|
 |
A durable, heat resistant polycarbonate film used in
the preparation of color scrollers to allow the passage
from a color to clear. (Transmission = 100%). |
|
|
Good where a tint of color is needed. Excellent for natural
skin tones. (Transmission = 78%). |
|
|
Very pale warm white. Perfect for enhancing the HPL lamp
in a Source Four. (Transmission = 88%). |
|
|
Converts 5500K to 4900K (Transmission not available). |
|
|
Converts 5500K to 4500K (Transmission not available). |
|
|
Converts 500K to 3800K (Transmission not available). |
|
|
(Transmission = 58%). |
|
|
Converts 5500K to 2900K (Transmission not available). |
|
|
(Transmission = 92%). |
|
|
(Transmission = 81%). |
|
|
(Transmission = 73%). |
|
|
(Transmission = 50%). |
|
|
Slightly off white. Good for interiors. (Transmission
= 92%). |
|
|
Warmer straw. Flattering to skin tones. (Transmission
= 86%). |
|
|
(Transmission = 80%). |
|
|
(Transmission = 75%). |
|
|
(Transmission = 70%). |
|
|
(Transmission = 66%). |
|
|
A soft medium yellow. Can be used for creating naturalistic
effects such as early morning sunlight or for special
effects. (Transmission = 82%). |
|
|
Greener yellow than 10. Special effects and accents.
Use with caution on skin tones. (Transmission = 88%). |
|
|
(Transmission = 64%). |
|
|
Excellent area light. Light pink-amber tint. Safe for
most light skin tones. (Transmission = 68%). |
|
|
A pale reddish gold, good for creating sunrise or sunset,
or simulating incandescent light. A flattering naturalistic
backlight color. Can be used for warm area lighting.
(Transmission = 58%). |
|
|
Heavier pink-amber tint. Useful for dance. Especially
useful when balanced with a cool color. Good general
warm tint in striplights. (Transmission = 56%). |
|
|
Warm pinkish amber. Afternoon sunset. Good sidelight.
(Transmission = 56%). |
|
|
A medium salmon color which evokes feeling of a tropical
island. A good sunset color. Interesting backlight and
accent color. Good for warm tonal effects. (Transmission
= 52%). |
|
|
Useful for amber cyc light and late sunsets. (Transmission
= 43%). |
|
|
An amber with some green content. A good sunlight transition
color that shows the progression of the sun from white
or yellow to amber later in the day. (Transmission =
39%). |
|
|
(Transmission = 23%). |
|
|
Provides a romantic sunlight through windows for evening
effects. (Transmission = 32%). |
|
|
(Transmission = 67%). |
|
|
(Transmission = 55%). |
|
|
(Transmission = 39%). |
|
|
(Transmission = 30%). |
|
|
Toasted red-amber color. Useful in re-creating setting
sun or as a dramatic cyc. (Transmission = 18%). |
|
|
Vibrant red. Good alternative primary. (Transmission
= 12%). |
|
|
A pale almost colorless pink. (Transmission = 65%). |
|
|
A pink tint that is excellent for most skin tones. A
good color for warm area lighting. Lighter than 33. (Transmission
= 71%). |
|
|
Partial green absorbing filter. (Transmission not available). |
|
|
Partial green absorbing filter. (Transmission not available). |
|
|
Partial green absorbing filter. (Transmission not available). |
|
|
Converts cool white flourescents to daylight. (Transmission
not available). |
|
|
Useful for bright musicals. Creates a happy atmosphere.
(Transmission = 45%). |
|
|
(Transmission = 71%). |
|
|
(Transmission = 61%). |
|
|
(Transmission = 46%). |
|
|
(Transmission = 38%). |
|
|
Blue Pink, Use in general washes and toning. (Transmission
= 56%). |
|
|
(Transmission = 65%). |
|
|
(Transmission = 52%). |
|
|
(Transmission = 37%). |
|
|
(Transmission = 28%). |
|
|
(Transmission = 10%). |
|
|
Light orange with high blue content. (Transmission =
24%). |
|
|
More red than 342. (Transmission = 8%). |
|
|
Musical pink. Lush accents. Very versatile color. (Transmission
= 26%). |
|
|
Good for eerie or dramatic effects. Beautiful backlight
color. (Transmission = %). |
|
|
Touch of color when white light is not desirable. (Transmission
= 54%). |
|
|
(Transmission = 61%). |
|
|
(Transmission = 47%). |
|
|
(Transmission = 29%). |
|
|
(Transmission = 18%). |
|
|
(Transmission = 3%). |
|
|
(Transmission = 4%). |
|
|
The original Congo Blue. A purple-blue, highly saturated,
for modeling effects and non-realistic atmospheres. (Transmission
= 2%). |
|
|
Boosts 3200K to 3300K (Transmission not available). |
|
|
Boosts 3200K to 3500K (Transmission not available). |
|
|
Boosts 3200K to 3800K (Transmission not available). |
|
|
Boosts 3200K to 4100K (Transmission not available). |
|
|
(Transmission = 41%). |
|
|
Boosts 3200K to 5500K (Transmission not available). |
|
|
(Transmission = 10%). |
|
|
(Transmission = 57%). |
|
|
(Transmission = 42%). |
|
|
(Transmission = 24%). |
|
|
(Transmission = 15%). |
|
|
Helps maintain white light when dimmer is at low intensity.
(Transmission = 62%). |
|
|
The slightest blue tint. Excellent for eliminating amber
shift when lights are running low on a dimmer. Good for
cool area light. (Transmission = 52%). |
|
|
Helps maintain white light when dimmer is at low intensity.
(Transmission = 54%). |
|
|
A soft clean blue. Good choice for cool area lighting.
Can also be used to shift the amber of lamps running
at low dimmer levels. (Transmission = 32%). |
|
|
A clean light red blue. Creates naturalistic daylight
fill color. Good cool area light. (Transmission = 32%). |
|
|
Useful for achieving depressed moods and dull skies.
(Transmission = 35%). |
|
|
Clean blue with more red than 364. A true color correction
filter for film. Converts 3200�°K
to 5500�°K. Good for area light. (Transmission
= 36%). |
|
|
Photographic lighting filter equal to CC07C. Enhances
blue and green transmission by effectively reducing red
exposure by 1/4 stop. Heat resistant base. Deep dyed.
(Transmission = 78%). |
|
|
(Transmission = 72%). |
|
|
(Transmission = 63%). |
|
|
(Transmission = 50%). |
|
|
(Transmission = 39%). |
|
|
(Transmission = 18%). |
|
|
A crisp, clean blue-green. Useful as a water effect or
as a sidelight for dance. (Transmission = 32%). |
|
|
A soothing green blue. More blue than 76. A good conventional
moonlight color. Interesting tonal color. (Transmission
= 6%). |
|
|
Distinctive greenish blues. Useful for romantic moonlight.
(Transmission = 9%). |
|
|
A rich clean red blue that warms to lavender when dimmed.
(Transmission = 15%). |
|
|
(Transmission = 10%). |
|
|
Primary blue. For use with three color light primary
system in cyc lighting. (Transmission = 9%). |
|
|
Good for non-realistic night skies. (Transmission = 4%). |
|
|
Sunny spring mornings. (Transmission = 85%). |
|
|
(Transmission = 67%). |
|
|
(Transmission = 52%). |
|
|
(Transmission = 32%). |
|
|
(Transmission = 18%). |
|
|
Adds partial green to balance with flourescents. (Transmission
not available). |
|
|
Adds partial green to balance with flourescents. (Transmission
not available). |
|
|
Adds partial green to balance with flourescents. (Transmission
not available). |
|
|
To balance daylight sources to cool white flourescents.
(Transmission not available). |
|
|
Sunny spring mornings. (Transmission = 82%). |
|
|
Useful for mood, mystery and toning. (Transmission =
45%). |
|
|
(Transmission = 15%). |
|
|
Primary green for three color primary system. (Transmission
= 7%). |
|
|
Useful for mood of mystery and for toning scenery that
has been spattered in blues. (Transmission = 59%). |
|
|
Useful for mood of mystery and for toning scenery that
has been spattered in blues. (Transmission = 35%). |
|
|
Neutral greys to reduce intensity without affecting color
temperature. (Transmission = 50%). |
|
|
A half stop neutral density. (Transmission = 70%). |
|
|
Helpful in balancing brightness of lamps of different
wattage. (Transmission = 25%). |
|
|
Warms light and reduces intensity. (Transmission = 35%). |
|
|
(Transmission = 33%). |
|
|
(Transmission = 17%). |
|
|
Changes ellipsoidal into flood or scoop. (Transmission
not available). |
|
|
Has twin qualities of wide diffusion and warm center.
(Transmission not available). |
|
|
Creates a slash of light for stretching light along stairs,
tables, cycs, etc. Diffuses while maintaining compactness
of beam. (Transmission not available). |
|
|
Good on scoops for cyc lighting. (Transmission not available). |
|
|
Removes lens shadows. (Transmission not available). |
|
|
Densest diffusion of the series. Spreads the light almost
1800. (Transmission not available). |
|
|
Lighter than 100-103. An excellent diffuser for HMI,
CID and CSI sources softening the beam slightly while
maintaining excellent transmission. (Transmission not
available). |
|
|
(Transmission not available). |
|
|
A range of diffusion materials adapted from cinematography-used
for softening the shadow of the beam while maintaining
a relatively high color temperature because of the use
of ultra-white pigments in the manufacturing process.
(Transmission not available). |
|
|
A range of diffusion materials adapted from cinematography-used
for softening the shadow of the beam while maintaining
a relatively high color temperature because of the use
of ultra-white pigments in the manufacturing process.
(Transmission not available). |
|
|
A range of diffusion materials adapted from cinematography-used
for softening the shadow of the beam while maintaining
a relatively high color temperature because of the use
of ultra-white pigments in the manufacturing process.
(Transmission not available). |
|
|
Retains the diffusion properties of 104 but with less
light loss. (Transmission not available). |
|
|
A lighter version on the popular 112 Opal Tough Frost.
(Transmission not available). |
|
|
A good medium cosmetic diffuser. (Transmission not available). |
|
|
(Transmission = 100%). |
|
|
(Transmission = 100%). |
|
|
(Transmission = 100%). |
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}
){kind=link}