blue, used for midnight scenes and cyclorama lighting.
  • 713J.Winter BlueVery dark blue with high UV content. Good in high concentrations for a moody and powerful stage colour wash.
  • 710Spir Special BlueA cool industrial blue.
  • 198Palace BlueGood for dark moonlight or a romantic evening.
  • 716Mikkel BlueA romantic blue to produce a night effect.
  • 195Zenith BlueCreates a good moonlight effect on a dark set. Also good for cycloramas.
  • 715Cabana BlueA deep blue that still has enough transmission to work encouragingly well on television.
  • 723Virgin BlueThis is a pure blue, not too green and not too lavender, yet still feels warm for a blue with an early morning feel.
  • 721Berry BlueUsed in musical performances for rear colour wash or set lighting.
  • 120Deep BlueA pleasing effect for theatrical lighting.
  • 363Special Medium BlueGreat for cool moonlight and mood effects.
  • 085Deeper BlueA deep warm blue. Good for back and side lighting.
  • 119Dark BlueGood for mood effects created by backlighting and side lighting. Creates great contrast.
  • 722Bray BlueA purer blue with very little red in it.
  • 079Just BlueA good colour mixing blue. Great for cyclorama lighting.
  • 714Elysian BlueA new deeper version of Alice Blue.
  • 075Evening BlueGood for night scenes and romantic moonlight.
  • 525Argent BlueLSI's Silver Anniversary colour. Great for a foreboding cold winter's night, but useful for general illuminance too.
  • 197Alice BlueGreat for cyclorama lighting and creating deep blue skies cyclorama cycloramas.
  • 712Bedford BlueA smoky warm blue. Good for skin tones.
  • 200Double CTBConverts tungsten (3200K) to daylight (26000K) .
  • 719Colour Wash BlueTo allow low intensity tungsten to hold a cold/blue feel.
  • 711Cold BlueCold/grey HMI effect from a tungsten source. Will also help blend the light when using both tungsten and HMI sources.
  • 500Double New Colour BlueThe strongest of the NCB series for dramatic 'white' face and key light where warmer tones than CTB are required.
  • 501New Colour Blue (Robertson Blue)An alternative to the CTB series with warmer tones and a lesser green cast for face and key light.
  • 708Cool LavenderFor use as a warmer tint without turning yellow and to recreate the colour of fluorescent lighting.
  • 053Paler LavenderA subtle cool wash.
  • 502Half New Colour BlueA lighter correction in the NCB series.
  • 503Quarter New Colour BlueThe lightest correction in the NCB series.
  • 203Quarter CTBConverts tungsten (3200K) to daylight (3600K).
  • 600Arctic WhiteBright, brilliant blue-grey light at 100%. It does not warm up as it dims and is not affected by amber drift.
  • 601SilverSilver-grey light at full power, dims through lavender grey then warm brown grey. Works well with 550 ALD Gold.
  • 061Mist BlueA cool wash good for night scenes.
  • 063Pale BlueCool front light wash, good for creating an overcast look for cold weather.
  • 202Half CTBConverts tungsten (3200K) to daylight (4300K).
  • 281Three Quarter CTBConverts tungsten to daylight.
  • 201Full CTBConverts tungsten (3200K) to photographic daylight (5700K).
  • 283One and a Half CTBConverts tungsten (3200K) to daylight (8888K).
  • 366CornflowerGreat for pale moonlight and seasonal mood lighting.
  • 174Dark Steel BlueGreat for set lighting. Creates good moonlight shadows.
  • 161Slate BlueA pure medium blue. Good for skies, moonlight and dusk effects.
  • 068Sky BlueGood for morning skin tones and night skies. Great for cyclorama lights.
  • 132Medium BlueDeep moonlight. Great for colour mixing.
  • 165Daylight BlueGreat for moonlight effect.
  • 352Glacier BlueA cold blue, good for cool atmospheric mood setting.
  • 143Pale Navy BlueGreat moonlight / night effect.
  • 196True BlueGreat for moonlight effect.
  • 727QFD BlueA special version of 729 Scuba Blue which is good for backlighting and swimming pool effects.
  • 141Bright BlueVery dramatic when used as moonlight.
  • 183Moonlight BlueGood for moonlight effect and cycloramas.
  • 118Light BlueA strong night effect.
  • 724Ocean BlueUseful at low levels of light. Good for dull skies and moonlight.
  • 144No Colour BlueA clean blue with hints of green. Good for moonlight and sidelight.
  • 725Old Steel BlueCool wash, useful for highlights.
  • 117Steel BlueGood for cool washes. Adds a pale green tint. Great for emulating icy weather on stage.
  • 140Summer BlueGood for light midday sky. Light blue tinted wash.
  • 353Lighter BlueGood for daylight effects.
  • 172Lagoon BlueA floodlit warm wash. Great for underwater scenes and ballet.
  • 354Special Steel BlueA cooling blue-green wash for stage and set lighting.
  • 729Scuba BlueUsed in musical performances for a rear colour wash or set lighting.
  • 116Medium Blue-GreenA pleasing effect for theatrical lighting.
  • 115Peacock BlueA pleasing effect on set Good for cyclorama and backlighting (e.g. ice rinks, galas, etc).
  • 327Forest GreenA deep green for sinister forest scenes, cycloramas and backlighting.
  • 124Dark GreenGood for cycloramas and backlighting.
  • 735Velvet GreenA beautiful background colour. Victorian melodrama. A night time green.
  • 323JadeUsed for underwater scenes, cycloramas and backlighting.
  • 322Soft GreenA cool green used for gobo cover, pantomimes and cycloramas.
  • 131Marine BlueGood for romantic moonlight. Often used in ballet and underwater scenes.
  • 219LEE Fluorescent GreenGeneral tungsten to fluorescent correction for use when fluorescent colour temp is unknown, to provide medium correction.
  • 241LEE Fluorescent 5700 KelvinConverts tungsten to fluorescent light of 5700K (cool white/daylight).
  • 728Steel GreenApproaching storms. Overcast days. Cold steely light. Malevolent moonlight.
  • 504Waterfront GreenDesigned for period key light and modern urban horizons.
  • 730Liberty GreenA good green for creating mystery and suspense.
  • 242LEE Fluorescent 4300 KelvinConverts tungsten to fluorescent light of 4300K (white).
  • 243LEE Fluorescent 3600 KelvinConverts tungsten to fluorescent light of 3600K (warm white).
  • 213White Flame GreenCorrects white flame carbon arcs by absorbing ultra violet.
  • 246Quarter Plus GreenUsed on daylight and tungsten lights for green cast with discharge lighting. Approximates CC075 green camera filter.
  • 731Dirty IceDirtier than 730 Liberty green, more orange, sympathetic with skin tones.
  • 733Damp SquibA dirty green, reduces warmth. Good for cross lighting.
  • 245Half Plus GreenUsed on daylight and tungsten lights for green cast with discharge lighting. Approximates CC15 green camera filter.
  • 244LEE Plus GreenUsed on daylight and tungsten lights for green cast with discharge lighting. Approximates CC30 green camera filter.
  • 138Pale GreenGood with gobos for wooded scenes.
  • 088Lime GreenUse with gobos for leafy glades. Good for pantomimes, giving a slightly sinister atmosphere.
  • 505Sally GreenA fresh, light and airy summer green. 'Under tree canopy' light quality without 'pantomime countryside'.
  • 738JAS GreenA rich yellowish green. Useful as a concert stage wash where darker skin tone, costume and set are a consideration.
  • 121LEE GreenGood for dense foliage, tropical jungle or woodland effect.
  • 122Fern GreenGood for cycloramas and creates a great mood effect.
  • 089Moss GreenGood mood creator. Used with gobos, creates a great foliage effect.
  • 139Primary GreenGood for set lighting and cyclorama lighting.
  • 090Dark Yellow GreenHighlighting for forest effects.
  • 736Twickenham GreenA powerful green with depth, for music or light entertainment.
  • 740Aurora Borealis GreenPrimary jungle colour. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.
  • 741Mustard YellowSpooky when used in haze. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.
  • 642Half Mustard YellowHalf strength Sodium light effect, designed for use with daylight sources.
  • 643Quarter Mustard YellowQuarter strength Sodium light effect, designed for use with daylight sources.
  • 650Industry SodiumUsed on tungsten to blend with sodium light.
  • 746BrownTo give a murky, dirty feel to tungsten. A darker, less pink chocolate.
  • 653LO SodiumUsed on tungsten to create a Low Pressure Sodium look.
  • 511Bacon BrownAn intense and warm deep brown. Recreates the pigment browns used by Francis Bacon in some of his paintings.
  • 742Bram BrownDirtier than 156 Chocolate, good for skin tones. Dims well and doesn't go pink at low light levels.
  • 208Full CTO + .6 NDConverts daylight (6500K) to tungsten (3200K) and reduces light 2 stops.
  • 207Full CTO + .3 NDConverts daylight (6500K) to tungsten (3200K) and reduces light 1 stop.
  • 232Super Correction W.F. GreenConverts white flame arc to 3200K, for use with Tungsten film.
  • 230Super Correction LCT YellowConverts yellow carbon arc (of low colour temperature) to tungsten.
  • 156ChocolateWarms light and reduces the intensity.
  • 237CID (to Tungsten)Converts CID to 3200K, for use with Tungsten film.
  • 747Easy WhitePrimarily developed for fluorescents to ensure warm, comfortable light and flattering skin tones.
  • 238CSI (to Tungsten)Converts CSI to 3200K, for use with Tungsten film.
  • 152Pale GoldUsed with interior lighting to enhance skin tones.
  • 162Bastard AmberA warm white / warm wash. Good lamplight effect.
  • 506MarleneFlattering skin tone without the comedy 'pink'. For Marlene Dietrich who knew the importance of beautiful lighting.
  • 009Pale Amber GoldPerfect warm front light for any skin tone.
  • 205Half CTOConverts daylight (6500K) to tungsten light (3800K).
  • 442Half CT StrawConverts 6500K to 4300K - daylight to tungsten light with a yellow bias.
  • 013Straw TintWarmer than other straw colours. A good sunlight effect when used in contrast with ambers and blues.
  • 764Sun Colour StrawAdds warmth, bright sunlight.
  • 103StrawPale sunlight through a window and a good warm winter effect.
  • 206Quarter CTOConverts daylight (6500K) to tungsten light (4600K).
  • 443Quarter CT StrawConverts 6500K to 5100K - daylight to tungsten light with a yellow bias.
  • 763WheatAdds warmth, sunlight.
  • 212LCT Yellow (Y1)Reduces colour temperature of low carbon arcs to 3200K.
  • 007Pale YellowSunlight.
  • 765LEE YellowUseful for producing a strong sunlight effect.
  • 102Light AmberA warm yellow colour. Great for candlelight or warm bright sunlight effects.
  • 550ALD GoldA 'proper' gold to celebrate the 50th Anniversary of the ALD. Maintains richness as it dims, becoming more molten.
  • 513Ice and a SliceA pale acidic spring yellow. For a sharp white wash.
  • 514Double G&TDouble 513, when only a double will do. Has a more acidic bite.
  • 100Spring YellowA sunlight wash - use with gobos, disco and dark skin tones.
  • 010Medium YellowA pure bright yellow. Great for special effects and accents. Use with caution in acting areas.
  • 101YellowSunlight and window effect - pleasant in acting areas.
  • 767Oklahoma YellowA rich blend of bright sunshine and warm ochre overtones.
  • 104Deep AmberGood for sunlight effect, accents and side light. Be careful of skin tones under the reddish tint of this colour.
  • 015Deep StrawA warm amber light. Good for effects such as candlelight and fire.
  • 768Egg Yolk YellowA bold strong chemical yellow, less orange/red than 179 Chrome orange.
  • 179Chrome OrangeA combination of 1/2 CTO and double strength 104, perfect for sunlight.
  • 020Medium AmberGood for afternoon sunlight and candlelight. Also great for side lighting.
  • 770Burnt YellowA colour that feels warm and dense on camera, a balance between 179 and 105.
  • 105OrangeGood for light entertainment and functions. Creates a good fire effect when used with 106 or 104.
  • 777RustA vivid rust colour effect.
  • 512Amber DelightA dark dirty orange.
  • 652Urban SodiumUsed on tungsten to create the orange glow associated with Sodium light.
  • 287Double CTOConverts daylight (6500K) to tungsten (2147K).
  • 286One and a Half CTOConverts daylight (6500K) to tungsten (2507K).
  • 204Full CTOConverts daylight (6500K) to tungsten light (3200K).
  • 441Full CT StrawConverts 6500K to 3200K - daylight to tungsten light with a yellow bias.
  • 744Dirty WhiteCorrect a daylight source to an off white tungsten source. Wwith tungsten provides a dingy smoky bar effect.
  • 285Three Quarter CTOConverts daylight (6500K) to tungsten light (3600K).
  • 236HMI (to Tungsten)Converts HMI to 3200K, for use with Tungsten film.
  • 604Full CT Eight FiveConverts Daylight (6500K) to Tungsten light (3200K) with a red bias. Orange effect similar to sodium when used on Tungsten.
  • 651HI SodiumUsed on tungsten to create a High Pressure Sodium look.
  • 017Surprise PeachGood for skin tones and creating a moody lighting effect.
  • 134Golden AmberGreat for emulating a sunset. Also good for side lighting and cyclorama lighting.
  • 147ApricotGood for sunrise, sunset and lamplight effects.
  • 776NectarineRomantic sunset. Period pieces.
  • 773Cardbox AmberWarm tint for skin tones.
  • 108English RoseWarm tint wash. Dark flesh tones and softer skin tones.
  • 008Dark SalmonEnhances dark skin tones, sunsets, ballroom sets.
  • 779Bastard PinkDeep sunset. Useful on dark skin tones.
  • 158Deep OrangeA great fire effect.
  • 021Gold AmberGreat for sunsets, cyclorama lighting and fire effects.
  • 778Millennium GoldUseful for lighting architecture. Produces a rich amber on tungsten, or a much cooler effect on a HMI lamp.
  • 780AS Golden AmberBetween 778 Millennium Gold and 135 Deep Golden Amber, but less red. A strong colour good for backlighting.
  • 022Dark AmberA good backlight.
  • 135Deep Golden AmberA great fire effect.
  • 781Terry RedA strong amber red that works well when used against deep reds and dark ambers, in wash combinations and on cycloramas.
  • 025Sunset RedA good warm stage wash, TV studio wash or sunset effect.
  • 507MadgeMadge' is short for Imagination. Denser, saturated orange version of 135 avoiding 'pinky red'.
  • 019FireA strong red/amber. Great for fire effects.
  • 164Flame RedGreat for fire effects.
  • 182Light RedGood for theatre and television effect lighting as well as cycloramas.
  • 106Primary RedStrong red effect. Good with cyclorama lighting.
  • 789Blood RedFor a deep saturated red effect. Used when a strong vivid red effect is required.
  • 787Marius RedNice deep full red. Rose leaf colour.
  • 027Medium RedGood for cyclorama lighting, side lighting and footlights. Also good for colour mixing.
  • 029Plasa RedGood for fire effects, musicals and cycloramas.
  • 026Bright RedA vibrant red, good for cyclorama lighting.
  • 024ScarletGreat for pantomimes, ballroom sets and fire effects.
  • 157PinkGreat for dance sequences (useful for softening white costumes without affecting skin tones).
  • 107Light RoseGood for general washes and followspots.
  • 109Light SalmonInteresting backlight.
  • 176Loving AmberUsed for backlighting and general areas. Great for sunrise effect and warming skin tones.
  • 790Moroccan PinkA rich natural pink, good for producing late afternoon sun effects.
  • 036Medium PinkGood for general washes and side lighting.
  • 192Flesh PinkGood for musical and pantomime key lighting.
  • 111Dark PinkGood for cyclorama lighting.
  • 794Pretty 'n PinkCreates warm and soft effects.
  • 002Rose PinkStrong pink wash, good for cycloramas.
  • 328Follies PinkGreat for dramatic stage lighting.
  • 795Magical MagentaRich mixture of red and pinks.
  • 128Bright PinkCreated for use as backlighting and side lighting. Great for musicals.
  • 793Vanity FairA rich glamorous pink, good for use on special occasions.
  • 332Special Rose PinkGreat for Pantomimes, light entertainment etc. A good strong stage wash.
  • 148Bright RoseGreat for fire effects and musicals.
  • 046Dark MagentaA very strong pink, good for backlighting.
  • 113MagentaVery strong - used carefully for small areas on set.
  • 127Smokey PinkGood for cycloramas, set lighting and discos.
  • 748Seedy PinkA smoky pink. Good for tungsten on skin tones.
  • 110Middle RosePleasing effects for theatrical lighting.
  • 247LEE Minus GreenEliminates unwanted green cast created by discharge light sources on film. Approximates CC30 magenta camera filter.
  • 035Light PinkA warm wash good for musical reviews.
  • 153Pale SalmonGood for backlighting in conjunction with white light.
  • 004Medium Bastard AmberNaturally enhances skin tones.
  • 151Gold TintA pleasing effect for theatrical lighting.
  • 154Pale RoseA pleasing effect for theatrical lighting. A good lamplight effect.
  • 248Half Minus GreenEliminates unwanted green cast created by discharge light sources on film. Approx. CC15 magenta camera filter.
  • 249Quarter Minus GreenEliminates unwanted green cast created by discharge light sources on film. Approx. CC075 magenta camera filter.
  • 279Eighth Minus GreenProvides very slight correction. Used on lighting to eliminate unwanted green cast created by discharge light sources on film.
  • 003Lavender TintSubtle cool wash for stage and studio lighting.
  • 218Eighth CTBConverts tungsten (3200K) to daylight (3400K).
  • 278Eighth Plus GreenUsed on daylight and tungsten to provide very slight green cast when used in conjunction with discharge lighting.
  • 159No Colour StrawA warm effect. Sunlight.
  • 223Eighth CTOConverts daylight (6500K) to tungsten light (5550K).
  • 444Eighth CT StrawConverts 6500K to 5700K - daylight to tungsten light with a yellow bias.
  • 602PlatinumAt full power produces dazzling grey light with slight red bias, when dimmed warms up quickly to a useful brown.
  • 603Moonlight WhitePleasant white light at full power, dims down to a warm colour and at low intensities has more yellow than red.
  • 718Half Shanklin Frost202 with frost to soften the beam of profile units.
  • 720Durham Daylight FrostSmoothes PAR or flood washes of large areas. Useful for houselight and good for entrances from natural light.
  • 717Shanklin Frost201 with frost to soften the beam of profile units.
  • 705Lily FrostSmoothes PAR or flood washes of large areas. Useful for houselights and a good colour wash for evening events.
  • 226LEE U.V.Transmission of less than 50% at 410nms.
  • 2980.15NDReduces light 1/2 stop, without changing colour.
  • 2090.3NDReduces light 1 stop, without changing colour.
  • 2100.6NDReduces light 2 stops, without changing colour.
  • 2110.9NDReduces light 3 stops, without changing colour.
  • 2991.2NDReduces light 4 stops, without changing colour.
  • 774Soft Amber Key 1Used for producing a warm key light colour. Flame retardant.
  • 775Soft Amber Key 2Used for producing a warm key light colour. Flame retardant.
  • 749Hampshire RoseCombines flesh tone warmer 154 with some Hampshire frost.
  • 791Moroccan FrostSmoothes PAR or flood washes of large areas. Useful for houselights and good for interior colour washes.
  • 225Neutral Density FrostUsed for soft light effects with the addition of 0.6 Neutral Density.
  • 224Daylight Blue FrostUsed for soft light effects with the addition of 201 Full CTB.
  • 221Blue FrostUsed for soft light effects with the addition of 218. Flame retardant.
  • 217Blue DiffusionAs White Diffusion but with the addition of Eighth C.T. Blue
  • 191Cosmetic Aqua BlueA cool highlight leaning towards blue, good for cool front light.
  • 189Cosmetic Silver MossA cool highlight leaning towards yellow-green; good for use on mid range skin tones, avoid use on very dark and very pale skin tones.
  • 188Cosmetic HighlightA warm highlight leaning toward amber, good for warm front light, complimentary to most skin tones. Barbara Walters' favourite colour!
  • 187Cosmetic RougeA 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.
  • 184Cosmetic PeachA warm highlight or front light; complimentary for most skin tones.
  • 186Cosmetic Silver RoseA warm highlight, leaning towards pink. Brings out pink pigment in skin tones
  • LD279Dichroic Eighth Minus GreenProvides a very slight pink cast.
  • LD249Dichroic Quarter Minus GreenEliminates unwanted green cast created by discharge light sources on film. Approx. CC075 magenta camera filter.
  • V81Lilac 1Warm lilac tint
  • R50Red 0Pale red warming tone
  • M91Salmon 1Pale pink tint
  • M31Fuchsia 1Purple / pink
  • M63Carnation Pink 3Vibrant pink
  • M56Magenta 6Bright pink
  • V98Lavender 8Mauve, warm purple
  • R99Flame 9A saturated primary red
  • O08Sunset 8Bright cherry red
  • O18Peach 8Red peach, vibrant dramatic colour
  • O59Orange 9Orange, medium transmission
  • LD204Dichroic Full C.T. OrangeCan be used to warm up the colour temperature of a cool white LED nominal 6500K to approximately 3000K.
  • LD205Dichroic Half C.T. OrangeCan be used to warm up the colour temperature of a cool white LED nominal 6500K to approximately 3460K.
  • LD206Dichroic Quarter C.T. OrangeCan be used to warm up the colour temperature of a cool white LED nominal 6500K to approximately 4740K.
  • LD223Dichroic Eighth C.T OrangeCan be used to warm up the colour temperature of a cool white LED nominal 6500K to approximately 5550K.
  • O42Nectarine 2Medium amber, good for skin tones
  • O43Nectarine 3Saturated amber, good for warming
  • LD156Dichroic ChocolateWarms light and reduces the intensity.
  • O14Peach 4Warm peach, amber
  • O01Sunset 1Pale pink good for balancing LEDs
  • LD443Dichroic Quarter C.T. StrawCan be used to warm up the colour temperature of a cool white LED nominal 6500K to approximately 5100K.
  • O32Apricot 2Pale Amber, high transmission
  • O82Gold Amber 2Double saturation of O80, good for warming LEDs
  • R31Amber Blush 1Peach warming tone
  • O80Gold Amber 0Warming filter, good for converting Metal Halide to appear incandescent
  • Y02Wheat 2Pale cool yellow
  • O89Gold Amber 9Cool yellow
  • G28Lime 8Vibrant, kelly green
  • G96Jade 6Cool green
  • C45Turquoise 5Light turquoise, ocean blue
  • C04Blue Green 4Soft, blue green
  • LD278Dichroic Eighth Plus GreenProvides a very slight green cast.
  • C47Turquoise 7Deep turquoise
  • B06Lagoon 6Green blue
  • B14Steel 4Cold Blue
  • B24Crystal Blue 4Sea blue, medium transmission
  • B44Royal Blue 4Warm blue
  • B64Navy Blue 4Primary blue
  • LD218Dichroic Eighth C.T. BlueCan be used to cool down the colour temperature of a warm white LED nominal 3200K to approximately 3400K.
  • LD203Dichroic Quarter C.T. BlueCan be used to cool down the colour temperature of a warm white LED nominal 3200K to approximately 3570K.
  • LD202Dichroic Half C.T. BlueCan be used to cool down the colour temperature of a warm white LED nominal 3200K to approximately 4260K.
  • LD201Dichroic Full C.T. BlueCan be used to cool down the colour temperature of a warm white LED nominal 3200K to approximately 6870K.
  • B53Blue 3Warmer blue
  • V28Blueberry 8Dark blue
  • LD071Dichroic Tokyo BlueA deep blue.
  • V67Rose Purple 7Congo blue, saturated, dark purple / blue
  • V74Plum 4Purple/ pink, low transmission
  • V43Violet 3Red purple
  • B93Congo 3Purple
  • B71Cornflower 1Warm lavender, low-medium transmission
  • V10Indigo 0Cool lavender tint
  • LD256Dichroic Half Hampshire FrostSubtle frost diffusion effect.
  • LD209Dichroic 0.3 NDReduces light 1 stop, without changing colour.
  • LD210Dichroic 0.6 NDReduces light 2 stops, without changing colour.

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