LEE Swatch App

Includes details of every LEE colour and filter

  • New: visualise colours when dimmed
  • Innovative colour picker
  • Easily create palettes & email details
  • Handy calculators & tools
  • 048Rose PurpleGood for emulating evening. Great backlight.
  • CL180Cool LED Dark LavenderLED Filter CL180 on a Cool White LED (>6000K) gives a visual colour match to existing filter 180 Dark Lavender on Tungsten (3200K).
  • 797Deep PurpleUsed in musical performances for general colour washes and set lighting.
  • 049Medium PurpleA strong cheerful glow, good for cycloramas and pantomimes.
  • CL181Cool LED Congo BlueLED Filter CL181 on a Cool White LED (>6000K) gives a visual colour match to existing filter 181 Congo Blue on Tungsten (3200K).
  • 126MauveGood for backlighting. Dark magenta / purple adds drama and mood.
  • 798Chrysalis PinkA new deeper lavender with a dash of rose blusher.
  • 701ProvenceThe colour of the Lavender fields of the south of France. A redder version of 180 for use on cameras balanced to tungsten sources.
  • 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 LavenderA cold lavender when used 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.
  • 508Midnight MayaA rich, sultry blue. Like Congo Blue, but allowing greater light transmission so more maintenance friendly - fewer gel changes.
  • 199Regal BlueA deep lavender blue that strongly enhances skin tones.
  • 799Special KH LavenderA deep lavender that brings out the UV.
  • 071Tokyo BlueA deep blue, used for midnight scenes and cyclorama lighting.
  • 713J.Winter BlueA very dark blue with a high UV content. Good when used in high concentrations for a moody and powerful stage colour wash.
  • 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.
  • 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 BlueCreates a good moonlight effect on a dark set. Also good for cycloramas.
  • 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 allows enough light transmission to be 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 C.T. BlueConverts tungsten (3200K) to daylight (26000K) .
  • 719Colour Wash BlueTo allow low intensity tungsten to hold a cold/blue feel.
  • 711Cold BlueTo give a cold/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.
  • 600Arctic WhiteBright, brilliant blue-grey light at 100%. It does not warm up as it dims and is not affected by amber drift. Useful as backlight or for special effects where a whiter light is called for.
  • 601SilverSilver-grey light at full power, dims through lavender grey then warm brown grey. Works well with 550 ALD Gold. Good for sense of intense darkness on stage whilst still being useful.
  • 602PlatinumAt full power produces dazzling grey light with slight red bias, when dimmed warms up quickly to a useful brown. Good for a cold, white sidelight that has some warmth in it.
  • 603Moonlight WhitePleasant white light at full power, dims down to a warm colour and at low intensities has more yellow than red. Good for sunlight effect as if through stormy clouds reflecting off ocean.
  • 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 C.T. BlueConverts tungsten (3200K) to daylight (3600K).
  • 061Mist BlueA cool wash good for night scenes.
  • 063Pale BlueCool front light wash, good for creating an overcast look for cold weather.
  • 202Half C.T. BlueConverts tungsten (3200K) to daylight (4300K).
  • 281Three Quarter C.T. BlueConverts tungsten to daylight.
  • 201Full C.T. BlueConverts tungsten (3200K) to photographic daylight (5700K).
  • 283One and a Half C.T. BlueConverts 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.
  • CL119Cool LED Dark BlueLED Filter CL119 on a Cool White LED (>6000K) gives a visual colour match to existing filter 119 Dark Blue on Tungsten (3200K).
  • 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.
  • CL132Cool LED Medium BlueLED Filter CL132 on a Cool White LED (>6000K) gives a visual colour match to existing filter 132 Medium Blue on Tungsten (3200K).
  • 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).
  • 131Marine BlueGood for romantic moonlight. Often used in ballet and underwater scenes.
  • 322Soft GreenA cool green used for gobo cover, pantomimes and cycloramas.
  • CL118Cool LED Light BlueLED Filter CL118 on a Cool White LED (>6000K) gives a visual colour match to existing filter 118 Light Blue on Tungsten (3200K).
  • 323JadeUsed for underwater scenes, cycloramas and backlighting.
  • CL115Cool LED Peacock BlueLED Filter CL115 on a Cool White LED (>6000K) gives a visual colour match to existing filter 115 Peacock Blue on Tungsten (3200K).
  • CL116Cool LED Medium Blue-GreenLED Filter CL116 on a Cool White LED (>6000K) gives a visual colour match to existing filter 116 Medium Blue-Green on Tungsten (3200K).
  • 735Velvet GreenA beautiful background colour. Victorian melodrama. A night time green.
  • 124Dark GreenGood for cycloramas and backlighting.
  • 327Forest GreenA deep green for sinister forest scenes, cycloramas and backlighting.
  • 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 light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to 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 light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC15 green camera filter.
  • 244LEE Plus GreenUsed on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC30 green camera filter.
  • CL117Cool LED Steel BlueLED Filter CL117 on a Cool White LED (>6000K) gives a visual colour match to existing filter 117 Steel Blue on Tungsten (3200K).
  • 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'. Subtle enough to light faces without having to add too much general cover on top.
  • 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.
  • CL139Cool LED Primary GreenLED Filter CL139 on a Cool White LED (>6000K) gives a visual colour match to existing filter 139 Primary Green on Tungsten (3200K).
  • 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. Designed to recreate 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 C.T. Orange + .6 NDConverts daylight (6500K) to tungsten (3200K) and reduces light 2 stops.
  • 207Full C.T. Orange + .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 L.C.T. YellowConverts yellow carbon arc (of low colour temperature) to tungsten.
  • 628Three Quarter Digital LED C.T.O.Converts white LED of 5000K to Tungsten of 3200K
  • 156ChocolateWarms light and reduces the intensity.
  • 626Seven Eighths Digital LED C.T.O.Converts white LED of 5550K to Tungsten of 3200K
  • 624Full Digital LED C.T.O.Converts white LED of 6200K to Tungsten of 3200K.
  • 622One and One Eighth Digital LED C.T.O.Converts white LED of 7000K to Tungsten of 3200K.
  • 237C.I.D. (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.
  • 238C.S.I. (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 filter without the comedy 'pink'. Named for Marlene Dietrich who understood the importance of beautiful lighting, especially at a certain age!
  • 009Pale Amber GoldPerfect warm front light for any skin tone.
  • 205Half C.T. OrangeConverts daylight (6500K) to tungsten light (3800K).
  • 442Half C.T. 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 C.T. OrangeConverts daylight (6500K) to tungsten light (4600K).
  • 443Quarter C.T. StrawConverts 6500K to 5100K - daylight to tungsten light with a yellow bias.
  • 763WheatAdds warmth, sunlight.
  • 212L.C.T.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. It maintains its richness as it dims, becoming more molten as the percentage is reduced.
  • 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.
  • CL104Cool LED Deep AmberLED Filter CL104 on a Cool White LED (>6000K) gives a visual colour match to existing filter 104 Deep Amber on Tungsten (3200K).
  • 777RustA vivid rust colour effect.
  • 512Amber DelightA dark dirty orange.
  • 652Urban SodiumUsed on tungsten to create the orange glow associated with Sodium light.
  • 287Double C.T. OrangeConverts daylight (6500K) to tungsten (2147K).
  • 286One and a Half C.T. OrangeConverts daylight (6500K) to tungsten (2507K).
  • 204Full C.T. OrangeConverts daylight (6500K) to tungsten light (3200K).
  • 441Full C.T. StrawConverts 6500K to 3200K - daylight to tungsten light with a yellow bias.
  • 744Dirty WhiteCorrect a daylight source to an off white tungsten source. Used with a tungsten source provides a "dingy" effect like a smoky bar.
  • 285Three Quarter C.T. OrangeConverts daylight (6500K) to tungsten light (3600K).
  • 236H.M.I. (to Tungsten)Converts HMI to 3200K, for use with Tungsten film.
  • 604Full C.T. Eight FiveConverts Daylight (6500K) to Tungsten light (3200K) with a red bias. Creates an 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.
  • 025Sunset RedA good warm stage wash, TV studio wash or sunset effect.
  • 779Bastard PinkDeep sunset. Useful on dark skin tones.
  • CL147Cool LED ApricotLED Filter CL147 on a Cool White LED (>6000K) gives a visual colour match to existing filter 147 Apricot on Tungsten (3200K).
  • 158Deep OrangeA great fire effect.
  • 021Gold AmberGreat for sunsets, cyclorama lighting and fire effects.
  • 778Millennium GoldUseful for lighting architecture: it produces a rich amber when used on a tungsten source, or a much cooler effect when used on a HMI lamp.
  • CL105Cool LED OrangeLED Filter CL105 on a Cool White LED (>6000K) gives a visual colour match to existing filter 105 Orange on Tungsten (3200K).
  • 780AS Golden AmberBetween 778 Millennium Gold and 135 Deep Golden Amber, but less red. A strong colour good for backlighting.
  • 022Dark AmberA good backlight.
  • CL158Cool LED Deep OrangeLED Filter CL158 on a Cool White LED (>6000K) gives a visual colour match to existing filter 158 Deep Orange on Tungsten (3200K).
  • 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.
  • 507MadgeDenser, saturated orange version of 135 avoiding 'pinky red'. Good for backlight, instruments, part of a sunset palette, and getting a party atmosphere. 'Madge' is short for Imagination.
  • 019FireA strong red/amber. Great for fire effects.
  • 164Flame RedGreat for fire effects.
  • CL164Cool LED Flame RedLED Filter CL164 on a Cool White LED (>6000K) gives a visual colour match to existing filter 164 Flame Red on Tungsten (3200K).
  • 182Light RedGood for theatre and television effect lighting as well as cycloramas.
  • 106Primary RedStrong red effect. Good with cyclorama lighting.
  • CL106Cool LED Primary RedLED Filter CL106 on a Cool White LED (>6000K) gives a visual colour match to existing filter 106 Primary Red on Tungsten (3200K).
  • CL182Cool LED Light RedLED Filter CL182 on a Cool White LED (>6000K) gives a visual colour match to existing filter 182 Light Red on Tungsten (3200K).
  • 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.
  • CL113Cool LED MagentaLED Filter CL113 on a Cool White LED (>6000K) gives a visual colour match to existing filter 113 Magenta on Tungsten (3200K).
  • 024ScarletGreat for pantomimes, ballroom sets and fire effects.
  • 127Smokey PinkGood for cycloramas, set lighting and discos.
  • 748Seedy PinkA smoky pink. Good for tungsten on skin tones.
  • CL126Cool LED MauveLED Filter CL126 on a Cool White LED (>6000K) gives a visual colour match to existing filter 126 Mauve on Tungsten (3200K).
  • 046Dark MagentaA very strong pink, good for backlighting.
  • CL128Cool LED Bright PinkLED Filter CL128 on a Cool White LED (>6000K) gives a visual colour match to existing filter 128 Bright Pink on Tungsten (3200K).
  • 113MagentaVery strong - used carefully for small areas on set.
  • 148Bright RoseGreat for fire effects and musicals.
  • 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.
  • 004Medium Bastard AmberNaturally enhances skin tones.
  • 151Gold TintA pleasing effect for theatrical lighting.
  • 154Pale RoseA pleasing effect for theatrical lighting. A good lamplight effect.
  • 153Pale SalmonGood for backlighting in conjunction with white light.
  • 035Light PinkA warm wash good for musical reviews.
  • 036Medium PinkGood for general washes and side lighting.
  • 192Flesh PinkGood for musical and pantomime key lighting.
  • 111Dark PinkGood for cyclorama lighting.
  • 332Special Rose PinkGreat for Pantomimes, light entertainment etc. A good strong stage wash.
  • 793Vanity FairA rich glamorous pink, good for use on special occasions.
  • 128Bright PinkCreated for use as backlighting and side lighting. Great for musicals.
  • 795Magical MagentaRich mixture of red and pinks.
  • 328Follies PinkGreat for dramatic stage lighting.
  • 002Rose PinkStrong pink wash, good for cycloramas.
  • 794Pretty 'n PinkCreates warm and soft effects.
  • 110Middle RosePleasing effects for theatrical lighting.
  • 247LEE Minus GreenUsed on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC30 magenta camera filter.
  • 248Half Minus GreenUsed on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC15 magenta camera filter.
  • 249Quarter Minus GreenUsed on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to 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 C.T. BlueConverts tungsten (3200K) to daylight (3400K).
  • 278Eighth Plus GreenProvides very slight green cast. Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting.
  • 159No Colour StrawA warm effect. Sunlight.
  • 223Eighth C.T. OrangeConverts daylight (6500K) to tungsten light (5550K).
  • 444Eighth C.T. StrawConverts 6500K to 5700K - daylight to tungsten light with a yellow bias.
  • 130ClearUsed in animation and projection work.
  • Colour matched for Cool White LED.

  • CL181Cool LED Congo BlueLED Filter CL181 on a Cool White LED (>6000K) gives a visual colour match to existing filter 181 Congo Blue on Tungsten (3200K).
  • CL180Cool LED Dark LavenderLED Filter CL180 on a Cool White LED (>6000K) gives a visual colour match to existing filter 180 Dark Lavender on Tungsten (3200K).
  • CL126Cool LED MauveLED Filter CL126 on a Cool White LED (>6000K) gives a visual colour match to existing filter 126 Mauve on Tungsten (3200K).
  • CL119Cool LED Dark BlueLED Filter CL119 on a Cool White LED (>6000K) gives a visual colour match to existing filter 119 Dark Blue on Tungsten (3200K).
  • CL132Cool LED Medium BlueLED Filter CL132 on a Cool White LED (>6000K) gives a visual colour match to existing filter 132 Medium Blue on Tungsten (3200K).
  • CL118Cool LED Light BlueLED Filter CL118 on a Cool White LED (>6000K) gives a visual colour match to existing filter 118 Light Blue on Tungsten (3200K).
  • CL116Cool LED Medium Blue-GreenLED Filter CL116 on a Cool White LED (>6000K) gives a visual colour match to existing filter 116 Medium Blue-Green on Tungsten (3200K).
  • CL115Cool LED Peacock BlueLED Filter CL115 on a Cool White LED (>6000K) gives a visual colour match to existing filter 115 Peacock Blue on Tungsten (3200K).
  • CL117Cool LED Steel BlueLED Filter CL117 on a Cool White LED (>6000K) gives a visual colour match to existing filter 117 Steel Blue on Tungsten (3200K).
  • CL139Cool LED Primary GreenLED Filter CL139 on a Cool White LED (>6000K) gives a visual colour match to existing filter 139 Primary Green on Tungsten (3200K).
  • CL104Cool LED Deep AmberLED Filter CL104 on a Cool White LED (>6000K) gives a visual colour match to existing filter 104 Deep Amber on Tungsten (3200K).
  • CL105Cool LED OrangeLED Filter CL105 on a Cool White LED (>6000K) gives a visual colour match to existing filter 105 Orange on Tungsten (3200K).
  • CL147Cool LED ApricotLED Filter CL147 on a Cool White LED (>6000K) gives a visual colour match to existing filter 147 Apricot on Tungsten (3200K).
  • CL158Cool LED Deep OrangeLED Filter CL158 on a Cool White LED (>6000K) gives a visual colour match to existing filter 158 Deep Orange on Tungsten (3200K).
  • CL164Cool LED Flame RedLED Filter CL164 on a Cool White LED (>6000K) gives a visual colour match to existing filter 164 Flame Red on Tungsten (3200K).
  • CL182Cool LED Light RedLED Filter CL182 on a Cool White LED (>6000K) gives a visual colour match to existing filter 182 Light Red on Tungsten (3200K).
  • CL106Cool LED Primary RedLED Filter CL106 on a Cool White LED (>6000K) gives a visual colour match to existing filter 106 Primary Red on Tungsten (3200K).
  • CL113Cool LED MagentaLED Filter CL113 on a Cool White LED (>6000K) gives a visual colour match to existing filter 113 Magenta on Tungsten (3200K).
  • CL128Cool LED Bright PinkLED Filter CL128 on a Cool White LED (>6000K) gives a visual colour match to existing filter 128 Bright Pink on Tungsten (3200K).
  • Colour matched for Cool White LED.

  • 622One and One Eighth Digital LED C.T.O.Converts white LED of 7000K to Tungsten of 3200K.
  • 624Full Digital LED C.T.O.Converts white LED of 6200K to Tungsten of 3200K.
  • 626Seven Eighths Digital LED C.T.O.Converts white LED of 5550K to Tungsten of 3200K
  • 628Three Quarter Digital LED C.T.O.Converts white LED of 5000K to Tungsten of 3200K
  • Converts daylight to a tungsten light.

  • 444Eighth C.T. StrawConverts 6500K to 5700K - daylight to tungsten light with a yellow bias.
  • 223Eighth C.T. orangeConverts daylight (6500K) to tungsten light (5550K).
  • 443Quarter C.T. StrawConverts 6500K to 5100K - daylight to tungsten light with a yellow bias.
  • 206Quarter C.T. orangeConverts daylight (6500K) to tungsten light (4600K).
  • 442Half C.T. StrawConverts 6500K to 4300K - daylight to tungsten light with a yellow bias.
  • 205Half C.T. orangeConverts daylight (6500K) to tungsten light (3800K)
  • 285Three Quarter C.T. orangeConverts daylight (6500K) to tungsten light (3600K).
  • 204Full C.T. orangeConverts daylight (6500K) to tungsten light (3200K).
  • 604Full C.T. Eight FiveConverts Daylight (6500K) to Tungsten light (3200K) with a red bias. Creates an orange effect similar to sodium when used on Tungsten.
  • 441Full C.T. StrawConverts 6500K to 3200K - daylight to tungsten light with a yellow bias.
  • 286One and a Half C.T. orangeConverts daylight (6500K) to tungsten (2507K)
  • 208Full C.T. orange + .6NDConverts daylight (6500K) to tungsten (3200K) and reduces light 2 stops.
  • 207Full C.T. orange + .3NDConverts daylight (6500K) to tungsten (3200K) and reduces light 1 stop.
  • 287Double C.T. orangeConverts daylight (6500K) to tungsten (2147K)
  • Converts a tungsten light source to daylight.

  • 200Double C.T. BlueConverts tungsten (3200K) to daylight (26000K)
  • 283One and a Half C.T. BlueConverts tungsten (3200K) to daylight (8888K)
  • 201Full C.T. BlueConverts tungsten (3200K) to photographic daylight (5700K).
  • 281Three Quarter C.T. BlueConverts tungsten to daylight.
  • 202Half C.T. BlueConverts tungsten (3200K) to daylight (4300K).
  • 203Quarter C.T. BlueConverts tungsten (3200K) to daylight (3600K).
  • 218Eighth C.T. BlueConverts tungsten (3200K) to daylight (3400K).
  • A range of filters for correcting fluorescent light for both lighting and photography.

  • 241LEE Fluorescent 5700 KelvinConverts tungsten to fluorescent light of 5700K (cool white/daylight).
  • 243LEE Fluorescent 3600 KelvinConverts tungsten to fluorescent light of 3600K (warm white).
  • 242LEE Fluorescent 4300 KelvinConverts tungsten to fluorescent light of 4300K (white).
  • 219LEE Fluorescent greenGeneral tungsten to fluorescent correction for use when fluorescent colour temp is unknown, to provide medium correction.
  • 244LEE Plus greenUsed on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC30 green camera filter.
  • 245Half Plus greenUsed on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC15 green camera filter.
  • 246Quarter Plus greenUsed on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting. Approximately equivalent to CC075 green camera filter.
  • 278Eighth Plus greenProvides very slight green cast. Used on daylight and tungsten light sources to provide green cast when used in conjunction with discharge lighting.
  • 279Eighth Minus greenProvides very slight correction. Used on lighting to eliminate unwanted green cast created by discharge light sources on film.
  • 249Quarter Minus greenUsed on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC075 magenta camera filter.
  • 248Half Minus greenUsed on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC15 magenta camera filter.
  • 247LEE Minus greenUsed on lighting to eliminate unwanted green cast created by discharge light sources on film. Approximately equivalent to CC30 magenta camera filter.
  • A range of filters for creating the look of urban sodium street lighting.

  • 651HI SodiumUsed on tungsten to create a High Pressure Sodium look.
  • 653LO SodiumUsed on tungsten to create a Low Pressure Sodium look.
  • 650Industry SodiumUsed on tungsten to blend with sodium light.
  • 741Mustard yellowSpooky when used in haze. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.
  • 740Aurora Borealis greenPrimary jungle colour. 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.
  • 652Urban SodiumUsed on tungsten to create the orange glow associated with Sodium light.
  • A range of filters for arc correction.

  • 213White Flame greenCorrects white flame carbon arcs by absorbing ultra violet.
  • 212L.C.T.yellow (Y1)Reduces colour temperature of low carbon arcs to 3200K.
  • 236H.M.I. (to Tungsten)Converts HMI to 3200K, for use with Tungsten film.
  • 237C.I.D. (to Tungsten)Converts CID to 3200K, for use with Tungsten film.
  • 238C.S.I. (to Tungsten)Converts CSI to 3200K, for use with Tungsten film.
  • 232Super Correction W.F. greenConverts white flame arc to 3200K, for use with Tungsten film.
  • 230Super Correction L.C.T. yellowConverts yellow carbon arc (of low colour temperature) to tungsten.
  • Low transmission of ultra-violet light.

  • 226LEE U.V.Transmission of less than 50% at 410nms.
  • Reduces light intensity without changing colour.

  • 2991.2NDReduces light 4 stops, without changing colour.
  • 2110.9NDReduces light 3 stops, without changing colour.
  • 2100.6NDReduces light 2 stops, without changing colour.
  • 2090.3NDReduces light 1 stop, without changing colour.
  • 2980.15NDReduces light 1/2 stop, without changing colour.
  • Reduces glare and reflection.

  • 239PolariserMade from 0.006" (150 micron) Triacetate. reduces glare and reflection when used in conjunction with LEE Polarising Camera Filter.
  • The LEE Heat Shield is a transparent flexible film placed between the light source and the filter, which extends the life of a filter. LEE also offers a black aluminium foil to reduce light spill and reduce unwanted reflections.

  • 280Black FoilUsed to reduce unwanted light spill or to control unwanted light reflection.
  • 269LEE Heat ShieldA transparent flexible film used to extend the life of filter. The shield should be placed between the light source and the filter, allowing distance between the shield and the filter.
  • These silver and gold metallic surfaces, allow reflected light to be bounced to simply fill in shadow areas requiring a little more illumination. Alternative surface treatments allow for soft or hard reflections, and the white backing can also be used as a soft reflector.

  • 274Mirror GoldProduces hard reflection. White backed.
  • 272Soft Gold ReflectorProduces soft reflection. White backed.
  • 271Mirror SilverProduces hard reflection. White Backed
  • 273Soft Silver ReflectorProduces soft reflection. White backed.
  • Perforated 'scrim' reflectors can produce very soft reflections and eliminate unwanted reflections from windows.

  • 270LEE ScrimA perforated reflector producing a very soft reflection. Silver on one side and black on reverse.
  • 275Black ScrimA flexible perforated material that is black on both sides. Can be used on windows to reduce light intensity, without causing any unwanted reflections.
  • These panels are unique to LEE and exhibit the same degree of colour accuracy and consistency as our range of lighting filters.

    Specifically for use over windows for correcting daylight, these hardwearing panels can be cut to size and installed permanently, or used on location again and again.

  • A208Full C.T.O. + 0.6ND Acrylic PanelConverts Daylight to Tungsten and reduces light 2 stops.
  • A207Full C.T.O. + 0.3ND Acrylic PanelConverts Daylight to Tungsten and reduces light 1 stop.
  • A205Half C.T.O. Acrylic PanelConverts Daylight to Tungsten
  • A2110.9ND Acrylic PanelReduces light 3 stops without altering the colour
  • A2100.6ND Acrylic PanelReduces light 2 stops without altering the colour
  • A2090.3ND Acrylic PanelReduces light 1 stop without altering the colour
  • 452Sixteenth White DiffusionA weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
  • 252Eighth White DiffusionA weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
  • 228Brushed SilkDirectional soft lighting effect used for scattering light in one direction only.
  • 251Quarter White DiffusionA weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
  • 450Three Eighth White DiffusionA medium/weak diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
  • 250Half White DiffusionA medium diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
  • 416Three Quarter White DiffusionA strong to medium diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
  • 400LEELuxA dense white diffuser used for wide beam spreads; creates an even, soft, field of light without shadows. Manufactured on a 125 micron polyester base.
  • 216White DiffusionA strong diffusion used for soft light effects. Manufactured on a tough Polyester base in a range of seven strengths.
  • 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
  • 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.
  • 188Cosmetic HighlightA warm highlight leaning toward amber, good for warm front light, complimentary to most skin tones. Barbara Walters' favourite colour!
  • 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.
  • 191Cosmetic Aqua BlueA cool highlight leaning towards blue, good for cool front light.
  • 217Blue DiffusionAs White Diffusion but with the addition of Eighth C.T. Blue
  • 220White FrostUsed for soft light effects. Flame retardant.
  • 420Light Opal FrostA weak diffusion similar to Opal Frost, but less diffuse. Manufactured on a 36 micron polyester base.
  • 410Opal FrostA weak diffusion used for softening spotlight beam edges without altering shape. Manufactured on a 23 micron polyester base.
  • 255Hollywood FrostA light frost effect that softens edges.
  • 129Heavy FrostA strong diffusion that eliminates nearly all shadows. Flame retardant.
  • 258Eighth Hampshire FrostExtra light frost effect.
  • 257Quarter Hampshire FrostExtra light frost effect.
  • 256Half Hampshire FrostExtra light frost effect.
  • 254New Hampshire FrostUsed to soften the edges of spotlight beams, and to reduce the blue fringe. Flame retardant.
  • 253Hampshire FrostA light frost effect.
  • 221Blue FrostUsed for soft light effects with the addition of 218. Flame retardant.
  • 224Daylight Blue FrostUsed for soft light effects with the addition of 201 Full CTB.
  • 225Neutral Density FrostUsed for soft light effects with the addition of 0.6 Neutral Density.
  • 705Lily FrostSmoothes PAR or flood washes of large areas. Useful for houselights and a good colour wash for evening events.
  • 717Shanklin Frost201 with frost to soften the beam of profile units.
  • 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.
  • 749Hampshire RoseCombines flesh tone warmer 154 with some Hampshire frost.
  • 750Durham FrostA frost that almost completely softens shutter edges and removes hot spots.
  • 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.
  • 791Moroccan FrostSmoothes PAR or flood washes of large areas. Useful for houselights and good for interior colour washes.
  • 414HighlightA useful diffuser without too much light loss. Diffusion characteristics similar to 252.
  • 404Half Soft FrostA useful diffuser without too much light loss but very pliable to handle. Diffusion characteristics fall between 251 and 252.
  • 429Quiet FrostA strong diffuser that creates a wide field of soft illumination but is thicker than the 402 Soft Frost. Diffusion characteristics similar to 416.
  • 402Soft FrostA strong diffuser that creates a wide field of soft illumination. Diffusion characteristics similar to 216, falls between 216 and 129.
  • 439Heavy Quiet FrostA strong diffuser (pliable to handle) that virtually eliminates shadows at close distance.
  • 434Quarter Grid ClothA waterproof textile / fabric diffusion that is reinforced to allow it to be sewn or grommetted - ideal for attaching to large frames. Produces a weak diffusion effect. Comes in three weights.
  • 464Quiet Quarter Grid ClothA textile / fabric diffusion that is reinforced to allow it to be sewn or grommetted - ideal for attaching to large frames, but that is quiet when used in windy conditions outdoors. Produces a weak diffusion effect. Comes in three weights.
  • 432Light Grid ClothA waterproof textile / fabric diffusion that is reinforced to allow it to be sewn or grommetted - ideal for attaching to large frames. Produces a medium diffusion effect. Comes in three weights.
  • 462Quiet Light Grid ClothA textile / fabric diffusion that is reinforced to allow it to be sewn or grommetted - ideal for attaching to large frames, but that is quiet when used in windy conditions outdoors. Produces a medium diffusion effect. Comes in three weights.
  • 430Grid ClothA waterproof textile / fabric diffusion that is reinforced to allow it to be sewn or grommetted - ideal for attaching to large frames. Produces a strong diffusion effect. Comes in three weights.
  • 460Quiet Grid ClothA textile / fabric diffusion that is reinforced to allow it to be sewn or grommetted - ideal for attaching to large frames, but that is quiet when used in windy conditions outdoors. Produces a strong diffusion effect. Comes in three weights.
  • 229Quarter Tough SpunSoftens light, reduces intensity. Manufactured from non-woven Polyester.
  • 265Tough Spun FR - 1/4A non yellowing 1/4 tough spun polyester material. Creates a weak overall diffusion effect, softens shadows but leaves the beam intact. Flame retardant.
  • 264Tough Spun FR - 3/8A non yellowing 3/8 tough spun polyester material. Creates a medium overall diffusion effect, softens shadows but leaves the beam intact. Flame retardant.
  • 215Half Tough SpunSoftens light and reduces intensity. Manufactured from non-woven Polyester.
  • 263Tough Spun FR - 1/2A non yellowing 1/2 tough spun polyester material. Creates a medium overall diffusion effect, softens shadows but leaves the beam intact. Flame retardant.
  • 262Tough Spun FR - 3/4A non yellowing 3/4 tough spun polyester material. Creates a strong/medium overall diffusion effect that softens shadows but leaves the beam intact. Flame retardant.
  • 214Full Tough SpunSoftens light and reduces intensity. Manufactured from non-woven Polyester.
  • 261Tough Spun FR - FullA non yellowing tough spun polyester material. Creates a strong overall diffusion effect which softens shadows but leaves the beam intact. Flame retardant.
  • 414PPerforated HighlightA combination of both direct and soft diffused light. Designed for use on Kino Flo and similar soft light fixtures. Flame Retardant.
  • 439PPerforated Heavy Quiet FrostA combination of both direct and strongly diffused light. Designed for use on Kino Flo and similar soft light fixtures. Flame Retardant.

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