1.22mtr x 7.62mtrs (48" x 25ft)

002 – Rose Pink

Strong pink wash cycloramas

003 – Lavender Tint

Subtle cool wash for stage and studio Lighting

004 – Medium Bastard Amber

Naturally enhances skin tones

007 – Pale Yellow

Sunlight

008 – Dark Salmon

Enhances dark skin tones, sunsets, ballroom sets

009 – Pale Amber Gold

Late sunlight

010 – Medium Yellow

Sunlight effect

013 – Straw Tint

Sunlight wash with gobos, interior lighting

015 – Deep Straw

Strong mood effect on backings

017 – Surprise Peach

Skin tones ﾖ mood light

019 – Fire

Disco effect ﾖ fire effect

020 – Medium Amber

Late sunlight

021 – Gold Amber

Fire effect sunset

022 – Dark Amber

Backlight

024 – Scarlet

Pantomime, ballroom sets, fire effects

025 – Sunset Red

Warm stage wash ﾖ TV studio wash – Sunset effect

026 – Bright Red

Cycloramas

027 – Medium Red

Cycloramas

029 – PLASA Red

Cycloramas

033 – No Colour Pink

Musical revues, warm wash lighting, colourwash

035 – Light Pink

Musical revues, warm wash lighting, colourwash

036 – Medium Pink

Front of house lanterns

039 – Pink Carnation

Soft cool pastel pink, good for back lighting

046 – Dark Magenta

Very strong pink, good for backlighting

048 – Rose Purple

Musical revues, discos, cycloramas

049 – Medium Purple

052 – Light Lavender

Set dressing, pantomimes and musicals

053 – Paler Lavender

Slightly cool wash

058 – Lavender

Moonlight, strong backlighting

061 – Mist Blue

Night scenes, cool wash

063 – Pale 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

Use with gobos for leafy glades-pantos- slightly sinister atmosphere

089 – Moss Green

With gobos for forest scenes

090 – Dark Yellow Green

Highlighting for forest scenes

100 – Spring Yellow

Sunlight wash-use with gobos-disco- dark skin tones

101 – Yellow

Sunlight and window effect ﾖ pleasant in acting areas

102 – Light Amber

Lamplight effects ﾖ dawn sun effects – 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, cycloramas

107 – Light Rose

Mood effect on backing, backlighting of floor and colour effect

108 – English Rose

Warm tint wash ﾖ dark flesh tones – softer skin tones

109 – Light Salmon

Interesting backlighting

110 – Middle Rose

Pleasing effects for theatrical lighting

111 – Dark Pink

Good for cycloramas

113 – Magenta

Very strong ﾖ use carefully for small areas on set

115 – Peacock Blue

Pleasing effect on sets, cyclorama, cloths backlighting

116 – Medium Blue Green

Pleasing effects for theatrical lighting

117 – Steel Blue

Gaslight in conjunction with 213

118 – Light Blue

Strong night effect

119 – Dark Blue

Moonlight mood effect, jaz club ect

120 – Deep Blue

Pleasing effects for theatrical lighting

121 – Evergreen

Cycloramas

122 – Fern Green

Cycloramas ﾖ good mood effect

124 – Dark Green

Cycloramas ﾖ good for back lighting

126 – Mauve

Cycloramas ﾖ good for back lighting

127 – Smokey Pink

Cycloramas ﾖ set lighting, discos

128 – Bright Pink

Cycloramas ﾖ good for backlighting ﾖ strong effect

129 – Heavy Frost

Used for soft light effect 75 micron

130 – Clear

Used in animation and projection work

131 – Marine Blue

Romantic moonlight ﾖ underwater scenes – ballet

132 – Medium Blue

Set lighting, travelling matt blue, cycloramas & night

134 – Golden Amber

Fire effect (doubled up)

135 – Deep Golden Amber

Fire effect

136 – Pale Lavender

Pantomime, ballroom sets, enhances dark skin tones 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 ﾖ cycloramas ﾖ tint wash

141 – Bright Blue

Pretty or romantic moonlight, cycloramas, night

142 – Pale Violet

Moonlight, chandeliers, hightlighting pot plants

143 – Pale Navy 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 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 (useful for softening white costumes without effecting 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 ﾖ dance ﾖ backlighting ﾖ front of house

170 – Deep Lavender

Set lighting ﾖ discos ﾖ theatres

172 – Lagoon Blue

Floodlit warm wash ﾖ underwater scenes – ballet

174vDark Steel Blue

Set lighting ﾖ creates good moonlight shadows

176 – Loving Amber

Sunrise, backlight

179 – Chrome Orange

Combination of half CTO and double strength 104, sunlight

180 – Dark Lavender

Pleasing effects for theatrical effects, backlighting

181 – Congo Blue

Theatre and television effect lighting, cycloramas

182 – Light Red

Theatre and television 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 – Cosmetic Silver Rose

Pale tints complementary to key lighting

187 – Cosmetic Rouge

Pale tints complementary to key lighting

188 – Cosmetic Highlight

Pale tints complementary to key lighting

189 – Cosmetic Silver Moss

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

Moonlight for dark sets, cycloramas

196 – true Blue

To produce sunsets

197 – Alice Blue

Moonlight, cycloramas

198 – Palace Blue

Dark moonlight ﾖ romantic evening

199 – Regal Blue

A deep lavender blue that strongly enhances skin tones.

200 – Double CT Blue

Converts tungsten 3200K to daylight 26000K

201 – Full CT Blue

Converts tungsten 3200K to photographic daylight 5700K

202 – Half CT Blue

Converts tungsten 3200K to daylight 4300K

203 – Quarter CT Blue

Converts tungsten 3200K to daylight 3600K

204 – Full CT Orange

Converts daylight 6500K to tungsten light 3200K

205 – Half CT Orange

Converts daylight 6500K to tungsten light 3800K

206 – Quarter CT Orange

Converts daylight 6500K to tungsten light 4600K

207 – CT Orange + .3 ND

Converts daylight to tungsten 6500K to 3200K and reduces light 1 stop

207 – CT Orange + .3 Neutral Density ND

Converts daylight to tungsten 6500K to 3200K and reduces light 1 stop

208 – CT Orange + .6 ND

Converts daylight to tungsten 6500K to 3200K and reduces light 2 stops

208 – CT Orange + .6 Neutral Density ND

Converts daylight to tungsten 6500K to 3200K and reduces light 2 stops

209 – .3 Neutral Density

Reduces light 1 stop without changing colour

210 – .6 Neutral Density

Reduces light 2 stops without changing colour

210 – .6 Neutral Density ND

Reduces light 2 stops without changing colour

211 – .9 Neutral Density

Reduces light 3 stops without changing colour

211 – .9 Neutral Density ND

Reduces light 3 stops without changing colour

212 – L.C.T. Yellow

Reduces colour temperature of low carbon arcs to 3200K

213 – White Flame Green

Corrects white flame carbon arcs by absorbing U.V.

214 – Full Tough Spun

Diffusion material

215 – Half Tough Spun

Diffusion material

216 – Full White Diffusion

Soft light effect (50 micron)

217 – Blue Diffusion

Used for soft light increases colour temperature slightly (50 micron)

218 – Eighth CT Blue

Converts tungsten 3200K to daylight 3400K

219 – Fluorescent Green

General tungsten to fluorescent correction for use when fluorescent colour temperature Is unknown, to provide medium correction. Used with colour correction filter

220 – White Frost

Used for soft light effect (75 micron)

221 – Blue Frost

Used for soft light effect increases colour temperature slightly (75 micron)

223 – Eighth CT Orange

Converts daylight 6500K to tungsten light 5550K

224 – Daylight Blue Frost

Soft light effect with tungsten correction using full CT Blue (75 micron)

225 – N.D. Frost

Soft light effect with neutral density (75 micron)

226 – U.V.

Transmission of less than 50% at 410nms

228 – Brushed Silk

Diffusion material

229 – Quarter Tough spun

Diffusion material

230 – Super Correction L.C.T. Yellow

Converts yellow carbon arc (of low colour temperature) to tungsten

232 – Super White Flame Green

Converts white flame arc to 3200K, for use with tungsten film

236 – H.M.I. ( To Tungsten )

Converts HMI to 3200K, use with tungsten film

237 – C.I.D. ( To Tungsten )

Converts CID to 3200K, use with tungsten film

238 – C.S.I. ( To Tungsten )

Converts CSI to 3200K, use with tungsten film

241 – Fluorescent 5700K

Converts tungsten to fluorescent light of 5700K (cool white/daylight). Used with camera filter

242 – Fluorescent 4300K

Converts tungsten to fluorescent light of 4300K (white). Used with camera filter

243 – Fluorescent 3600K

Converts tungsten to fluorescent light of 3600K (warm white). Used with camera filter

244 – Full Plus Green

Provides a green cast when used on daylight and tungsten sources for partial balancing with fluorescent. (Approximately equivalent to CC30 green camera filter)

245 – Half Plus Green

Provides a green cast when used on daylight and tungsten sources for partial balancing with fluorescent. (Approximately equivalent to CC15 green camera filter)

246 – Quarter Plus Green

Provides a green cast when used on daylight and tungsten sources for partial balancing with fluorescent. (Approximately equivalent to CC075 green camera filter)

247 – Full Minus Green

Used for eliminating green cast caused by fluorescent lighting on film. (Approximately equivalent to CC30 magenta camera filter)

248 – Half Minus Green

Used for eliminating green cast caused by fluorescent lighting on film. (Approximately equivalent to CC15 magenta camera filter)

249 – Quarter Minus Green

Used for eliminating green cast caused by fluorescent lighting on film. (Approximately equivalent to CC075 magenta camera filter)

250 – Half White Diffusion

Half strength 216

251 – Quarter White Diffusion

Quarter strength 216

252 – Eighth White Diffusion

Eighth strength 216

253 – Light Frost

Light frost effect

254 – New Light Frost

Light frost Effect

255 – Hollywood Frost

Light frost effect ﾖ softens edges

256 – Half Light Frost

Light frost effect

257 – Quarter Light Frost

Light frost effect

258 – Eighth Light Frost

Light frost effect

269 – Heat Shield

Designed to increase life of filter, install between light source and filter, ensure circulation of air around light source, heat shield and filter.

270 – Scrim Silver/Black

Soft reflection, can be used on windows

272 – Gold Reflector

Soft reflection

273 – Silver Reflector

Soft reflection

275 – Black / Black Scrim

Reduce light intensity without reflections

278 – Eighth Plus Green

Provides a green cast when used on daylight and tungsten sources for partial balancing with fluorescent. (Approximately equivalent to CC0375 green camera filter)

279 – Eighth Minus Green

Used for eliminating green cast caused by fluorescent lighting on film. (Approximately equivalent to CC0375 magenta camera filter)

281 – Three Quarter CT Blue

Converts tungsten 3200K to daylight 5000K

283 – 1.5 CTB

Converts tungsten (3200K) to daylight (8888K)

285 – Three Quarter CT Orange

Converts daylight 6500K to tungsten light 3600K

286 – 1.5CTO

Converts daylight (6500K) to tungsten (2507K)

287 – DOUBLE CTO

Converts daylight (6500K) to tungsten (2147K)

298 – .15 Neutral Density

Reduces light Half stop without changing colour

299 – 1.2 Neutral Density

Reduces light 4 stops without changing colour

303 – Pale Gold

Interior lighting to enhance skin tones

306 – Medium Lemon

Television ﾖ set lighting

308 – Medium Straw

Television ﾖ set lighting

309 – Special Straw

Television ﾖ set lighting

311 – Flame

Fire effect

313 – Special Light Amber

Television ﾖ set lighting

315 – Special Golden Amber

Television ﾖ set lighting

317 – Dark Amber

Backlight

321 – Light Red

Television effect lighting, cycloramas

322 – Soft Green

Cool green, used for gobo cover, pantomime, cycloramas

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 – Rose Pink

Pantomimes, light entertainment etc, strong stage wash

339 – Rose Purple

Television, discos, cycloramas

340 – Surprise Lavender

Television

341 – Plum

Romantic, atmospheric set lighting

342 – Special Lavender

Moonlight, romantic scenes, enhances skin tones

343 – Medium Lavender

Theatre and television effect, lighting, backlighting

344 – Violet

Dusk effect, good skin tone, romantic effect

345 – Fuchsia Pink

Musical revue, pantomime, sultry scenes

349 – Pale Blue

Cool wash, cycloramas

350 – No Colour Blue

Moonlight for blue 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 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 Purple

Television, cycloramas

382 – Medium Purple

Television

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

410 – Opal Frost

Diffusion material

416 – Three Quaters White Diffusion

Used for soft light effects

420 – Light Opal Frost

Used for soft light effects

441 – Full CT Straw

Converts daylight to tungsten with yellow bias 6500k to 3200k

442 – Half CT Straw

Converts daylight to tungsten with yellow bias 6500k to 4300k

443 – Quater CT Straw

Converts daylight to tungsten with yellow bias 6500k to 5100k

444 – Eighth CT Straw

Converts daylight to tungsten with yellow bias 6500k to 5700k

450 – Three Eighths White Diffusion

Used for soft light effects

452 – One Sixteenth White Diffusion

Used for soft light effects

500 – Double new colour blue

The strongest of the NCB series for dramatic ‘white’ face and key light where warmer tones than CTB are required

501 – New colour blue

A lighter correction in the NCB series.

502 – Half New Colour blue

A lighter correction in the NCB series.

503 – Quarter New Colour blue

The lightest correction in the NCB series.

504 – Waterfront Green

Designed for period key light and modern urban horizons.

505 – Sally Green

A 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.

506 – Marlene

Flattering skin tone filter without the comedy ‘pink’. Named for Marlene Dietrich who understood the importance of beautiful lighting, especially at a certain age!

507 – Madge roll

Denser, 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.

508 – Midnight Maya roll

A rich, sultry blue. Like Congo Blue, but allowing greater light transmission so more maintenance friendly – fewer gel changes.

525 – Argent Blue

LSI’s Silver Anniversary colour. Great for a foreboding cold winter’s night, but allows enough light transmission to be useful for general illuminance too.

550 – Gold Medal

A ‘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.

604 – Full CT Eight Five

A ‘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.

642 – Half Mustard Yellow

Half strength Sodium light effect, designed for use with daylight sources.

643 – Quarter Mustard Yellow

Quarter strength Sodium light effect, designed for use with daylight sources.

650 – Industry Sodium

Used on tungsten to blend with sodium light.

651 – Hi Sodium

Used on tungsten to create a High Pressure Sodium look.

652 – Urban Sodium

Used on tungsten to create the orange glow associated with Sodium light.

653 – Lo Sodium

Used on tungsten to create a Low Pressure Sodium look.

700 – Perfect Lavender

In-between 170 Deep Lavender and 345 Fuchsia Pink, and is good for backlighting and romantic atmospheres.

701 – Provence

The colour of the Lavender fields of the south of France. A redder version of 180 for use on cameras balanced to tungsten sources.

702 – Special Pale Lavender

A cold lavender with full tungsten source, but warms as source dimmed. Good as a fill for slow sunset fades

703 – Cold Lavender

A colour that would be great for front / key lighting and that works well with 152 Pale Gold.

704 – Lily

Cool lavender with little red content. Good for romantic evening exteriors

705 – Lily Frost

Smoothes flood washes of large areas. Useful for house lights; a good colour wash for evening events

706 – King Fals Lavender

A cold lavender.

707 – Ultimate Violet

Musical performances for general colour washes and set lighting

708 – Cool Lavender

For use as a warmer tint without turning yellow and to recreate the colour of fluorescent lighting.

709 – Electric Lilac

Good colour rendering

710 – Spir Special Blue

A cool industrial blue.

711 – Cold Blue

To give a cold/grey HMI effect from a tungsten source

712 – Bedford Blue

Smoky, warm blue

713J – .Winter Blue

Very dark blue with high UV content. Moody and powerful stage colour wash

714 – Elysian Blue

Moonlight, cyclormas

715 – Cabana Blue

Deep blue. Enough transmission to work on TV

716 – Mikkel Blue

Romantic blue to produce night effect

717 – Shanklin Frost

201 with frost to soft beam of profile units

718 – Half Shanklin Frost

202 with frost to soft beam of profile units

719 – Colour Wash Blue

To allow low intensity tungsten to hold cold/blue feel

720 – Durham Daylight Frost

Smoothes flood washes of large areas. Useful for house lights; good for entrances from natural light

721 – Berry Blue

Musical performances for rear colour wash

722 – Bray Blue

Pure blue with very little red in it

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.

724 – Ocean Blue

Useful at low levels of light, dull skies and moonlight

725 – Old Steel Blue

Cool wash, useful for highlights

727 – QFD Blue

A special version of 729 Scuba Blue which is good for backlighting and swimming pool effects.

728 – Steel Green

Approaching storms. Overcast days. Cold steely light

729 – Scuba Blue

Musical performances for rear colour wash

730 – Liberty 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.

735 – Velvet Green

Beautiful background green. Victorian melodrama

736 – Twickenham Green

A powerful green with depth, for music or light entertainment.

738 – Jas Green

Rich yellowish green: concert stage wash where darker skin tones, costume and set are a consideration

740 – Aura Borealis Green

Primary jungle colour. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.

741 – Mustard Yellow

Spooky when used in haze. Removes some red and blue. Works best with daylight bulbs. Sodium lamp effect.

742 – Bram Brown

Dirtier than 156 Chocolate, good for skin tones. Dims well and doesn’t go pink at low light levels.

742 – Brum Brown

Dirtier than 156 Chocolate, good for skin tones. Dims well and doesn’t go pink at low light levels.

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.

746 – Brown

Murky, dirty feel to tungsten. Darker, less pink chocolate

747 – Easy White

Primarily developed for fluorescents to ensure warm, comfortable light and flattering skin tones.

748 – Seedy Pink

Smokey pink, good for tungsten on skin tones

749 – Hampshire Rose

Combines flesh tone warmer 154 with some Hampshire frost.

750 – Durham Frost

A frost that almost completely softens shutter edges and removes hot spots

763 – Wheat

Adds warmth, sunlight

764 – Sun Colour Straw

Adds warmth, bright sunlight

765 – Sunlight Yellow

Useful for producing a strong sunlight effect

767 – Oklahoma Yellow

Bright sun with warm ochre overtones

768 – Egg Yolk Yellow

A bold strong chemical yellow, less orange/red than 179 Chrome orange.

770 – Burnt Yellow

A colour that feels warm and dense on camera, a balance between 179 and 105.

773 – Cardbox Amber

Warm tint for skin tones.

774 – Soft Amber Key 1

Used for producing a warm key light colour

775 – Soft Amber Key 2

Used for producing a warm key light colour

776 – Nectarine

Romantic sunset. Period pieces

777 – Rust

A vivid rust colour effect

778 – Millennium Gold

For Lighting architecture: produces rich amber from tungsten source, much cooler on a HMI lamp

779 – Bastard Pink

Deep sunset. Useful on dark skin tones

780 – As Gold Amber

Between 778 Millennium Gold and 135 Deep Golden Amber, but less red. A strong colour good for backlighting.

781 – Terry Red

Strong amber red that works well when used against reds and dark ambers, in wash combinations and on cycloramas

787 – Maris Red

Nice deep full red. Rose leaf colour.

789 – Blood Red

For a deep saturated red effect. Used when a strong vivid red effect is required.

790 – Moroccan Pink

Rich, natural pink, good for late afternoon sun effects

791 – Moroccan Frost

Smoothes flood washes of large areas. Useful for house lights; good for interior colour washes

793 – Vanity Fair

Rich, glamorous pink, for use on special occasions

794 – Pretty ‘N Pink

Warm and soft effects

795 – Magical Magenta

Rich mix of reds and pinks

797 – Deep Purple

Musical performances for general colour washes and set lighting

798 – Chrysalis Pink

Deep lavender with dash of rose blusher

799 – Special K H Lavender

A deep lavender that brings out the UV.

900 – BLACKOUT

Blackout window light-block filter

901 – Polybounce

Soft diffusion, light bounce filter

F1 – F1 Frost

Soft light effect (50 micron)

F2 – F2 Frost

Soft light effect (50 micron)

F3 – F3 Frost

Soft light effect (75 micron)