LEE Filters & COTECH
LIGHTING FILTERS are coated on both sides of the polyester base for more accurate color control and better consistency. A computer monitoring systems, capable of making minute changes to the coating process to obtain close to perfect results. The process is similar form Cotech to Lee Filters. Other filters are “deep dyed” , a process that adds color to polyester pellets prior to extrusion. Like house paint, where color is also added to a base it is advisable to buy only from the same batch. Difficult to do with filters. It is said that deep dyed filters last longer in front of hot lights, our tests show that our filters have an amazing resistance to heat and last almost as long, depending on color.
| COLOR EFFECT FILTERS | ||
|---|---|---|
| Pro.Nº | PRODUCT | DESCRIPTION |
| 002 | ROSE PINK | Strong pink wash cycloramas |
| 003 | LAVENDER TINT | Subtle coolwash forstage and studio lighting |
| 004 | MEDIUM BASTARD AMBER | Naturally enhances skin tones |
| 007 | PALE YELLOW | Sunlight |
| 008 | DARK SALMON | Enhances dark skin tones, sunsets, ballroom seys |
| 009 | PALE AMBER GOLD | Late sunlight |
| 010 | MEDIUM YELLOW | Sunlight effect |
| 013 | STRAW TINT | Sunlight wash with gobos, interior lighting |
| 015 | DEEP STRAW | Strongmood effect on backings |
| 017 | SURPRISE PEACH | Skin tones – mood light |
| 019 | FIRE | Disco effect – fire effect |
| 020 | MEDIUM AMBER | Late sunlight |
| 021 | GOLD AMBER | Fire effect sunset |
| 022 | DARK AMBER | Backlight |
| 024 | SCARLET | Pantomine, ballroom sets, fire effects |
| 025 | SUNSET RED | Warm stage wash -TV studio wash – sunset effect |
| 026 | BRIGHT RED | Cycloramas |
| 027 | MEDIUM RED | Cycloramas |
| 029 | PLASA RED | Cycloramas |
| 035 | LIGHT PINK | Musical revues, warm wash |
| 036 | MEDIUM PINK | Front of house lanterns |
| 039 | PINK CARNATION | Soft, cool pastel pink, good for backlighting, colorwash |
| 046 | DARK MAGENTA | Very strong pink, good for backlighting |
| 048 | ROSE PURPLE | Musical revues, discos etc.cycloramas |
| 052 | LIGHT LAVENDER | Set dressing, pantomimes and musicals |
| 053 | PALE LAVENDER | Slightly cool wash |
| 058 | LAVENDER | Backlight |
| 061 | MIST BLUE | Night scenes, cool wash |
| 063 | PAKLE BLUE | Cycloramas, cool wash |
| 068 | SKY BLUE | Night effect, cycloramas |
| 071 | TOKYO BLUE | Deep blue, midnight scenes, cycloramas, skin tones |
| 075 | EVENING BLUE | Good for night scenes,romantic moonlight |
| 079 | JUST BLUE | Cycloramas |
| 085 | DEEPER BLUE | Moonlight, strong backlighting |
| 088 | LIME GREEN | Used with goods for leafy glades – pantos – slightlysinister atmosphere |
| 089 | MOOS GREEN | With gobos for forest scenes |
| 090 | DARK YELLOW GREEN | Highlighting for forest scenes |
| 100 | SPRING YELLOW | Sunlight wash – used with gobos – disco – dark skin tones |
| 101 | YELLOW | Sunlight and window effect – pleasant in acting areas |
| 102 | LIGHT AMBER | Lamplight effect – dawn sun effect – pleasant in acting areas |
| 103 | STRAW | Pale sunlight through window effect – warm winter effect |
| 104 | DEEP AMBER | Mood effect on backing, backlighting of floor and colour effect |
| 105 | ORANGE | Many light entertainment, functions, fire effect if used with 106, 166, 104 |
| 106 | PRIMARY RED | Strong red effect, cyclorama |
| 107 | LIGHT ROSE | As for 104 |
| 108 | ENGLISH ROSE | Warm tint wash – dark flesh tones – softer skin tones |
| 109 | LIGHT SALMON | Interesting backlighting |
| 110 | MIDDLE ROSE | Pleasing effect for theatrical lighting |
| 111 | DARK PINK | Good for cycloramas |
| 113 | MAGENTA | Very strong – use carefully for small areas on set |
| 115 | PEACOCK BLUE | Pleasing effect on sets, cyclorama cloth backlighting |
| 116 | MEDIUM BLUE GREEN | Pleasing effect for theatrical lighting |
| 117 | STEEL BLUE | Gaslight in conjunction with 213 |
| 118 | LIGHT BLUE | Strong night effect |
| 119 | DARK BLUE | Moonlight mood effect, jazz club etc. |
| 120 | DEEP BLUE | Pleasing effect for theatrical lighting |
| 121 | EVERGREEN | Cycloramas |
| 122 | FERN GREEN | Cycloramas – good for mood effect |
| 124 | DARK GREEN | Cycloramas – good for back lighting |
| 126 | MAUVE | Cycloramas – good for back lighting |
| 127 | SOKEY PINK | Cycloramas – set lighting discos |
| 128 | BRIGHT PINK | Cycloramas – good for backlighting – strong effect |
| 130 | CLEAR | Used in animation and projection work |
| 131 | MARINE BLUE | Romantic moonlight – underwater scenens – ballet |
| 132 | MEDIUM BLUE | Set lighting travelling matt blue, cyclorama night |
| 134 | GOLDEN AMBER | Fire effect (doubled up) |
| 135 | DEEP GOLDEN AMBER | Fire effect |
| 136 | PALE LAVENDER | Pantomine, ballroom sets, enhances dark skin yones in follow spots |
| 137 | SPECIAL LAVENDER | Moonlight , musical, romantic scenes, enhances skin tones |
| 138 | PALE GREEN | Good with gobos for wooded scenes |
| 139 | PRIMARY GREEN | Cycloramas |
| 140 | SUMMER BLUE | Warm blue – cycloramas – tint wash |
| 141 | BRIGHT BLUE | Pretty or romantic moonlight, cyclorama, night |
| 142 | PALE VIOLET | Moonlight, chandeliers, highlighting pot plants |
| 143 | PALE NAVE BLUE | Moonlight, cycloramas |
| 144 | NO COLOUR BLUE | Moonlight for blue green seas, cycloramas with 147 to produce sunsets |
| 147 | APRICOT | Sunrise, sunset, lamplight |
| 148 | BRIGHT ROSE | Fire effects, musicals |
| 151 | GOLD TINT | Pleasing effects for theatrical lighting |
| 152 | PALE GOLD | Interior lighting to enhance skin tones |
| 153 | PALE SALMON | Backlighting in conjunction with white light |
| 154 | PALE ROSE | Pleasing effects for theatrical lighting, lamplight |
| 156 | CHOCOLATE | With 103 in same lantern to produce candlelight |
| 157 | PINK | Dance sequences(usefull for softening white costumes without affecting skin tones) |
| 158 | DEEP ORANGE | Fire effect |
| 159 | NO COLOUR STRAW | Warm effect, sunlight |
| 161 | SLATE BLUE | Moonlight and dusk |
| 162 | BASTARD AMBER | Warm white, warm wash, lamplight |
| 164 | FLAME RED | Fire effect |
| 165 | DAYLIGHT BLUE | Moonlight |
| 166 | PALE RED | Cycloramas |
| 169 | LILAC TINT | Ballroom-dance-backlight-front of house |
| 170 | DEEP LAVENDER | Set lighting-discos-theatres |
| 172 | LAGOON BLUE | Floodlit warm wash-underwater scenes-ballet |
| 174 | DARK STEEL BLUE | Set lighting-creates good moonlight shadows |
| 176 | LOVING AMBER | Sunrise, backlight |
| 179 | CHROME ORANGE | Combiantion of half CTO and double strength 104, sunligth |
| 180 | DARK LAVENDER | Pleasing effects for theatrical effects, backlighting |
| 181 | CONGO BLUE | Theatre and televison effect lighting, backlighting |
| 182 | LIGHT RED | Theatre and televison effect lighting, cycloramas |
| 183 | MOONLIGHT BLUE | Moonlight, cycloramas |
| 184 | COSMETIC PEACH | Pale tints complementary to Key lighting |
| 185 | COSMETIC BURGUNDY | Pale tints complementary to Key lighting |
| 186 | COMETIC SILVER ROSE | Pale tints complementary to Key lighting |
| 187 | COSMETIC ROUGE | Pale tints complementary to Key lighting |
| 188 | COSMETIC HIGHTLIGHT | Pale tints complementary to Key lighting |
| 189 | COSMETIC SILVER ROSE | Pale tints complementary to Key lighting |
| 190 | COSMETIC EMERALD | Pale tints complementary to Key lighting |
| 191 | COSMETIC AQUA BLUE | Pale tints complementary to Key lighting |
| 192 | FLESH PINK | Musical and pantomime key lights |
| 193 | ROSY AMBER | Warm, emotional, romantic |
| 194 | SURPRISE PINK | With 193 for musicals |
| 195 | ZENITH BLUE | Moonligth for dark sets, cycloramas |
| 196 | TRUE BLUE | Moonlight |
| 197 | ALICE BLUE | Moonlight, cycloramas |
| 198 | PALACE BLUE | Dark moonlight-romantic evening |
| 303 | PALE GOLD | Interior lighting to enhance skin tones |
| 306 | MEDIUM LEMON | Television-set lighting |
| 308 | MEDIUM STRAW | Television-set lighting |
| 309 | SPECIAL STRAW | Television-set lighting |
| 311 | FLAME | Fire effect |
| 313 | SPECIAL LIGHT AMBER | Television-set lighting |
| 315 | SPECIAL GOLDEN AMBER | Television-set lighting |
| 317 | DARK AMBER | Backlight |
| 321 | LIGHT RED | Television effect lighting, cycloramas |
| 322 | SOFT GREEN | Cool green, used for gobo cover, pantomime, cyclorama |
| 323 | JADE | Used for underwater scenes, cycloramas, backlighting |
| 325 | MALLARD GREEN | Good for mood setting, undergrowth |
| 327 | FOREST GREEN | Deep green, sinister forest scenes, cycloramas, backlighting |
| 328 | FOLLIES PINK | Dramatic stage lighting |
| 332 | SPECIAL ROSE PINK | Pantomimes, light entertainment etc, strong stage wash |
| 339 | ROSE PURPLE | Televison, discos, cycloramas |
| 340 | SURPRISE LAVENDER | Television |
| 341 | PLUM | Romantic, atmospheric set lightning |
| 342 | SPECIAL LAVENDER | Moonlight, romantic scenes, enhances skin tones |
| 343 | SPECIAL MEDIUM LAVENDER | Theatre and television effect, lighting, backlighting |
| 344 | VIOLET | Dusk effect,good skin tones, romantic effect |
| 345 | FUSCHIA PINK | Musical revue, pantomime, sultry scenes |
| 349 | PALE BLUE | Cool wash, cycloramas |
| 350 | NO COLOUR BLUE | Moonlight for blue green seas, cycloramas with 147 to produce sunsets |
| 352 | GLACIER BLUE | Cold blue, good for cool, atmospheric setting |
| 353 | LIGHTER BLUE | Daylight effects |
| 354 | SPECIAL STEEL BLUE | Cooling blue green wash for stage and set lighting |
| 357 | SPECIAL MEDIUM BLUE | Mood effects |
| 360 | BRIGHT BLUE | Television |
| 361 | SURPRISE BLUE | Television |
| 363 | SPECIAL MEDIUM BLUE | Cool moonlight, mood effects |
| 366 | CORNFLOWER | Seasonal mood lighting, pale moonlight |
| 371 | LIGHT GREEN | Television, cycloramas |
| 378 | YELLOW GREEN | Television |
| 380 | GOLDEN AMBER | Television-set lighting |
| 381 | ROSE AMBER | Television, cycloramas |
| 383 | LIGHT GREEN BLUE | Television-pleasing effects for lighting |
| 384 | SKY BLUE | Television-night effect |
| 385 | DEEPER BLUE | Moonlight-strong backlights(television) |
| 386 | DARK BASTARD AMBER | Television |
| CORRECTION FILTERS | COVERSION FILTERS | |
| Pro.Nº | PRODUCT | TUNGSTEN TO DAYLIGHT CONVERSION |
| 200 | DOUBLE CT BLUE | Converts Tungsten 3200ºK to Daylight 26000º K |
| 201 | FULL C.T.B. | Converts Tungsten 3200ºK to Phpotographic Daylight 5700º K |
| 281 | THREE QUARTER C.T.B. | Converts Tungsten 3200ºK to Daylight 5000º K |
| 202 | HALF C.T.B. | Converts Tungsten 3200ºK to Daylight 4300º K |
| 203 | QUARTER C.T.B. | Converts Tungsten 3200ºK to Daylight 3600º K |
| 218 | EIGHTH C.T.B | Converts Tungsten 3200ºK to Daylight 3400º K |
| Pro.Nº | PRODUCT | DAYLIGHT TO TUNGSTEN CONVERSION |
| 204 | FULL C.T.O. | Converts Daylight 6500ºK to Tungsten Light 3200ºK |
| 285 | THREE QUARTER C.T.O. | Converts Daylight 6500ºK to Tungsten Light 3600ºK |
| 205 | HALF C.T.O. | Converts Daylight 6500ºK to Tungsten Light 3800ºK |
| 206 | QUARTER C.T.O. | Converts Daylight 6500ºK to Tungsten Light 4800ºK |
| 223 | EIGHTH C.T.O. | Converts Daylight 6500ºK to Tungsten Light 5550ºK |
| Pro.Nº | PRODUCT | DAYLIGHT CONVERSION |
| 441 | FULL C.T. STRAW | Converts Daylight to Tungsten with Yellow bias |
| 442 | HALF C.T. STRAW | Converts Daylight to Tungsten with Yellow bias |
| 443 | QUARTER C.T. STRAW | Converts Daylight to Tungsten with Yellow bias |
| 444 | EIGHTH C.T. STRAW | Converts Daylight to Tungsten with Yellow bias |
| Pro.Nº | PRODUCT | DAYLIGHT TO TUNGSTEN CONVERSION WITH NEUTRAL DENSITY |
| 207 | FULL C.T.O. + 3ND | Converts Daylight To Tungsten Light 6500ºK to 3200ºK and reduces light 1 Stop |
| 208 | FULL C.T.O. + 6ND | Converts Daylight To Tungsten Light 6500ºK to 3200ºK and reduces light 2 Stop |
| Pro.Nº | PRODUCT | NEUTRAL DENSITY |
| 298 | .15ND | Reduces Light ½ Stop. Without changing colour |
| 209 | .3ND | Reduces Light 1 Stop. Without changing colour |
| 210 | .6ND | Reduces Light 2 Stop. Without changing colour |
| 211 | .9ND | Reduces Light 3 Stop. Without changing colour |
| 299 | 1.2ND | Reduces Light 4 Stop. Without changing colour |
| CORRECTION FILTERS | ||
| Pro.Nº | PRODUCT | ARC CORRECTION (CARBON-REGULAR) |
| 212 | L.C.T. YELLOW (Y1) | Reduces Colour Temperature of low carbon arcs to 3200ºK |
| 213 | WHITE FLAME GREEN | Corrects White Flame Carbon arcs by absorbing ultra violet |
| Pro.Nº | PRODUCT | ARC CORRECTION (CARBON-COLOUR BALANCED) |
| 230 | SUPER CORRECTION L.C.T. YELLOW | Converts Yellow carbon arc(of low colour temperature) to Tungsten |
| 232 | SUPER CORRECTION W.F. GREEN TO TUNGSTEN | Converts White Flame Arc to 3200º, for use with Tungsten film |
| Pro.Nº | PRODUCT | ARC CORRECTION (COMPACT SOURCE) |
| 236 | HMI (TUNGSTEN) | Converts HMI to 3200ºK, for use with Tungsten Film |
| 237 | CID (TO TUNGSTEN) | Converts CID to 3200ºK, for use with Tungsten Film |
| 238 | CSI (TO TUNGSTEN) | Converts CSI to 3200ºK, for use with Tungsten Film |
| Pro.Nº | PRODUCT | ULTRA VIOLET ABSORPTION |
| 226 | UV | Transmission of less than 50% at 410nms |
| Pro.Nº | PRODUCT | FLUORESCENT CORRECTION SYSTEM |
| 241 | FLUORESCENT 5700ºK | Converts Tungsten to Fluorescent light of 5700ºK(cool white/daylight) Used with Camerafilter |
| 242 | FLUORESCENT 4300ºK | Converts Tungsten to Fluorescent light of 4300ºK(white) Used with Camerafilter |
| 243 | FLUORESCENT 3600ºK | Converts Tungsten to Fluorescent light of 3600ºK(warm white) Used with Camerafilter |
| 219 | FLUORESCENT GREEN | General Tungsten to Fluorescent correctio for use when Fluorescent colour temperatuteis unknown, to provide medium correct.Use with color correction filter |
| 244 | FULLPLUS GREEN | Provides a Green cast when used on daylight and Tungsten sources for partially balancing with Fluorescent. (Approximately equivalent to CC30 Green) Used with Camera filter |
| 245 | HALF PLUS GREEN | Provides a Green cast when used on daylight and Tungsten sources for partially balancing with Fluorescent. (Approximately equivalent to CC15 Green) Used with Camera filter |
| 246 | QUARTER PLUS GREEN | Provides a Green cast when used on daylight and Tungsten sources for partially balancing with Fluorescent. (Approximately equivalent to CC75 Green) To be used with Camera filter |
| 247 | FULLPLUS GREEN | Used for eliminating Green cast caused by Fluorescent lighting on film.(Approximately equivalent to CC30 Magenta) |
| 248 | HALF PLUS GREEN | For partial eliminaton of Green cast caused by Fluorescent lighting on film.(Approximately equivalent to CC15 Magenta) |
| 249 | QUARTER PLUS GREEN | For partial eliminaton of Green cast caused by Fluorescent lighting on film.(Approximately equivalent to CC75 Magenta) |
| 278 | EIGHTH PLUS GREEN | Provides Green cast when used on daylight and Tungsten sources for partially balancing with Fluorescent.(approximately equivalenst to CC0375 Green) To be used with Camera Filter |
| 279 | EIGHTH MINUS GREEN | For partial eliminaton of Green cast caused by Fluorescent lighting on film.(Approximately equivalent to CC375 Magenta) |
| FROST & DIFFUSION FILTERS | ||
| Pro.Nº | PRODUCT | DIFFUSION MEDIA,FLAME RETARDANT |
| 216 | WHITE DIFFUSION | Soft light effect (50 micron base) |
| 216W | (60″) WHITE DIFFUSION | Wide 216 |
| 250 | HALF WHITE DIFFUSION | Half strnght of 216 |
| 251 | QUARTER WHITE DIFFUSION | Quarter Strenght 216 |
| 252 | EIGHTH WHITE DIFFUSION | Eighth strength 216 |
| 217 | BLUE DIFFUSION | Used for soft light effect (50 micron base) Increses colour temperature slightly |
| 224 | DAYLIGHT BLUE FROST | Soft light effect with Tungsten correction using full C.T. blue (75 micron base) |
| 225 | NEUTRAL DENSITY FROST | Soft light effect with neutral density (75 micron base) |
| 253 | LIGHT FROST | Light frost effect |
| 255 | HOLLYWOOD FROST | Light frost effect – softens edges |
| F1 | WHITE DIFFUSION | Soft light effect (50 micron base) |
| F2 | WHITE DIFFUSION | Soft light effect (50 micron base) |
| F3 | WHITE DIFFUSION | Soft light effect (75 micron base) |
| 129 | HEAVY FROST | Used for soft light effect (75 micron base) |
| 220 | WHITE FROST | Used for soft light effect (75 micron base) |
| 221 | BLUE FROST | Used for soft light effect (75 micron base) Increses colour temperature slightly |