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Home / Blue and Pink Color Gel Studo Light

Blue and Pink Color Gel Studo Light

Colour Effect Filters

We provide high-quality lighting filters in a vast range of colours that are accurately consistent from batch to batch, long-lasting and dependable. Every filter is checked against a scientifically generated set of parameters.

Filter colours: Narrow your choice by selecting a broad colour match

UPDATE: High Temperature filters are now discontinued, but many are still available while stocks last.

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

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Blue and Pink Color Gel Studo Light

Source: https://www.leefilters.com/lighting/colour-list.html