The ArT of lighT - LEE Filters

137503 283 328In successful companies, continuous achievementis driven by innovation & understanding. Creating aproduct or process is only a first step - maintainingthe momentum of progress and success over manyyears requires a demanding set of disciplines.701 500 026 770748354

corporate statementPage 4roll and sheet sizesPage 10New LED filtersPage 12the designer SeriesPage 16quick rolls and lighting packsthe science behind the artPage 22Page 24contents166 090 061 043 343 748 088 159 120 035 213 604 182 767colour rangePage 26numerical listingPage 38technical filtersarchitectural seriesPage 40Page 51GobosPage 59promotional itemsindexPage 60Page 62spectral chartsPage 633

corporate statementan investment inthe future021Answering the need for a better productIt was the demand from the movie production industry for something better thatoriginally led to the birth of LEE Filters, and in the subsequent forty years, ourcompany has always prided itself on designing and producing products that aretruly better than anything else available.Back in the late 1960s, leading Cinematographer David Holmes gathered researchand manufacturing expertise from around the globe, and pioneered the use ofmodern polymeric materials to make filters for film and TV production, theatresand entertainment venues. Our expertise and experience in film and theatrelighting subsequently led us to expand into other areas, including a completerange of filters for architectural use, both indoors and out.Quality is everythingFilters select particular colours of light by absorbing and attenuating parts of thespectrum, and consistent and repeatable performance is vital to the user.The whole filter making process is carried out at our factory in Andover, thecompany’s UK headquarters, so that we have full control of the quality of allthe raw materials, and can ensure that the coating process is carried out tometiculous quality standards.Directors of Photography worldwiderely on the consistent and repeatableperformance of LEE Filters.4

From the haunted house to the roller coaster,theme parks worldwide have always dependedon the endless effects created with LEE Filters.795Guarding a reputationWe rapidly gained our reputation as the world’sleading manufacturer of lighting filter products, butwe have only maintained that jealously guardedposition over the decades by investing heavily inresearch. The production of lighting filters is bothan art and a science, and we work closely with thefilm-making artists and bring the latest scientificdevelopments to bear on making the wishes of theseartists come true.Making a rewarding investmentThe company culture is one of continuous researchand development, always searching for newer andbetter materials and more effective manufacturingtechniques and processes. This culture, backed bysignificant investments in machinery, ensures thatwe provide the ultimate in performance, availability,reliability and longevity.The Film-makers’ ChoiceOur never ending passion for providing the bestpossible product has led us to become the supplierof choice, to leading film and TV programme makersaround the world. Countless movies have been litusing LEE Filters, and many companies wouldn’tdream of using anything else, recognising that theresults of investing in a movie can be significantlyenhanced by choosing the world’s best filters.7871275

From Broadway to the West Endand from the stage to the box officeLEE Filters provide the tools to getthe job done.Branching outOur experience and expertise in film and theatrelighting has enabled us to branch out into designingand making filters for various ‘architectural’ lightingapplications. These include the popularcoloured fluorescent sleeves, a clear polycarbonatesleeve with a coloured polyester insert. Available in awide range of colours, these are used by architectsin shopping malls, restaurants, clubs, bars and hotelbuildings around the world.We also make glass filters with a dichroic coating forMR16 and PAR16 lights which are increasingly beingused for ambient lighting. Filters for these tiny lamps,which provide a lot of heat as well as light, havetraditionally used strong colours, which are oftenunsuitable for homes and offices. Our research teamhave come up with a whole range of filters with verypale, subtle colours which remove the harsh purewhites from a room, without giving a strong unwantedcolour wash.Every LEE Filter is carefully designed to fulfil aspecific function, and its parameters are preciselyadjusted to suit the need of the user. Sophisticatedtechnical measurement and monitoring equipment,including computer-controlled spectrophotometers,are used not only during the manufacturing process,but also to check that every filter leaving the factorymeets the precise parameters to which it was designed.A policy of continuousimprovementFilter manufacturing entails the use of high precisionmachinery to coat a fast-moving roll of polyester filmwith a precise accurate thickness of dyestuff. Thecompany has invested in new plant as required, toensure that it produces nothing less than the best.The complex machinery, much of which has actuallybeen designed by or for LEE Filters, is carefullymaintained and operated by skilled technicians, manyof whom are proud to have been part of the LEEFilters success story for many years.Because everything is effectively under one roof, wecan ensure that all aspects of design and productionare constantly under control, and complete recordsexist of every filter that we have ever made since thefactory opened.Theatre productions rely on LEE Filters,who can advise on the best filteringsolutions for different stage playsand musicals.1321407

corporate statementquality control148At LEE Filters, quality control is built in to our whole design and productionprocess - it comes as an integral part of every filter that you buy.The most appropriate materials are chosen for each application, and precisemonitoring throughout the coating and production process ensures that the filtermaterial is the same from the start to the finish of a roll, so that the user can besure that the colour and the performance of the filter will be consistent throughout.Every filter is accurately checked against a scientifically generated set ofparameters, and we are proud to say that nothing that doesn’t meet the higheststandards ever leaves the factory.Television production, feature films and videoall require specific technical filters to achieveuniformity from lens to screen; let LEE Filters’experts be your guide.3281808

customer service136165Solution ProvidersWe are not merely designers and suppliers of filters -a key area of our business is that the expertise of ourstaff allows us to be true ‘solution providers’ who canadvise and help on all sorts of lighting and filtrationtasks and problems. Only by having complete controlof the design and manufacturing process can weoffer such brilliant service - sometimes taking difficultmanagement decisions to interrupt an existing ‘run’and coat a special roll for that very urgent job.Service-it’s what we’re aboutOur goal is to provide you, our customer, with thehighest level of service that you know and deserve.As the leading manufacturer of lighting filter we areable to provide a colour consistency from batch tobatch that is unmatched in this or any other industryand whether it’s a container load that you need ormaybe just a few sheets we endeavour to maintainample stock of the highest quality filters on themarket. Please rest assured that whether you aredealing directly with us or with one of our valueddistributors your best interests are at hand.No effect too special!At LEE Filters we take great pride in assisting withthe production of custom filters to meet the requestsand requirements of specific applications. We haverecently produced water proof filters for an underwater film production, specific lenses for 3D glasses,custom colours for fluorescent tube inserts andcustom dichroic colours for retail applications. Let usknow what we can do for you!EducationAt LEE Filters we understand the value of educationand in continuing the learning process throughout thelength of a career. Whether it be through seminars,factory visits, trade shows or conferences weendeavour to educate both current and future filterusers on advancements and trends going forward.Supplying the worldWhile our primary manufacturing is in the UK and ourmain distribution centres are in the UK and USA, wemaintain distributors throughout the world for a trulyglobal supply chain. Rest assured that the filters yourequire for the commercial in Sydney will match theones that you just used on a feature in Buenos Aires.LEE Filters - A growing rangeof applicationsWhether it’s special Neutral Density filters forFormula 1 cars or special filters for 3D applicationsour experts are on hand to help with any aspect ofyour latest project.LEE Filters,your global coloursolutions provider.9

oll and sheet sizesOur products come in many different sizes, please use the diagrams below as a guide.Size7.62mx1.52m(25’ x 60”)Size6.10mx1.52m(20’ x 60”)Size7.62mx1.37m(25’ x 54”)Size7.62mx1.22m(25’ x 48”)2” Core(5.08cm)Size7.62mx1.22m(25’ x 48”)1” Core(2.54cm)Size4mx1.17m(13’ x 46”)Size7.62mx0.61m(25’ x 24”)Size15.24mx0.3m(50’ x 12”)SizeAny width between2.5cm (1”) and1.17m ( 46”).All rolls are 7.62m(25’) long.Products216250251252416450452Products201204 - 211223270 - 275298299400402404414414P429439439PProducts430 - 434460 - 464ProductsColour EffectFiltersLED FiltersTungstenConversionDaylightConversionLED ConversionNeutral DensityFluorescentCorrectionArc CorrectionUltra VioletAbsorptionDiffusion Media-Non FlameRetardantDiffusion Media-Flame RetardantHeat ShieldProductsColour EffectFiltersLED FiltersTungstenConversionDaylightConversionLED ConversionNeutral DensityFluorescentCorrectionArc CorrectionUltra VioletAbsorptionDiffusion Media-Non FlameRetardantDiffusion Media-Flame RetardantHeat ShieldProductsColourEffect HTProductsBlack FoilProductsBlack FoilProductsQuick Rolls* HT Rolls availableas special order10

SizePanel2.44mx1.52m(8’ x 5’)Thickness 3mm(1/8”)SizePanel2.44mx1.22m(8’ x 4’)Thickness 3mm(1/8”)SizeFull Sheet0.53mx1.22m(21” x 48”)SizeHalf Sheet0.53mx0.61m(21” x 24”)SizeHalf Sheet HT0.53mx0.56m(21” x 22”)SizeAvailablein 0.3m (1’)lengths.Sheetscome in0.43m (17”)and 1.45m(57”) wide.ProductsA204A209A210A211ProductsA204A205A207A208A209A210A211ProductsColour EffectFiltersLED FiltersTungstenConversionDaylightConversionLED ConversionNeutral DensityFluorescentCorrectionArc CorrectionUltra VioletAbsorptionDiffusionMedia-Non FlameRetardantDiffusionMedia-FlameRetardantHeat ShieldProductsColour EffectFiltersLED FiltersTungstenConversionDaylightConversionLED ConversionNeutral DensityFluorescentCorrectionArc CorrectionUltra VioletAbsorptionDiffusionMedia-Non FlameRetardantDiffusionMedia-FlameRetardantHeat ShieldProductsColourEffect HTProductsPolariserAcrylic PanelAcrylic PanelFull SheetHalf SheetHalf Sheet HTPolariser11

LED Filter rangeNew LED FiltersHave you ever tried using coloured lighting filter in front of a CoolWhite LED fitting? It looks so completely different, if you knew nobetter you would think it was another colour entirely. The problem ismade even worse when mixing Cool White LED and Tungsten fixturestogether, trying to get a colour match from the two different sources isvirtually impossible.Existing LEE 126 on Tungsten (left hand side) and cool white LED (right hand side).The colour is totally different.To help fix this problem LEE Filters have launcheda new range of LED Filters. These new filters whenused on Cool White LED (>6000K) have beenspecifically designed to give a visual colour match tothe existing colours on Tungsten (3200K).Try to think of them as a range of colour-correctedcolours as opposed to colours that are colourtemperature corrected.Existing LEE 126 on Tungsten (left hand side) and new LED CL126 on cool whiteLED (right hand side). There is now a good visual colour match.12

New LED ColoursSource: Cool White LED >6000KCL104 Cool LED Deep Amber 104 For use on cool white LED with C.T. >6000Kto produce a pleasing golden yellow. Similar toLEE 104 on a tungsten lamp.CL105 Cool LED Orange 105 For use on cool white LED with C.T. >6000Kto produce a warm medium amber. Similar toLEE 105 on a tungsten lamp.CL106 Cool LED Primary Red 106 For use on cool white LED with C.T. >6000Kto produce a warm primary red. Similar to LEE106 on a tungsten lamp. Good for cycloramas.CL113 Cool LED Magenta 113For use on cool white LED with C.T.>6000Kto produce a soft pink red, with strongcontrasting shadows. Similar to LEE 113 on atungsten lamp.CL115 Cool LED Peacock Blue 115For use on cool white LED with C.T. >6000Kto produce a fresh, crisp, spearmint colour.Similar to LEE 115 on a tungsten lamp. Goodfor cycloramas.CL116 Cool LED Medium Blue Green 116 For use on cool white LED with C.T. >6000K toproduce a vibrant turquoise with a green bias.Similar to LEE 116 on a tungsten lamp.CL117 Cool LED Steel Blue 117For use on cool white LED with C.T. >6000Kto produce a silvery moonlight wash. Similarto LEE 117 on a tungsten lamp. Good forcycloramas.CL118 Cool LED Light Blue 118 For use on cool white LED with C.T.>6000K toproduce a cold spine chilling blue. Similar toLEE 118 on a tungsten lamp.CL119 Cool LED Dark Blue 119For use on cool white LED with C.T.>6000Kto produce a soft moody blue, good forblacklighting. Similar to LEE 119 on a tungstenlamp.CL126 Cool LED Mauve 126 For use on cool white LED with C.T. >6000Kto produce a bold intense pink. Similar to LEE126 on a tungsten lamp.For best results use with LED fittings that have a homogenous beam (i.e. diffusion filter or focusing optic)13

LED Filter rangeCL128 Cool LED Bright Pink 128 For use on cool white LED with C.T.>6000Kto produce a neon pink good for musicals /pantos. Similar to LEE 128 on a tungsten lamp.CL132 Cool LED Medium Blue 132For use on cool white LED with C.T.>6000Kto produce a mid tone blue good for nightscenes. Similar to LEE 132 on a tungstenlamp.CL139 Cool LED Primary Green 139 For use on cool white LED with C.T. >6000K toproduce a vivid primary green. Similar to LEE139 on a tungsten lamp. Good for cycloramas.CL147 Cool LED Apricot 147 For use on cool white LED with C.T. >6000Kto produce a warm key light amber. Similar toLEE 147 on a tungsten lamp.CL158 Cool LED Deep Orange 158 For use on cool white LED with C.T. >6000K toproduce a sunset like glow. Similar to LEE 158on a tungsten lamp.CL164 Cool LED Flame Red 164 For use on cool white LED with C.T.>6000K toproduce a dawn burst orange red glow. Similarto LEE 164 on a tungsten lamp.CL180 Cool LED Dark Lavender 180For use on cool white LED with C.T.>6000Kto produce a dance floor pink, good forcycloramas. Similar to LEE 180 on a tungstenlamp.CL181 Cool LED Congo Blue 181 For use on cool white LED with C.T.>6000K toproduce soft, romantic, mood lighting. Similarto LEE 181 on a tungsten lamp.CL182 Cool LED Light Red 182For use on cool white LED with C.T.>6000Kto produce a saturated vibrant red, good forcycloramas. Similar to LEE 182 on a tungstenlamp.14 For best results use with LED fittings that have a homogenous beam (i.e. diffusion filter or focusing optic)

New LED Conversion filtersA common complaint from people using LED lightingis that the white light is very blue, making it look coldin comparison to a Tungsten white light. LEE Filtershave solved this problem with the introduction of anew range of specially designed LED CTO Filters.These filters will convert from white LED sources (colourtemperatures ranging from 5000-7000K) to the equivalentof a 3200K Tungsten source. This means that differenttypes of luminaires can now be blended together withoutthe viewer or digital camera seeing a difference.White LEDTungsten622 One and One Eighth Digital LED CTOConverts white LED of 7000K to Tungsten of 3200KMired shift + 170624 Full Digital LED CTOConverts white LED of 6200K to Tungsten of 3200KMired shift + 151626 Seven Eighths Digital LED CTOConverts white LED of 5550K to Tungsten of 3200KMired shift + 132628 Three Quarter Digital LED CTOConverts white LED of 5000K to Tungsten of 3200KMired shift + 113For best results use with LED fittings that have a homogenous beam (i.e. diffusion filter or focusing optic)15

the designer Seriesthe designer seriesA very special range of lighting filters unique to LEE. The DesignerSeries colours have been created by some of the top lighting designersworking in stage, screen, television, cinema and architectural lighting.Lighting designers always have a colour in mind. Be itto create a romantic moonlit setting or a feisty, angrybackdrop, they know exactly what colours they need tocreate the desired effect. LEE offer over 250 colours,but designers sometimes feel that a particular colourthey are looking for is missing. LEE decided to rectifythis by offering lighting designers a unique opportunity- to turn their ideas into realities.Since 1998 a number of leading lighting designershave been invited to the LEE Filters factory to createtheir own unique colours. The Designer Series oflighting filters is a direct result of the work undertakenby these designers.Peter Barnes* 707 Ultimate VioletUsed in musical performances for general colourwashes and set lighting.* 721 Berry BlueUsed in musical performances for rear colour washor set lighting.Within the course of a day, each designer is able tosolve a problem or create a colour for a specific moodor effect. Working closely with LEE’s Research &Development team, designers take their ideas forwardby mixing and blending dyes, enabling them to createnew colours. Test samples are then manufacturedfor field trials and once the colour has passed thestringent LEE quality control process it is named bythe designer and added to the Designer Series.* 729 Scuba BlueUsed in musical performances for a rear colourwash or set lighting.* 797 Deep PurpleUsed in musical performances for general colourwashes and set lighting.Tanya Burns505 Sally GreenA fresh, light & airy summer green. ‘Undertree canopy’ light quality without ‘pantomimecountryside’. Subtle enough to light faces withouthaving to add too much general cover on top.506 MarleneFlattering skin tone filter without the comedy‘pink’. Also useful as Indian summer at dusk/sepiatype effect.508 Midnight MayaA rich, sultry blue. Like Congo Blue, but allowinggreater light transmission so more maintenancefriendly - fewer gel changes.525 Argent BlueLSI’s Silver Anniversary colour sits between 165and 068 in the range. Great for a foreboding coldwinter’s night, but allows enough light transmissionto be useful for general illluminance too.16507 MadgeDenser, saturated orange version of 135 avoiding‘pinky red’. Good for backlight, instruments,part of a sunset palette, and generating a partyatmosphere.

Lucy Carter511 Bacon Brown 513 Ice And A SliceAn intense and warm deep brown. Designed torecreate the pigment browns used by FrancisBacon in some of his paintings.A pale acidic spring yellow. For a sharpwhite wash.512 Amber Delight 514 Double G & TA dark dirty orange.Double 513, when only a double will do. Has amore acidic bite.Paule Constable731 Dirty IceDirtier than 730 Liberty Green, more orange,sympathetic with skin tones.733 Damp SquibA dirty green, reduces warmth. Good for crosslighting.742 Bram BrownDirtier than 156 Chocolate, good for skin tones.Dims well and doesn’t go pink at low light levels.768 Egg Yolk YellowA bold strong chemical yellow, less orange/redthan 179 Chrome Orange.“I was fascinated to learn the process of making colour.The chance to develop new colours was thrilling; a realmeeting of art and science. Being able to discuss colourin that detail and for LEE to respond in such a positive waywas a unique experience.”Paule ConstableChris Davey712 Bedford BlueA smoky warm blue. Good for skin tones.722 Bray BlueA purer blue with very little red in it.Dave Davey701 ProvenceThe colour of the Lavender fields of the south ofFrance. A redder version of 180 Dark Lavender foruse on cameras balanced to tungsten sources.736 Twickenham GreenA powerful green with depth, for music or lightentertainment.748 Seedy PinkA smoky pink. Good for tungsten on skin tones.“A big thank you for a very interesting day. All theteam at LEE clearly take great pride in your products,shown by the rigorous quality control checks.”Chris Davey744 Dirty WhiteCorrect a daylight source to an off white tungstensource. Used with a tungsten source provides adingy effect like a smoky bar.749 Hampshire RoseCombines flesh tone warmer 154 Pale Rose withsome Hampshire frost.770 Burnt YellowA colour that feels warm and dense on camera,a balance between 179 Chrome Orange and 105Orange.* Also available in High Temperature (HT) version17

the designer SeriesChris Ellis714 Elysian BlueA new deeper version of 197 Alice Blue.717 Shanklin Frost201 Full CT Blue with frost to soften the beam ofprofile units.718 Half Shanklin Frost202 Half CT Blue with frost to soften the beam ofprofile units.798 Chrysalis PinkA new deeper lavender with a dash of rose blusher.Rick Fisher708 Cool LavenderFor use as a warmer tint without turning yellow andto recreate the colour of fluorescent lighting.728 Steel GreenApproaching storms. Overcast days. Cold steelylight. Malevolent moonlight.735 Velvet GreenA beautiful background colour. Victorianmelodrama. A night time green.“I had a very productive day at LEE,resulting in two colours which, althoughsimilar, spoke different languages”Rick FisherPeter Fisker700 Perfect LavenderIn-between 170 Deep Lavender and 345 FuchsiaPink, and is good for backlighting and romanticatmospheres.703 Cold LavenderA colour that would be great for front / key lightingand that works well with 152 Pale Gold.727 QFD BlueA special version of 729 Scuba Blue which is goodfor backlighting and swimming pool effects.780 AS Golden AmberBetween 778 Millennium Gold and 135 DeepGolden Amber, but less red and strong and goodfor backlighting.Henrik Hambro706 King Fals LavenderA cold lavender.710 Spir Special BlueA cool industrial blue.740 Aurora Borealis GreenPrimary jungle colour. Removes some red and blue.Works best with daylight bulbs. Sodium lamp effect.“I would like to thank LEE Filters for the twodays I spent with their very professional R&Dteam. It was great fun to play with colours andvery difficult to stop getting new ideas.”741 Mustard YellowSpooky when used in haze. Removes some redand blue. Works best with daylight bulbs. Sodiumlamp effect.773 Cardbox AmberWarm tint for skin tones.787 Marius RedNice deep full red. Rose leaf colour.799 Special KH LavenderA deep lavender that brings out the UV.Henrik Hambro18

Mark Henderson711 Cold BlueTo give a cold/grey HMI effect from a tungstensource. Will also help blend the light when usingboth tungsten and HMI sources.719 Colour Wash BlueTo allow low intensity tungsten to hold a cold/blue feel.746 BrownTo give a murky, dirty feel to tungsten. A darker,less pink chocolate.777 RustA vivid rust colour effect.789 Blood RedFor a deep saturated red effect. Used when astrong vivid red effect is required.David Hersey724 Ocean BlueUseful at low levels of light. Good for dull skies andmoonlight.725 Old Steel BlueCool wash, useful for highlights.763 WheatAdds warmth, sunlight.764 Sun Colour StrawAdds warmth, bright sunlight.776 NectarineRomantic sunset. Period pieces.779 Bastard PinkDeep sunset. Useful on dark skin tones.Jakob Holst* 716 Mikkel BlueA romantic blue to produce a night effect.774 Soft Amber Key 1Used for producing a warm key light colour.Flame retardant.775 Soft Amber Key 2Used for producing a warm key light colour.Flame retardant.Jesper Kongshaug730 Liberty GreenA good green for creating mystery and suspense.765 LEE YellowUseful for producing a strong sunlight effect.Andy Liddle* 713 J.Winter BlueA very dark blue with a high UV content. Goodwhen used in high concentrations for a moody andpowerful stage colour wash.* 738 JAS GreenA rich yellowish green. Useful as a concert stagewash where darker skin tone, costume and set area consideration.781 Terry RedA strong amber red that works well when usedagainst deep reds and dark ambers, in washcombinations and on cycloramas.“After 20 years in lighting, I promise to neverthrow a piece of colour on the stage again, nowI know what it takes to develop and make!”Andy Liddle* Also available in High Temperature (HT) version19

the designer SeriesDurham Marenghi702 Special Pale LavenderA cold lavender when used with a full tungstensource, but warms as the source is dimmed. Goodas a fill for slow sunset fades.704 LilyA cool lavender with little red content. Good forromantic evening exteriors.705 Lily FrostSmoothes PAR or flood washes of large areas.Useful for houselights and a good colour wash forevening events.“...I appreciate you finding the time to talk todesigners such as myself about your products.”Durham Marenghi720 Durham Daylight FrostSmoothes PAR or flood washes of large areas.Useful for houselight and good for entrances fromnatural light.750 Durham FrostA frost that almost completely softens shutteredges and removes hot spots.790 Moroccan PinkA rich natural pink, good for producing lateafternoon sun effects.791 Moroccan FrostSmoothes PAR or flood washes of large areas.Useful for houselights and good for interior colourwashes.Declan Randall550 ALD Gold 602 PlatinumA ‘proper’ gold to celebrate the 50th anniversaryof the ALD. It maintains its richness as it dims,becoming more molten as the percentage isreduced.At full power produces dazzling grey light withslight red bias, when dimmed warms up quicklyto a useful brown. Good for effect lighting as wellas a cold, white sidelight that has some warmthin it.600 Arctic White 603 Moonlight WhiteA bright, brilliant blue-grey light at 100%. It doesnot warm up as it dims and is not affected byamber drift. Useful as a backlight or for specialeffects where a whiter light is called for.601 SilverA silver-grey light at full power, dims throughlavender-grey then warm brown-grey. Works wellwith 550 ALD Gold. Good for creating a senseof intense darkness on stage whilst still beinguseful.A pleasant white light at full power, dims downto a warm colour and at low intensities has moreyellow than red content. Good for sunlight effectas if through stormy clouds reflecting off of theocean.Mike Robertson500 Double New Colour BlueThe strongest of the New Colour Blue (NCB)series for dramatic ‘white’ face and key light wherewarmer tones than CTB are required.501 New Colour Blue(Robertson Blue)An alternative to the CTB series with warmer tonesand a lesser green cast for face and key light.502 Half New Colour BlueA lighter correction in the NCB series.503 Quarter New Colour BlueThe lightest correction in the NCB series.504 Waterfront GreenDesigned for period key light and modernurban horizons.20* Also available in High Temperature (HT) version

David Whitehead709 Electric LilacProvides good colour rendering which creates asharp edge, adding a touch of drama.767 Oklahoma YellowA rich blend of bright sunshine and warm ochreovertones.794 Pretty ‘n PinkCreates warm and soft effects.795 Magical MagentaRich mixture of red and pinks.Kate Wilkins723 Virgin BlueThis is a pure blue, not too green and not toolavender, yet still feels warm for a blue with anearly morning feel.747 Easy WhitePrimarily developed for fluorescents to ensurewarm, comfortable light and flattering skin tones.Patrick Woodroffe* 715 Cabana BlueA deep blue that still has enough transmission towork encouragingly well on television.793 Vanity FairA rich glamorous pink, good for use on specialoccasions.* 778 Millennium GoldUseful for lighting architecture: it produces a richamber when used on a tungsten source, or a muchcooler effect when used on a HMI lamp.21

quick rolls and lighting packsquick rollsYour high volume solutionQuick Rolls enable you to have a roll of any colour in any width, saving you bothtime and money. The Quick Roll is pre-cut to your chosen width, so the gel is readyto frame in just one cut, putting an end to waste on the cutting room floor.Quick Rolls are sold by the width in inches (2.54cm) up to a maximum width of46” (1.17m) and all rolls are 25’ (7.62m) long.An average cost saving of between 20-30% can be obtained using Quick Rollscompared to buying individual sheets.HT Quick Rolls are availableas a special order.lighting packsEssential Toolkits for Lighting Control22Everything you need to controlcommon lighting conditions.Each pack contains a selectassortment of 300mm x 300mm(12”x12”) precut sheets of LEElighting filter. A rugged vinyl pouchis ideal for portable storage.Colour Effects Pack – Colour thebackdrop or draw focus with colour.(12 sheets)No. Name106 Primary Red139 Primary Green119 Dark Blue010 Medium Yellow790 Moroccan Pink181 Congo BlueCosmetic Pack – Enhance skin toneby combining pale tints with subtlediffusion. (12 sheets)No. Name184 Cosmetic Peach187 Cosmetic Rouge188 Cosmetic Highlight186 Cosmetic Silver Rose775 Soft Amber Key 2791 Moroccan FrostDiffusion Pack – Soften shadows,adjust contrast, shape light. (12 sheets)No. Name216 Full White Diffusion250 1/2 White Diffusion251 1/4 White Diffusion400 LEELux410 Opal Frost253 Hampshire Frostx2eachx2eachx2eachDaylight to Tungsten Pack – Convertdaylight sources to tungsten.(12 sheets)No. Name204 Full CTO285 3/4 CTO205 1/2 CTO206 1/4 CTO223 1/8 CTO208 Full CTO + .6ND ComboTungsten to Daylight Pack – Converttungsten light sources to daylight.(12 sheets)No. Name200 Double CTB201 Full CTB202 1/2 CTB203 1/4 CTB218 1/8 CTB720 Durham Daylight Frost.Quick Location Pack – A variety ofcolour corrections, effect,and light shaping tools to controlcommon lighting conditions. (24 sheets)No. Name201 Full CTB202 1/2 CTB204 Full CTO205 1/2 CTO216 Full White Diffusion250 1/2 White Diffusion210 .6 ND106 Primary Red181 Congo Blue738 JAS Green187 Cosmetic Rouge188 Cosmetic Highlight791 Moroccan Frost775 Soft Amber Key 2720 Durham Daylight Frost270 LEE Scrim280 Black Foilx2eachx2eachx2eachx1eachMaster Location Pack – Our largestvariety of colour corrections, effect,and light shaping tools to provide thecontrol you need to master anylighting condition. (36 sheets)No. Name200 Double CTB201 Full CTB202 1/2 CTB203 1/4 CTB204 Full CTO205 1/2 CTO206 1/4 CTO216 Full White Diffusion250 1/2 White Diffusion251 1/4 White Diffusion210 .6 ND106 Primary Red126 Mauve181 Congo Blue738 JAS Green187 Cosmetic Rouge188 Cosmetic Highlight791 Moroccan Frost775 Soft Amber Key 2720 Blue Durham Frost244 Plus Green245 1/2 Plus Green219 Fluorescent Green270 LEE Scrim280 Black Foilx2eachx1each

music packsThese convenient, pre-cut 250mmx 250mm (10”x10”) sheets of LEEpolyester filters come completewith instructions on how to usecolour to enhance the mood ofyour music. They are perfect foruse in small night clubs and arepackaged in six different sets.DJ Pack 1No. Name015 Deep Straw020 Medium Amber024 Scarlet026 Bright Red048 Rose Purple068 Sky Blue116 Medium Blue-Green181 Congo Blue323 Jade325 Mallard Green328 Follies Pink343 Special Medium Lavenderx1eachDJ Pack 2No. Name027 Medium Red089 Moss Green105 Orange113 Magenta141 Bright Blue180 Dark Lavender197 Alice Blue328 Follies Pink735 Velvet Green744 Dirty White781 Terry Red797 Deep PurpleInspiration Pack 1No. Name009 Pale Amber Gold058 Lavender143 Pale Navy Blue195 Zenith Bluecolour magic packsx1eachx3eachInspiration Pack 2No. Name063 Pale Blue106 Primary Red735 Velvet Green764 Sun Colour StrawRock n’ Roll Pack 1No. Name116 Medium Blue-Green128 Bright Pink158 Deep Orange181 Congo BlueRock n’ Roll Pack 2No. Name048 Rose Purple132 Medium Blue327 Forest Green341 Plumx3eachx3eachx3eachThe LEE Filters Colour Magicseries is a set of eight individualpacks each containing a selectionof 12 filters 250mm x 300mm (10”x 12”) that relate to a particularaspect of lighting and studio work.Colour Magic offers an opportunityto get to know the performance ofthe various filters on offer in a costeffective way.Studio Pack – a range of technicalfilters for basic light source controlNo. Name201 Full CTB281 Three Quarters CTB204 Full CTO285 Three Quarters CTO298 0.15 Neutral Density209 0.3 Neutral Density210 0.6 Neutral Density211 0.9 Neutral Densityx2eachx1eachStudio Plus Pack – a range of technicalfilters for fine control of light sourcesNo. Name202 Half CTB203 Quarter CTB218 Eighth CTB205 Half CTO206 Quarter CTO223 Eighth CTOx2eachOriginal Pack – create 50 colours from 12No. Name101 Yellow116 Medium Blue Green118 Light Blue122 Fern Green126 Mauvex1128 Bright Pinkeach129 Heavy Frost144 No Colour Blue179 Chrome Orange180 Dark Lavender192 Flesh Pink228 Brushed SilkComplementary Pack – a starter packfor exploring the basics of colouraddition and subtractionNo. Name164 Flame Red124 Dark Green119 Dark Blue176 Loving Amber174 Dark Steel Blue138 Pale Green101 Yellow115 Peacock Blue128 Bright Pink007 Pale Yellow117 Steel Blue035 Light Pinkx1eachTint Pack – lighting filters whichcomplement the original Colour Magicpack to create alternative shadesNo. Name002 Rose Pink048 Rose Purple088 Lime Green100 Spring Yellow108 English Rose131 Marine Blue157 Pink164 Flame Red174 Dark Steel Blue228 Brushed Silk250 Half White Diffusion344 Violetx1eachSaturates Pack – a selection of strongand vibrant colours for more intensecolour combinationsNo. Name027 Medium Red101 Yellow105 Orange116 Medium Blue Green120 Deep Blue126 Mauve129 Heavy Frost135 Deep Golden Amber139 Primary Green181 Congo Blue182 Light Red332 Special Rose Pinkx1eachLight Tint Pack – paler shades to givemore subtle effects and to filter whitelight from the lampNo. Name003 Lavender Tint007 Pale Yellow009 Pale Amber Gold035 Light Pink061 Mist Blue063 Pale Blue103 Straw154 Pale Rose162 Bastard Amber169 Lilac Tint213 White Flame Green255 Hollywood Frostx1eachArc Correction Pack – a selection oftechnical filters for colour correctionNo. Name205 Half CTO206 Quarter CTO219 LEE Fluorescent Green241 LEE Fluorescent 5700K242 LEE Fluorescent 4300K243 LEE Fluorescent 3600K244 Full Plus Green245 Half Plus Greenx2eachx1eachx2each23

the sciencebehind the artLightLight is energy that travels in wave form. The humaneye responds to certain wavelengths and these makeup the visible spectrum. Wavelengths outside thisspectrum are invisible to us, such as infra red, ultraviolet and X-ray.Sir Isaac Newton showed that by shining white lightthrough a glass prism it could be separated back intoits different wavelengths.Most artificial light sources do not actually producewhite light. For example, incandescent sources suchas tungsten generate light which has more energy atthe red end of the spectrum, whereas a fluorescentsource often has spikes of energy mainly in the blueand green region. Filters can be used to correctthese differences and make one light source appearlike another.Each wavelength within the visible spectrum isrecognised by our eyes as providing a particularcolour sensation, the diagram below clearly indicatesthe visible colours and their corresponding wavelengths.White light consists of all of the visible wavelengths,present in equal amounts.Ultra-Violet400 500 600 700Wavelength - NanometresInfra-RedBy using filters to selectively reduce the level oflight at certain wavelengths we can create colouredlight to meet our individual requirements, whethertechnical or aesthetic.In order to record and communicate colouraccurately, you either need to create a physicalexample of that colour that will never fade or becomedamaged, or use a mathematical model. A modeluses numbers to describe different attributes of acertain colour, these being HUE, SATURATION andLIGHTNESS. The HUE describes the physical colour- red, yellow, green etc. SATURATION is a perceptionof how strong the hue of the colour is represented inthe sample. The lightness (or darkness) of acolour is perceived, when a comparison made to asimilar area that is not coloured, but lit with the samestrength of illumination.As there are three attributes to a colour, the numbersassociated with them in a mathematical model can bethought of as a position in a three dimensional shape,this shape is called a colour space.The particular colour space used by LEE Filterstechnicians was devised in 1931 by the CommissionInternational Eclairage (CIE ) and is one of the manyinternationally recognised standard colour spaces.24

The HUE and SATURATION of any colour can berepresented by its position on a chromaticity diagram,as seen below. The diagram contains all visiblecolours, and all possible densities of these colours, ina two dimensional configuration. Pale colours in thecentre and saturated versions of those same coloursat the edges. A colour’s position on this diagram willbe represented by its Chromaticity Co-ordinates.The Y% figure is representative of overall averagetransmission of that filter, as perceived by the humaneye. The Y value is actually one of the TRISTIMULUSVALUES, a set of values unique to each colour,that are calculated mathematically from the datacontained in the SPD graph.The absorption (abs) of a filter is calculated fromthe Y% value, and is another way of expressing thelight stopping properties of that filter. Abs is a linearscale, so values can be added or subtracted moreeasily than using Y%.Y% abs50 0.3 (1 Stop)25 0.6 (2 Stop)12.5 0.9 (3 Stop)How to use this brochure.The technical information contained in this brochureis designed to help you choose the correct colour foryour requirements in a number of different ways.The spectral power distribution ( SPD ) curvesillustrated in the booklet at the back of this brochure,show the percentage of light at each wavelengthacross the visible spectrum that is passed whenlight is shone through the filter. From this data youcan tell which constituent parts of the source will betransmitted, and which will be reduced.The Chromaticity co-ordinates published foreach colour are measured and calculated usinga theoretical standard light source, and can beplotted on the chromaticity diagram to establish thatparticular colour’s characteristics in relation to allother colours.Choosing filter materialsSince subtractive filters achieve their purpose byabsorbing energy, knowing the expected spectralperformance of a particular filter and in particular, itsoverall Transmission Efficiency Y, can help the userto select the materials used, whether being polyester,high temperature polymer or glass. Each materialhas recommended temperature limits, and our staffare always happy to advise on the best material for aparticular job, and on its durability. The lifetime thatmay be expected from a particular filter in a particularapplication can often be difficult to predict, becauseit depends upon many different factors. We havemany years of experience in lots of different areas,and our staff will readily offer the practical knowledgethat they have gained as to how to prolong thelifetime of any particular filter.72874025

26colour range

Product Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)048 Rose Purple Good for emulating evening. Great backlight. 13.9 0.86 0.288 0.167CL180Cool LED DarkLavenderFor use on cool white LED with C.T.>6000K to produce a dance floorpink, good for cycloramas. Similar to LEE 180 on a tungsten lamp.21.5 0.67 0.301 0.204797* Deep PurpleUsed in musical performances for general colour washes andset lighting.2.3 1.65 0.235 0.065049 Medium Purple A strong cheerful glow, for cycloramas and pantomimes. 4.5 1.35 0.287 0.102CL181Cool LEDCongo BlueFor use on cool white LED with C.T.>6000K to produce soft,romantic, mood lighting. Similar to LEE 181 on a tungsten lamp.1.8 1.74 0.218 0.109126 MauveGood for back lighting.Dark magenta / purple adds drama, mood.4.1 1.38 0.287 0.082798 Chrysalis Pink A new deep lavender with a dash of rose blusher. 3.8 1.43 0.190 0.060701 ProvenceThe colour of the Lavender fields of the South of France. A redderversion of 180 for use on cameras balanced to tungsten sources.9.4 1.03 0.199 0.098345 Fuchsia Pink Musical revue, pantomime, sultry scenes. 15.5 0.81 0.252 0.156703 Cold Lavender Made for front/key lighting perfect together with Lee 152. 20.4 0.69 0.255 0.181052* Light Lavender704 LilyGeneral area side lights. Great for basic followspot colour.Excellent back light.A cool lavender with little red content.Good for romantic evening exteriors.33.0 0.48 0.259 0.21840.0 0.40 0.267 0.221170 Deep Lavender Set lighting - discos - theatres. 25.7 0.59 0.278 0.211136 Pale LavenderPantomime, ballroom sets, enhances dark skin tones infollow spots.43.2 0.36 0.288 0.254169 Lilac Tint Pale lavender. Good for almost white light with a cool tint. 59.5 0.23 0.294 0.281702Special PaleLavenderA cold lavender when used with a full tungsten source, but warmsas the source is dimmed. Good as a fill for slow sunset fades.54.1 0.27 0.281 0.269137SpecialLavenderMoonlight, musical / romantic scenes, enhances skin tones. 26.4 0.58 0.231 0.175344 Violet Dusk effect, good skin tones, romantic effect. 20.0 0.70 0.213 0.175194 Surprise Pink With 193 for musicals. 22.3 0.65 0.240 0.183058* Lavender Excellent backlight. Creates a new dimension. 8.9 1.05 0.212 0.099180 Dark Lavender Pleasing effects for theatrical lighting, backlighting. 6.6 1.18 0.191 0.072343700Special MediumLavenderPerfectLavenderTheatre and T.V. effect lighting, backlighting. 6.0 1.22 0.182 0.081Good for backlighting and romantic atmospheres. 4.8 1.32 0.177 0.070181* Congo Blue707* Ultimate VioletLooks like black light when used with a fluorescent source.Great effect colour. Very saturated.Used in musical performances for general colour washesand set lighting.0.8 2.10 0.158 0.0352.0 1.69 0.170 0.042706King FalsLavenderA cold lavender. 5.5 1.26 0.186 0.091508 Midnight MayaA rich, sultry blue. Like Congo Blue, but allowing greater lighttransmission so more maintenance friendly - fewer gel changes.3.0 1.53 0.164 0.061799Special K.H.Lavender* Also available in High Temperature (HT) versionA deep lavender that brings out the UV. 1.4 1.86 0.158 0.03527

colour rangeProduct Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)071* Tokyo Blue Deep blue, use for midnight scenes, cycloramas. 1.0 2.00 0.151 0.030713* J.Winter Blue709 Electric LilacA very dark blue with a high UV content. Good when used in highconcentrations for a moody and powerful stage colour wash.Provides good colour rendering which creates sharp edges,adding a touch of drama.1.1 1.97 0.148 0.03734.0 0.47 0.238 0.227142 Pale Violet Moonlight, cycloramas, highlighting pot plants. 20.1 0.70 0.209 0.148199 Regal Blue A deep lavender blue, that strongly enhances skin tones. 5.4 1.26 0.161 0.070710Spir SpecialBlueA cool industrial blue. 12.2 0.91 0.180 0.133198 Palace Blue Dark moonlight - romantic evening. 1.7 1.78 0.159 0.066716* Mikkel Blue A romantic blue to produce a night effect. 3.9 1.4 0.146 0.054195* Zenith Blue Moonlight for dark sets, cycloramas. 2.7 1.56 0.142 0.046715* Cabana Blue723 Virgin BlueA deep blue that still has enough transmission to workencouragingly well on television.This is a pure blue, not too green and not too lavender, yet stillfeels warm for a blue with an early morning feel.6.8 1.17 0.152 0.0757.0 1.16 0.158 0.100721* Berry Blue Used in musical performances for rear colour wash, or set lighting. 6.5 1.19 0.147 0.084120* Deep Blue Pleasing effect for theatrical lighting. 2.1 1.68 0.149 0.051363*Special MediumBlueCool moonlight, mood effects. 4.2 1.37 0.141 0.070085* Deeper Blue Deep warm blue. Good for back and side lighting. 2.5 1.60 0.143 0.065119* Dark BlueGood for mood effects created by backlight and sidelight.Creates great contrast.3.1 1.51 0.142 0.054714 Elysian Blue A new deeper version of Alice blue. 6.8 1.17 0.151 0.097079* Just Blue Good colour mixing blue. Great for cyclorama lighting. 5.6 1.25 0.145 0.072722 Bray Blue A purer blue with very little red in it. 5.2 1.28 0.139 0.086075 Evening Blue Good for night scenes, romantic moonlight. 12.5 0.90 0.158 0.117525 Argent BlueGreat for a foreboding cold winter’s night, but allows enoughlight transmission to be useful for general illluminance too.17.1 0.77 0.171 0.143197* Alice Blue Great for cyclorama lighting. Deep blue skies. 10.4 0.98 0.164 0.118712 Bedford Blue A smoky warm blue. Good for skin tones. 17.9 0.75 0.183 0.158200 Double CTB Converts tungsten to daylight. 16.2 0.79 0.179 0.155719Colour WashBlueTo allow low intensity tungsten to hold a cold/blue feel. 19.3 0.71 0.188 0.171366 Cornflower Seasonal mood lighting, pale moonlight. 17.7 0.75 0.193 0.190711 Cold BlueTo give a cold/grey H.M.I. effect from a tungsten source. Willalso help blend when using both tungsten and HMI sources.14.4 0.84 0.223 0.19828500Double NewColour Blue* Also available in High Temperature (HT) versionThe strongest of the New Colour Blue (NCB) series for dramatic‘white’ face and key light where warmer tones than CTB are required.23.3 0.63 0.200 0.187

Product Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)501New Colour Blue(Robertson Blue)An alternative to the CTB series with warmer tones and a lessergreen cast for face and key light.43.4 0.36 0.246 0.249708 Cool Lavender600ArcticWhite601 Silver602 Platinum603MoonlightWhiteFor use as a warmer tint without turning yellow and to recreatethe colour of fluorescent lighting.A bright, brilliant blue-grey light at 100%. It does not warm up asit dims and is not affected by amber drift. Useful as a backlightor for special effects.A silver-grey light at full power, dims through lavender-grey thenwarm brown-grey. Good for creating a sense of intense darknesson stage whilst still being useful.At full power produces dazzling grey light with slight red bias,when dimmed warms up quickly to a useful brown. Good foreffect lighting as well as a cold, white sidelight.A pleasant white light at full power, dims down to a warm colourand at low intensities has more yellow than red content. Good forsunlight effect as if through stormy clouds reflecting off of the ocean.43.4 0.36 0.257 0.2609.5 1.02 0.230 0.2239.0 1.04 0.244 0.24815.3 0.82 0.261 0.26728.3 0.55 0.268 0.271053* Paler Lavender Subtle cool wash. 62.2 0.21 0.284 0.284502503Half New ColourBlueQuarter NewColour BlueA lighter correction in the NCB series. 61.6 0.21 0.276 0.281The lightest correction in the NCB series. 74.5 0.13 0.293 0.299203 Quarter CTB Converts tungsten to daylight. 69.2 0.16 0.285 0.294061* Mist Blue Night scenes, cool wash. 62.4 0.21 0.268 0.284063* Pale BlueCool front light wash, good for creating an overcast lookfor cold weather.54.4 0.26 0.252 0.270202 Half CTB Converts tungsten to daylight. 54.9 0.26 0.261 0.273281ThreequartersCTBConverts tungsten to daylight. 45.5 0.35 0.239 0.258201 Full CTB Converts tungsten to photographic daylight. 34.0 0.47 0.228 0.233283One and a HalfCTBConverts tungsten to daylight. 24.4 0.61 0.201 0.188174 Dark Steel Blue Set lighting - creates good moonlight shadows. 30.0 0.52 0.204 0.205161 Slate Blue Pure medium blue. Good for skies, moonlight, dusk. 24.8 0.61 0.176 0.176068 Sky Blue Morning skin tones, night sky. Cyclorama lights. 13.4 0.87 0.151 0.128132* Medium Blue Deep moonlight. Great for colour mixing. 8.3 1.08 0.137 0.110165 Daylight Blue Moonlight. 20.0 0.70 0.159 0.158352 Glacier Blue Cold blue, good for cool atmospheric mood setting. 23.4 0.63 0.171 0.190143 Pale Navy Blue Moonlight, cyclorama night effect. 16.2 0.79 0.170 0.205196 True Blue Moonlight. 26.6 0.57 0.175 0.197CL119Cool LEDDark BlueFor use on cool white LED with C.T.>6000K to produce a soft moodyblue, good for blacklighting. Similar to LEE 119 on a tungsten lamp.4.5 1.35 0.120 0.167727 QFD Blue Good for backlighting and swimming pool effect. 6.6 1.18 0.109 0.210141* Bright Blue Very dramatic when used as moonlight. 18.6 0.75 0.129 0.159183 Moonlight Blue Moonlight, cycloramas. 18.7 0.73 0.128 0.16829

colour rangeProduct Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)118* Light Blue Strong night effect. 22.2 0.65 0.149 0.113724 Ocean Blue Useful at low levels of light, dull skies, - moonlight. 36.2 0.44 0.189 0.222144 No Colour Blue Clean blue with hints of green. Good for moonlight and side light. 32.4 0.49 0.183 0.228CL132Cool LEDMedium BlueFor use on cool white LED with C.T. >6000K to produce a mid toneblue good for night scenes. Similar to LEE 132 on a tungsten lamp.11.4 0.94 0.126 0.228725 Old Steel Blue Cool wash, useful for highlights. 56.2 0.24 0.239 0.270117 Steel BlueGood for cool washes. Adds a pale green tint. Great foremulating icy weather on stage.54.7 0.26 0.223 0.278140 Summer Blue Good for light midday sky. Light blue tinted wash. 41.4 0.38 0.201 0.245353 Lighter Blue Daylight effects. 41.0 0.39 0.193 0.246172* Lagoon Blue Floodlit warm wash - underwater scenes - ballet. 25.4 0.60 0.141 0.220354Special SteelBlueCooling blue-green wash for stage and set lighting. 39.2 0.41 0.173 0.265729* Scuba BlueUsed in musical performances for a rear colour wash,or set lighting.8.7 1.06 0.110 0.241116*Medium Blue-GreenPleasing effect for theatrical lighting. 16.5 0.78 0.113 0.280115* Peacock BluePleasing effect on sets, cyclorama cloths, back lighting (e.g. icerinks, galas, etc).35.2 0.46 0.134 0.296131 Marine Blue Romantic moonlight - ballet - underwater scenes. 41.3 0.38 0.199 0.305322 Soft Green Cool green, use for gobo cover, pantomime, cycloramas. 38.3 0.42 0.201 0.364CL118Cool LEDLight BlueFor use on cool white LED with C.T.>6000K to produce a coldspine chilling blue. Similar to LEE 118 on a tungsten lamp.25.8 0.59 0.150 0.316323 Jade Use for underwater scenes, cycloramas, backlighting. 32.0 0.50 0.165 0.367CL115CL116Cool LEDPeacock BlueCool LEDMediumBlue-GreenFor use on cool white LED with C.T. >6000K to produce a fresh,crisp, spearmint colour. Similar to LEE 115 on a tungsten lamp.For use on cool white LED with C.T. >6000K to produce a vibrantturquoise with a green bias. Similar to LEE 116 on a tungsten lamp.34.1 0.47 0.177 0.41617.9 0.75 0.126 0.400325 Mallard Green Good for mood setting, undergrowth. 7.7 1.11 0.112 0.412735 Velvet GreenA beautiful background colour. Victorian melodrama.A night-time green.11.5 0.93 0.103 0.536124* Dark Green Cycloramas - good for back lighting. 29.7 0.53 0.123 0.586327 Forest Green Deep green, sinister forest scenes, cycloramas, backlighting. 4.2 1.38 0.162 0.496219LEE FluorescentGreenGeneral tungsten to fluorescent correction for use when fluorescentcolour temp is unknown, to provide medium correction.31.0 0.51 0.219 0.334241LEE Fluorescent5700 KelvinConverts tungsten to fluorescent light of 5700K(cool white/daylight).27.4 0.56 0.231 0.290728 Steel GreenApproaching storms. Overcast days. Cold steely light.Malevolent moonlight.45.9 0.33 0.256 0.302504WaterfrontGreenDesigned for period key light and modern urban horizons. 58.2 0.24 0.271 0.31730730 Liberty Green A good green for creating mystery and suspense. 67.5 0.17 0.277 0.330* Also available in High Temperature (HT) version

Product Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)242243213246LEE Fluorescent4300 KelvinLEE Fluorescent3600 KelvinWhite FlameGreenQuarter PlusGreenConverts tungsten to fluorescent light of 4300K (white). 37.3 0.43 0.262 0.346Converts tungsten to fluorescent light of 3600K (warm white). 45.7 0.34 0.286 0.370Corrects white flame carbon arcs by absorbing ultra violet. 80.0 0.10 0.317 0.359Approximately equivalent to CC075 green. 84.6 0.07 0.315 0.337731 Dirty Ice A flat green with a fluorescent feel. Sympathetic to skin tones. 63.8 0.20 0.293 0.339733 Damp SquibA dirty green. Reduces warmth but not towards blue.Good for cross lighting.63.6 0.20 0.312 0.351245 Half Plus Green Approximately equivalent to CC15 green. 81.7 0.08 0.319 0.355244 LEE Plus Green Approximately equivalent to CC30 green. 74.2 0.12 0.324 0.388CL117Cool LEDSteel BlueFor use on cool white LED with C.T. >6000K to produce a silverymoonlight wash. Similar to LEE 117 on a tungsten lamp.80.5 0.09 0.334 0.395138 Pale Green Good with gobos for wooded scenes. 79.9 0.10 0.331 0.433088 Lime Green505 Sally Green738* JAS GreenUse with gobos for leafy glades - pantomimes- slightly sinister atmosphere.A fresh, light & airy summer green. ‘Under tree canopy’ lightquality without ‘pantomime countryside’. Subtle enough to lightfaces without having to add too much general cover on top.A rich yellowish green: useful as a concert stage wash wheredarker skin tones, costume and set are a consideration.70.9 0.15 0.356 0.51172.4 0.14 0.370 0.52052.3 0.28 0.315 0.587121* LEE Green Dense foliage, tropical or woodlands effect. 64.0 0.20 0.302 0.534122* Fern Green Cycloramas - good for mood effect. 51.5 0.28 0.234 0.543089* Moss Green Mood creator. Used with gobos, creates a great foliage effect. 29.8 0.53 0.259 0.547139* Primary Green Set lighting, cycloramas. 11.9 0.92 0.196 0.712CL139Cool LEDPrimary GreenFor use on cool white LED with C.T. >6000K to produce a vividprimary green. Similar to LEE 139 on a tungsten lamp13.0 0.89 0.196 0.714090*736Dark YellowGreenTwickenhamGreenHighlighting for forest effects. 10.9 0.96 0.184 0.641A powerful green with depth, for music or light entertainment. 7.2 1.14 0.175 0.740740Aurora BorealisGreenPrimary jungle colour. Removes some red and blue.Works best with Daylight bulbs. Sodium lamp effect.3.7 1.43 0.337 0.617741 Mustard YellowSpooky when used in haze. Removes some red and blue. Worksbest with daylight bulbs. Sodium lamp effect.3.3 1.48 0.506 0.491642Half MustardYellowHalf strength Sodium light effect, designed for use with daylightsources.13.7 0.86 0.500 0.496643Quarter MustardYellowQuarter strength Sodium light effect, designed for use withdaylight sources.31.3 0.50 0.483 0.493650 Industry Sodium Used on tungsten to blend with Sodium light 34.1 0.47 0.397 0.424230746 BrownSuperCorrection LCTYellowConverts yellow carbon arc (of low colour temperature) totungsten.To give a murky, dirty feel to tungsten.A darker, less pink chocolate.41.9 0.38 0.367 0.3681.5 1.82 0.498 0.437653 Lo Sodium Used on tungsten to create a Low Pressure Sodium look. 2.4 1.62 0.540 0.44331

colour rangeProduct Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)511 Bacon Brown742 Bram Brown208 Full CTO +.6NDAn intense and warm deep brown. Designed to recreate thepigment browns used by Francis Bacon in some of his paintings.A dirty brown with green /cool quality. Good for skin tones, dimswell without going too pink.Converts daylight to tungsten 6500K to 3200K and reduces light2 stops.1.6 1.79 0.563 0.40611.5 0.94 0.430 0.42315.6 0.81 0.442 0.394207 Full CTO +.3ND232628Super CorrectionW.F. Green toTungstenThree quarterDigital LED CTOConverts daylight to tungsten 6500K to 3200K and reduces light1 stop.32.5 0.49 0.435 0.386Converts white flame arc to 3200K, for use with tungsten film. 37.4 0.43 0.423 0.385Converts white LED of 5000K to Tungsten of 3200KAllows sources to be blended both visually and for digital imaging.55.4 0.26 0.387 0.369156 Chocolate Warms light and reduces the intensity. 26.4 0.58 0.380 0.363626Seven EighthsDigital LED CTOConverts white LED of 5550K to Tungsten of 3200KAllows sources to be blended both visually and for digital imaging.49.1 0.31 0.402 0.368624622237Full Digital LEDCTOOne and OneEighth DigitalLED CTOCID (toTungsten)Converts white LED of 6200K to Tungsten of 3200KAllows sources to be blended both visually and for digital imaging.Converts white LED of 7000K to Tungsten of 3200KAllows sources to be blended both visually and for digital imaging.44.2 0.35 0.415 0.36641.5 0.38 0.428 0.371Converts CID to 3200K, for use with tungsten film. 38.5 0.41 0.430 0.365747 Easy WhitePrimarily developed for fluorescents to ensure warm, comfortablelight and flattering skin tones.31.1 0.51 0.389 0.344238CSI (toTungsten)Converts CSI to 3200K, for use with tungsten film. 29.8 0.53 0.372 0.331152 Pale Gold Interior lighting to enhance skin tones. 70.7 0.15 0.370 0.332162 Bastard Amber Warm white, warm wash, lamplight. 77.7 0.11 0.348 0.328506 MarleneFlattering skin tone filter without the comedy ‘pink’. Also usefulas Indian summer at dusk / sepia type effect.67.3 0.17 0.358 0.344009*Pale AmberGoldPerfect warm front light for any skin tone. 71.1 0.15 0.376 0.371205 Half CTO Converts daylight to tungsten light. 70.8 0.15 0.374 0.364442 Half CT Straw013* Straw TintConverts 6500K to 4300K - daylight to tungsten light with yellowbias.Warmer than other straw colours. Good sunlight effect whenused in contrast with ambers and blues.71.2 0.15 0.370 0.37872.1 0.14 0.392 0.392764Sun ColourStrawAdds warmth, bright sunlight. 80.5 0.09 0.365 0.380103 Straw Pale sunlight through window effect - warm winter effect. 81.6 0.09 0.336 0.359206 Quarter CTO Converts daylight to tungsten light. 79.1 0.10 0.346 0.340443Quarter CTStrawConverts 6500K to 5100K - daylight to tungsten light withyellow bias.79.8 0.10 0.338 0.349763 Wheat Adds warmth, sunlight. 84.3 0.07 0.343 0.357212 LCT Yellow (Y1) Reduces colour temperature of low carbon arcs to 3200K. 88.7 0.05 0.340 0.363007* Pale Yellow Sunlight. 85.4 0.07 0.339 0.36332765 LEE Yellow Useful for producing a strong sunlight effect. 80.2 0.10 0.389 0.412* Also available in High Temperature (HT) version

colour rangeProduct Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)017 Surprise Peach Skin tones - mood light. 19.6 0.71 0.439 0.372134 Golden AmberGreat for emulating a late in the day sunset. Side lighting,cyclorama lighting.37.8 0.42 0.501 0.371147 Apricot Sunrise, sunset, lamplight. 53.0 0.28 0.446 0.381776 Nectarine Romantic sunset. Period pieces. 52.9 0.27 0.424 0.368773 Cardbox Amber Warm tint for skin tones. 60.2 0.22 0.400 0.351108 English Rose Warm tint wash - dark flesh tones - softer skin tones. 57.1 0.24 0.412 0.352008* Dark Salmon Enhances dark skin tones, sunsets, ballroom sets. 35.4 0.45 0.498 0.347025 Sunset Red Warm stage wash, TV studio wash, sunset effect. 26.4 0.58 0.566 0.359779 Bastard Pink Deep sunset. Useful on dark skin tones. 38.8 0.41 0.501 0.336CL147Cool LedApricotFor use on cool white LED with C.T. >6000K to produce a warmkey light amber. Similar to LEE 147 on a tungsten lamp.27.3 0.56 0.551 0.382158 Deep Orange Fire effect. 29.9 0.52 0.588 0.403021* Gold Amber Great for sunsets, cyclorama lighting and fire effects. 31.3 0.51 0.586 0.396778* Millennium GoldUseful for lighting architecture: it produces a rich amber when used ona tungsten source, or a much cooler effect when used on a HMI lamp.27.3 0.56 0.606 0.382CL105Cool LedOrangeFor use on cool white LED with C.T. >6000K to produce a warmmedium amber. Similar to (LEE 105 on a tungsten lamp).26.4 0.58 0.614 0.385780AS GoldenAmberA strong colour good for backlighting. 25.8 0.59 0.623 0.376022* Dark Amber Backlight. 23.9 0.62 0.647 0.339CL158Cool LedDeep OrangeFor use on cool white LED with C.T. >6000K to produce a sunsetlike glow. Similar to LEE 158 on a tungsten lamp.23.3 0.63 0.631 0.367135Deep GoldenAmberFire effect. 19.5 0.71 0.667 0.326781 Terry Red507 MadgeA strong amber red that works well when used against reds, anddark ambers, in wash combinations, and on cycloramas.Denser, saturated Orange version of L135 avoiding ‘pinky red’.Good for backlight, instruments, part of a sunset palette, andgenerating a party atmosphere.19.1 0.72 0.643 0.34813.6 0.87 0.662 0.337019* Fire Strong red/amber. Good for fire effects. 18.9 0.72 0.664 0.310164 Flame Red Special effects and great for fire effects. 18.0 0.75 0.659 0.302CL164Cool LedFlame RedFor use on cool white LED with C.T.>6000K to produce a dawnburst orange red glow. Similar to LEE 164 on a tungsten lamp.13.6 0.87 0.669 0.317182 Light Red Theatre and television effect lighting, cycloramas. 11.0 0.96 0.670 0.313106 Primary Red Strong red effect, cycloramas. 9.3 1.03 0.699 0.285CL106Cool LedPrimary RedFor use on cool white LED with C.T. >6000K to produce a warmprimary red. Similar to LEE 106 on a tungsten lamp.8.0 1.10 0.697 0.303CL182Cool LedLight RedFor use on cool white LED with C.T.>6000K to produce a saturatedvibrant red, good for cycloramas. Similar to LEE 182 on a tungsten lamp.8.4 1.08 0.696 0.30334789 Blood Red* Also available in High Temperature (HT) versionFor a deep saturated red effect. Used when a strong vivid redeffect is required.1.2 1.91 0.677 0.314

Product Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)787 Marius Red Nice deep full red. Rose leaf colour. 1.0 2.00 0.714 0.283027* Medium RedCyclorama lighting, side lighting, footlights.Good for colour mixing.3.6 1.44 0.712 0.261029 PLASA Red Fire effect, musicals, cycloramas. 5.8 1.24 0.693 0.303026* Bright Red Vibrant red, good for cyclorama lighting. 8.6 1.06 0.712 0.281CL113Cool LEDMagentaFor use on cool white LED with C.T.>6000K to produce a soft pink red,with strong contrasting shadows. Similar to LEE 113 on a tungsten lamp.8.9 1.05 0.672 0.291024* Scarlet Pantomimes, ballroom sets, fire effects. 18.7 0.73 0.561 0.296166 Pale Red Cycloramas. 25.0 0.60 0.532 0.263157 PinkDance sequences (useful for softening white costumes withoutaffecting skin tones).36.4 0.44 0.457 0.272193 Rosy Amber Warm, emotional, romantic. 36.0 0.44 0.473 0.279107 Light Rose Good for general washes. Good for followspots. 48.0 0.32 0.407 0.284109 Light Salmon Interesting backlight. 54.9 0.26 0.391 0.295176 Loving Amber Backlight and general area, great for sunrise, warms skin tones. 50.2 0.30 0.407 0.321790 Moroccan Pink A rich natural pink, good for producing late afternoon sun effects. 58.1 0.24 0.378 0.324004*Medium BastardAmberNaturally enhances skin tones. 64.1 0.19 0.370 0.335151 Gold Tint Pleasing effect for theatrical lighting. 69.4 0.16 0.361 0.321154 Pale Rose Pleasing effect for theatrical lighting, lamplight. 73.4 0.14 0.350 0.318153 Pale Salmon Backlighting in conjunction with white light. 64.9 0.19 0.362 0.303035* Light Pink Musical reviews. Warm wash. 61.3 0.21 0.335 0.289247LEE MinusGreenApproximately equivalent to CC30 magenta. 57.8 0.22 0.325 0.279039 Pink CarnationSoft, cool pastel pink, good for backlighting and generalcolourwash.60.2 0.22 0.320 0.268794 Pretty ‘n Pink Creates warm and soft effects. 46.8 0.33 0.335 0.251110 Middle Rose Pleasing effects for theatrical lighting. 47.5 0.32 0.351 0.249036* Medium Pink Good for general washes. Side lighting. 45.4 0.34 0.360 0.268192 Flesh Pink Musical and pantomime key lighting. 34.9 0.46 0.410 0.237111 Dark Pink Good for cycloramas. 31.9 0.50 0.389 0.215002 Rose Pink Strong pink wash cycloramas 32.7 0.50 0.328 0.202328 Follies Pink Dramatic stage lighting. 21.6 0.67 0.335 0.180795MagicalMagentaRich mixture of red and pinks. 13.1 0.88 0.327 0.13835

colour rangeProduct Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)128 Bright PinkCreated for use as back lighting, side lighting. Good for“specials”. Great for musicals.13.7 0.86 0.401 0.151793 Vanity Fair A rich glamorous pink, good for use on special occasions. 12.0 0.92 0.419 0.170332Special RosePinkPantomimes, light entertainment etc. Strong stage wash. 10.5 0.98 0.465 0.193CL126Cool LEDMauveFor use on cool white LED with C.T. >6000K to produce a boldintense pink. Similar to LEE 126 on a tungsten lamp.5.2 1.28 0.504 0.215148 Bright Rose Fire effects, musicals. 14.4 0.84 0.482 0.238046* Dark Magenta Very strong pink, good for back lighting. 6.0 1.22 0.572 0.223113 Magenta Very strong - used carefully for small areas on set. 10.9 0.96 0.563 0.217CL128Cool LEDBright PinkFor use on cool white LED with C.T.>6000K to produce a neon pinkgood for musicals / pantos. Similar to LEE 128 on a tungsten lamp.12.2 0.91 0.570 0.263127 Smokey Pink Cycloramas - set lighting, discos. 12.0 0.92 0.397 0.265748 Seedy Pink A smoky pink. Good for tungsten on skin tones. 14.4 0.84 0.373 0.263341 Plum Romantic, atmospheric set lighting. 19.4 0.71 0.309 0.256248249279Half MinusGreenQuarter MinusGreenEighth MinusGreenApproximately equivalent to CC15 magenta. 72.0 0.14 0.317 0.297Approximately equivalent to CC075 magenta. 82.4 0.08 0.312 0.307Provides very slight magenta correction. 86.5 0.06 0.312 0.311003 Lavender Tint Subtle cool wash for stage and studio lighting. 75.7 0.12 0.303 0.300218 Eighth CTB Converts tungsten to daylight. 81.3 0.09 0.299 0.307278159Eighth PlusGreenNo ColourStrawProvides very slight green cast. 87.7 0.06 0.313 0.327Warm effect, sunlight. 89.4 0.05 0.325 0.337223 Eighth CTO Converts daylight to tungsten light. 85.2 0.07 0.328 0.332444 Eighth CT StrawConverts 6500K to 5700K - daylight to tungsten light withyellow bias.83.1 0.08 0.323 0.332226 LEE UV Transmission of less than 50% at 410nms. 91.5 0.04 0.314 0.321130 Clear Used in animation and projection work. 95.0 0.02 0.311 0.31736* Also available in High Temperature (HT) version

ProductEffect/Colourcoloured frostsTransmission Absorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)791 # Moroccan Smoothes PAR or flood washes of large areas. Useful for 57.2 0.24 0.376 0.322Frosthouselights; good for interior colour washes.749 # Hampshire Combines flesh tone warmer 154 with some Hampshire Frost. 74.0 0.13 0.339 0.318Rose774 Soft Amber Used for producing a warm key light colour. 70.6 0.15 0.366 0.348Key 1775 Soft Amber Used for producing a warm key light colour. 58.4 0.23 0.409 0.363Key 2705 # Lily Frost Smoothes PAR or flood washes of large areas. Useful for 38.5 0.42 0.264 0.217houselights; a good colour wash for evening events.720 # Durham Smoothes PAR or flood washes of large areas. Useful for 32.3 0.49 0.216 0.209Daylight Frost houselights; good for entrances from natural light.717 # Shanklin Frost 201 with frost to soften the beam of profile units. 37.6 0.43 0.227 0.225718 # Half 202 with frost to soften the beam of profile units. 56.3 0.25 0.263 0.270Shanklin Frost221 Blue Frost Used for soft light effects with the addition of 218. 42.0 0.38 0.312 0.316217 # Blue Diffusion As White Diffusion but with the addition of 218. 36.0 0.44 0.312 0.317224 # Daylight Blue Used for soft light effects with the addition of 22.6 0.65 0.235 0.219Frost tungsten correction 201.225 # Neutral Used for soft light effects with the addition of 25.0 0.60 0.318 0.326Density Frost 0.6 Neutral Density.# Non-Flame Retardant productcosmetic rangeProductEffect/ColourTransmissionY%Absorption Chromaticity Co-ordinatesxy186 Cosmetic Silver Pale tints complementary to key lighting. 59.7 0.22 0.323 0.308Rose185 Cosmetic Pale tints complementary to key lighting. 57.7 0.24 0.324 0.319Burgundy187 Cosmetic Rouge Pale tints complementary to key lighting. 58.8 0.23 0.336 0.328188 Cosmetic Pale tints complementary to key lighting. 66.3 0.18 0.330 0.327Highlight184 Cosmetic Peach Pale tints complementary to key lighting. 58.6 0.23 0.328 0.328189 Cosmetic Silver Pale tints complementary to key lighting. 71.7 0.15 0.327 0.347Moss190 Cosmetic Pale tints complementary to key lighting. 67.1 0.17 0.307 0.327Emerald191 Cosmetic Aqua Pale tints complementary to key lighting. 65.8 0.18 0.300 0.318Blue37

numerical listing002 ROSE PINK003 LAVENDER TINT004* MEDIUM BASTARD AMBER007* PALE YELLOW008* DARK SALMON009* PALE AMBER GOLD010* MEDIUM YELLOW013* STRAW TINT015* DEEP STRAW017 SURPRISE PEACH019* FIRE020* MEDIUM AMBER021* GOLD AMBER022* DARK AMBER024* SCARLET025 SUNSET RED026* BRIGHT RED027* MEDIUM RED029 PLASA RED035* LIGHT PINK036* MEDIUM PINK039 PINK CARNATION046* DARK MAGENTA048 ROSE PURPLE049 MEDIUM PURPLE052* LIGHT LAVENDER053* PALER LAVENDER058* LAVENDER061* MIST BLUE063* PALE BLUE068 SKY BLUE071* TOKYO BLUE075 EVENING BLUE079* JUST BLUE085* DEEPER BLUE088 LIME GREEN089* MOSS GREEN090* DARK YELLOW GREEN100 SPRING YELLOW101 YELLOW102 LIGHT AMBER103 STRAW104 DEEP AMBER105 ORANGE106 PRIMARY RED107 LIGHT ROSE108 ENGLISH ROSE109 LIGHT SALMON110 MIDDLE ROSE111 DARK PINK113 MAGENTA115* PEACOCK BLUE116* MEDIUM BLUE-GREEN117 STEEL BLUE118* LIGHT BLUE119* DARK BLUE120* DEEP BLUE121* LEE GREEN122* FERN GREEN124* DARK GREEN126 MAUVE127 SMOKEY PINK128 BRIGHT PINK129 HEAVY FROST130 CLEAR131 MARINE BLUE132* MEDIUM BLUE134 GOLDEN AMBER135 DEEP GOLDEN AMBER136 PALE LAVENDER137 SPECIAL LAVENDER138 PALE GREEN139* PRIMARY GREEN140 SUMMER BLUE141* BRIGHT BLUE142 PALE VIOLET143 PALE NAVY BLUE144 NO COLOUR BLUE147 APRICOT148 BRIGHT ROSE151 GOLD TINT152 PALE GOLD153 PALE SALMON154 PALE ROSE156 CHOCOLATE157 PINK158 DEEP ORANGE159 NO COLOUR STRAW161 SLATE BLUE162 BASTARD AMBER164 FLAME RED165 DAYLIGHT BLUE166 PALE RED169 LILAC TINT170 DEEP LAVENDER172* LAGOON BLUE174 DARK STEEL BLUE176 LOVING AMBER179 CHROME ORANGE180 DARK LAVENDER181* CONGO BLUE182 LIGHT RED183 MOONLIGHT BLUE184 COSMETIC PEACH185 COSMETIC BURGUNDY186 COSMETIC SILVER ROSE187 COSMETIC ROUGE188 COSMETIC HIGHLIGHT189 COSMETIC SILVER MOSS190 COSMETIC EMERALD191 COSMETIC AQUA BLUE192 FLESH PINK193 ROSY AMBER194 SURPRISE PINK195* ZENITH BLUE196 TRUE BLUE197* ALICE BLUE198 PALACE BLUE199 REGAL BLUE200 DOUBLE CT BLUE201 FULL CT BLUE202 1/2 CT BLUE203 1/4 CT BLUE204 FULL CT ORANGE205 1/2 CT ORANGE206 1/4 CT ORANGE207 FULL CT ORANGE +.3 NEUTRAL DENSITY208 FULL CT ORANGE +.6 NEUTRAL DENSITY209 .3 NEUTRAL DENSITY210 .6 NEUTRAL DENSITY211 .9 NEUTRAL DENSITY212 LCT YELLOW213 WHITE FLAME GREEN214 FULL TOUGH SPUN215 1/2 TOUGH SPUN216 WHITE DIFFUSION217 BLUE DIFFUSION218 1/8 CT BLUE219 LEE FLUORESCENT GREEN220 WHITE FROST221 BLUE FROST223 1/8 CT Orange224 DAYLIGHT BLUE FROST225 LEE N.D. FROST226 LEE U.V.228 BRUSHED SILK229 1/4 TOUGH SPUN230 SUPER CORRECTIONLCT YELLOW232 SUPER WHITEFLAME GREEN236 H.M.I (TO TUNGSTEN)237 C.I.D. (TO TUNGSTEN)238 C.S.I. (TO TUNGSTEN)239 POLARISER241 LEE FLUORESCENT 5700 K242 LEE FLUORESCENT 4300 K243 LEE FLUORESCENT 3600 K244 LEE PLUS GREEN245 1/2 PLUS GREEN246 1/4 PLUS GREEN247 LEE MINUS GREEN248 1/2 MINUS GREEN249 1/4 MINUS GREEN250 1/2 WHITE DIFFUSION251 1/4 WHITE DIFFUSION252 1/8 WHITE DIFFUSION253 HAMPSHIRE FROST254** NEW HAMPSHIRE FROST255 HOLLYWOOD FROST256 1/2 HAMPSHIRE FROST257 1/4 HAMPSHIRE FROST258 1/8 HAMPSHIRE FROST261 TOUGH SPUN FR - FULL262 TOUGH SPUN FR - 3/4263 TOUGH SPUN FR - 1/2264 TOUGH SPUN FR - 3/8265 TOUGH SPUN FR - 1/4269 LEE HEAT SHIELD270 LEE SCRIM271 MIRROR SILVER272 SOFT GOLD REFLECTOR10679314238*Also available in High Temperature (HT) version**254 available in High Temperature (HT) version only

653273 SOFT SILVER REFLECTOR274 MIRROR GOLD275 BLACK SCRIM278 1/8 PLUS GREEN279 1/8 MINUS GREEN280 BLACK FOIL281 3/4 CT BLUE283 1 1/2 CT Blue285 3/4 CT ORANGE286 1 1/2 CT Orange287 Double CT Orange298 .15 NEUTRAL DENSITY299 1.2 NEUTRAL DENSITY322 SOFT GREEN323 JADE325 MALLARD GREEN327 FOREST GREEN328 FOLLIES PINK332 SPECIAL ROSE PINK341 PLUM343 SPECIAL MEDIUMLAVENDER344 VIOLET345 FUCHSIA PINK352 GLACIER BLUE353 LIGHTER BLUE354 SPECIAL STEEL BLUE363* SPECIAL MEDIUM BLUE366 CORNFLOWER400 LEELUX402 soft frost404 Half Soft frost410 OPAL FROST414 Highlight414P perforated Highlight416 3/4 WHITE DIFFUSION420 LIGHT OPAL FROST429 Quiet frost430 GRID CLOTH432 LIGHT GRID CLOTH434 1/4 GRID CLOTH439 Heavy Quiet Frost439P perforated Heavy Quiet Frost441 FULL CT STRAW442 1/2 CT STRAW443 1/4 CT STRAW444 1/8 CT STRAW450 3/8 WHITE DIFFUSION452 1/16 WHITE DIFFUSION460 QUIET GRID CLOTH462 QUIET LIGHT GRID CLOTH464 QUIET 1/4 GRID CLOTH500 Double New Colour Blue501 New Colour Blue(Robertson Blue)502 Half New Colour Blue503 Quarter New Colour Blue504 Waterfront Green505 Sally Green506 Marlene507 Madge508 Midnight Maya511 Bacon Brown512 AMBER DELIGHT513 ICE AND A SLICE514 DOUBLE G & T525 Argent Blue550 ALD Gold600 ARCTIC WHITE601 SILVER602 PLATINUM603 MOONLIGHT WHITE604 Full CT Eight Five622 One and Eighth DigitalLED CTO624 Full Digital LED CTO626 Seven Eighths Digital LED CTO628 Three quarter DigitalLED CTO642 Half Mustard Yellow643 Quarter MUSTARD YELLOW650 INDUSTRY SODIUM651 HI SODIUM652 URBAN SODIUM653 LO SODIUM700 Perfect Lavender701 PROVENCE702 SPECIAL PALE LAVENDER703 Cold Lavender704 LILY705 LILY FROST706 King Fals Lavender707* ULTIMATE VIOLET708 COOL LAVENDER709 ELECTRIC LILAC710 Spir Special Blue711 COLD BLUE712 BEDFORD BLUE713* J.WINTER BLUE714 ELYSIAN BLUE715* CABANA BLUE716* MIKKEL BLUE717 SHANKLIN FROST718 HALF SHANKLIN FROST719 COLOUR WASH BLUE720 DURHAM DAYLIGHT FROST721* BERRY BLUE722 BRAY BLUE723 VIRGIN BLUE724 OCEAN BLUE725 OLD STEEL BLUE727 QFD Blue728 STEEL GREEN729* SCUBA BLUE730 LIBERTY GREEN731 Dirty Ice733 Damp Squib735 VELVET GREEN736 TWICKENHAM GREEN738* JAS GREEN740 Aurora Borealis Green741 Mustard Yellow742 Bram Brown744 DIRTY WHITE746 BROWN747 EASY WHITE748 SEEDY PINK749 HAMPSHIRE ROSE750 DURHAM FROST763 WHEAT764 SUN COLOUR STRAW765 LEE YELLOW767 OKLAHOMA YELLOW768 Egg Yolk Yellow770 BURNT YELLOW773 Cardbox Amber774 SOFT AMBER KEY 1775 SOFT AMBER KEY 2776 NECTARINE777 RUST778* MILLENNIUM GOLD779 BASTARD PINK780 AS Golden Amber781 TERRY RED787 Marius Red789 BLOOD RED790 MOROCCAN PINK791 MOROCCAN FROST793 VANITY FAIR794 PRETTY ‘N PINK795 MAGICAL MAGENTA797* DEEP PURPLE798 CHRYSALIS PINK799 Special KH LavenderCL104 COOL LED DEEP AMBERCL105 COOL LED ORANGECL106 COOL LED PRIMARY REDCL113 COOL LED MAGENTACL115 COOL LED PEACOCK BLUECL116 COOL LED MEDIUM BLUE-GREENCL117 COOL LED STEEL BLUECL118 COOL LED LIGHT BLUECL119 COOL LED DARK BLUECL126 COOL LED MAUVECL128 COOL LED BRIGHT PINKCL132 COOL LED MEDIUM BLUECL139 COOL LED PRIMARY GREENCL147 COOL LED APRICOTCL158 COOL LED DEEP ORANGECL164 COOL LED FLAME REDCL180 COOL LED DARK LAVENDERCL181 COOL LED CONGO BLUECL182 COOL LED LIGHT REDA204A205A207A208A209A210A211Full CTOHalf CTOFull CTO + .3NDFull CTO + .6ND.3ND.6ND.9ND13264272839

technicalfilters238748The LEE range of technical filters has been developed toaccurately convert and manipulate light sources with a highdegree of accuracy for technical situations. A full rangeof daylight, tungsten and fluorescent conversions, neutraldensities, diffusers, reflectors and scrims, are all available in avariety of sizes and materials to suit the required job.A touch of art, a lot of science.Conversion Chart 41Conversion Filters 42Correction Filters 44Acrylic Panels 46Reflection Media 46Protection Media 47Diffusion Media 48In addition to our broad range oflighting filter, we also produce thehighest quality camera filters in bothresin and polyester.40

How to useSimply draw a line from the Colour Temperature value of your Original Light Source, to that of therequired Source. Where the line crosses the central band, read off the Mired Shift value. For yourconvenience we have added both our Lighting and Camera Filters at their appropriate positions inrelation to the Mired Shift Scale. The Lighting Filters are positioned on the left of the Mired ShiftScale, whilst the Camera Filters are on the right.Example 1 (Lighting Filter)To convert an original source of 6500K to 3200K. The line has been drawn as an example. Youwill note that it crosses the central band at just over +150 Mired Shift. This indicates that the Filterrequired is 204 Full CTO (also available with two degrees of Neutral Density).Original SourceClear Blue Sky1000090008000KelvinLighting Filter+mired shift+400+350conversion chartExample 2 (Lighting Filter)To convert an original source of 2500K to 3200K. You will note that the line crosses the central bandat -90 Mired Shift. In this example the nearest filter is a 202 Half CTB with a Mired Shift of -78.To achieve the desired mired shift of -90 a combination of two filters can be used. 202 Half CTB( -78 Mired Shift) and 218 Eighth CTB (-18 Mired Shift). Combining these two filters together willgive a total Mired Shift of -96 (which in most cases would be acceptable).Example 3 (Camera Filter)To convert an original source of 3250K (tungsten light) to 5600k (daylight film) you can see thatthe line crosses the central band at -130 mired shift. This indicates that the camera filter requiredis an 80A (-131 Mired Shift).Camera FilterKelvin2000Converted SourceCandleDaylightCool DaylightFluorescent Tube7000+318(287)Double CTO+300High PressureSodiumElectronic Flash6000Example 1+268(286) One and ahalf CTO+250HMI, CID+234 (14)DaylightFluorescent TubeCarbon ArcHigh PressureMercury Cool WhiteCool WhiteFluorescent TubeCSIWhiteFluorescent TubeHigh PressureMercury WhiteTungsten Lampat 100%Warm WhiteFluorescent TubeTungsten Lampat 80%Household LampTungsten Lampat 65%5000400035003000+160 (441)Full CT Straw+81 (442)Half CT Straw+42 (443)Quarter CT Straw+20 (444)Eighth CT Straw-18 (218)Eighth CTB-35 (203)Quarter CTB-78 (202)Half CTB-112 (281)Three QuartersCTB-137 (201)Full CTB+134 (236)HMI to tungsten+131 (237)CID to tungsten+62 (212) (Y1)L.C.T. to Yellow+49 (238)CSI to tungsten-34 (243)Lee Fluorescent3600 Kelvin-79 (242)Lee Fluorescent4300 Kelvin-137 (241)Lee Fluorescent5700 Kelvin+159 (204)Full CTO(207)Full CTO + 3ND(208)Full CTO + 6ND+124 (285)Three QuartersCTO+109 (205)Half CTO+64 (206)Quarter CTO+26 (228)Eighth CTO+170(622) One andOne Eighth DigitalLED CTO+151(624) Full DigitalLED CTO+132(626) SevenEighths DigitalLED CTO+113 (628)Three quarterDigital LED CTOExample 20-50-100-150+200+150+100+500+131(85B/85BN3/85BN6/85BN9)+112(85/85N3/85N6/85N9)+81(85C)+53(81EF/81EFN3/81EFN6/81EFN9)+42 (81D)+35(81C)+27(81B)+18(81A)+9(81)-10 (82)-21(82A)-32(82B)-45(82C)-56(80D)-81(80C)-112(80B)-131(80A)+137(FL5700-B)+80(FL4300-B)+35(FL3600-B)+6(FL5700-D)-51(FL4300-D)-96(FL3600-D)+219 (13)+204 (12)+188 (11)+173 (10)+159 (9)+144 (8)+129 (7)+113 (6)+99 (5)+83 (4)+69 (3)+54 (2)+39 (1)25003000320035004000Tungsten Lampat 50%Tungsten Lampat 65%Household LampTungsten Lampat 80%Warm WhiteFluorescent TubeTungsten Lampat 100%High PressureMercury WhiteTungsten FilmWhiteFluorescent TubeCSICool WhiteFluorescent TubeHigh PressureMercury Cool WhiteExample 3Carbon ArcTungsten Lampat 50%2500-215 One and ahalf CTB(283)-2005000DaylightFluorescent TubeCID, HMIHigh PressureSodium-274 DoubleCTB.(200)-250-300MIRED SHIFT CALCULATIONTo calculate the Mired (Micro ReciprocalDegree) Shift value for any conversion, carry outthe following simple calculation.1000000 1000000= Mired Shift ValueT2 T1T1 is the colour temperature of the original lightsource in degrees Kelvin.60007000Daylight FilmElectronic FlashCool DaylightFluorescent TubeDaylightCandle2000-350-400_mired shiftT2 is the colour temperature of the required source.NoteThe resulting Mired Shift Value can be negativeas well as positive8000900010000Clear Blue SkyC. T. Straws Arc Correction Daylight ConversionColour Temperature Adjustmentinc Neutral DensityCoralTungsten LightConversionTungsten to FluorescentConversionLED to TungstenConversionFluorescentLight Conversion41

Tungsten to DaylightConversionProduct descriptionKelvin MiredTransmission Absorption Chromaticity Co-ordinatesShift Y%xy(Measured to source C, Correlated Colour Temperature of 6774K)200 Double CTB Converts Tungsten to Daylight.3200K to26000Kapprox-274 16.2 0.79 0.179 0.155283One and aHalf CTBConverts Tungsten to Daylight.3200K to8888K-200 24.4 0.61 0.201 0.188201 Full CTBConverts Tungsten to PhotographicDaylight. Also available as Wide Roll.3200K to5700K-137 34.0 0.47 0.228 0.233281Three quartersCTBConverts Tungsten to Daylight.3200K to5000K-112 45.5 0.35 0.239 0.258202 Half CTB Converts Tungsten to Daylight.203 Quarter CTB Converts Tungsten to Daylight.218 Eighth CTB Converts Tungsten to Daylight.3200K to4300K3200K to3600K3200K to3400K-78 54.9 0.26 0.261 0.273-35 69.2 0.16 0.285 0.294-18 81.3 0.09 0.299 0.307Tungsten to Fluorescent241LEE Fluorescent5700 KelvinConverts Tungsten to Fluorescent light of 5700K(cool white/daylight).27.4 0.56 0.231 0.290242243LEE Fluorescent4300 KelvinLEE Fluorescent3600 KelvinConverts Tungsten to Fluorescent light of 4300K (white). 37.3 0.43 0.262 0.346Converts Tungsten to Fluorescent light of 3600K (warm white). 45.7 0.34 0.286 0.370219LEE FluorescentGreenGeneral Tungsten to Fluorescent correction for use when colourtemperature is unknown.31.0 0.51 0.219 0.334The above correction filters are to be used in conjunction with an appropriate LEE FL-B Fluorescent to Tungsten or LEE FL-D Fluorescent to Daylight camera filter.Daylight to Tungsten287 Double CTO Converts Daylight to Tungsten Light.6500K to2147K+312 40.9 0.39 0.514 0.424286One and aHalf CTOConverts Daylight to Tungsten Light.6500K to2507K+245 48.2 0.32 0.478 0.422204 Full CTO Converts Daylight to Tungsten Light.6500K to3200K+159 55.4 0.26 0.437 0.392207 Full CTO +.3NDConverts Daylight to Tungsten and reduceslight 1 Stop.6500K to3200K+159 32.5 0.49 0.435 0.386208 Full CTO +.6NDConverts Daylight to Tungsten and reduceslight 2 Stops.6500K to3200K+159 15.6 0.81 0.442 0.394285Three quartersCTOConverts Daylight to Tungsten Light.6500K to3600K+124 61.3 0.21 0.400 0.387205 Half CTO Converts Daylight to Tungsten Light.206 Quarter CTO Converts Daylight to Tungsten Light.6500K to3800K6500K to4600K+109 70.8 0.15 0.374 0.364+64 79.1 0.10 0.346 0.34642

Product descriptionKelvin MiredConversionTransmission Absorption Chromaticity Co-ordinatesShift Y%xy(Measured to source C, Correlated Colour Temperature of 6774K)223 Eighth CTO Converts Daylight to Tungsten Light.6500K to5550K+26 85.2 0.07 0.328 0.332604 Full CT Eight FiveConverts daylight to tungsten with a redbias.6500K to3200K+159 55.9 0.25 0.422 0.389441 Full CT StrawConverts Daylight to Tungsten Light withyellow bias.6500K to3200K+160 57.3 0.24 0.426 0.407442 Half CT StrawConverts Daylight to Tungsten Light withyellow bias.6500K to4300K+81 71.2 0.15 0.370 0.378443 Quarter CT StrawConverts Daylight to Tungsten Light withyellow bias.6500K to5100K+42 79.8 0.10 0.338 0.349444 Eighth CT StrawConverts Daylight to Tungsten Light withyellow bias.6500K to5700K+20 83.1 0.08 0.323 0.332LED to Tungsten622One and OneEighth DigitalLED CTOConverts white LED of 7000K to Tungsten of 3200K. Allowssources to be blended both visually and for digital imaging.41.5 0.38 0.428 0.371624Full Digital LEDCTOConverts white LED of 6200K to Tungsten of 3200K. Allowssources to be blended both visually and for digital imaging.44.2 0.35 0.415 0.366626Seven EighthsDigital LED CTOConverts white LED of 5550K to Tungsten of 3200K. Allowssources to be blended both visually and for digital imaging.49.1 0.31 0.402 0.368628Three quarterDigital LED CTOConverts white LED of 5000K to Tungsten of 3200K. Allowssources to be blended both visually and for digital imaging55.4 0.26 0.387 0.369Discharge and Arc to Tungsten236 HMI (to Tungsten) Converts HMI to 3200K, for use with Tungsten film. 58.2 0.24 0.426 0.376237 CID (to Tungsten) Converts CID to 3200K, for use with Tungsten film. 38.5 0.41 0.430 0.365238 CSI (to Tungsten) Converts CSI to 3200K, for use with Tungsten film. 29.8 0.53 0.372 0.331212 LCT Yellow (Y1) Reduces Colour Temperature of low carbon arcs to 3200K 88.7 0.05 0.340 0.363230Super CorrectionLCT YellowConverts Yellow carbon arc (of low colour temperature) toTungsten.41.9 0.38 0.367 0.368232Super CorrectionWhite FlameGreen toTungstenConverts White Flame arc to 3200K, for use with Tungsten film. 37.4 0.43 0.423 0.38543

Neutral DensitycorrectionProduct Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)298 .15ND Reduces light 1/2 Stop, without changing colour. 70.2 0.15 0.311 0.319209 .3ND Reduces light 1 Stop, without changing colour. 50.0 0.30 0.310 0.319210 .6ND Reduces light 2 Stops, without changing colour. 25.0 0.60 0.308 0.317211 .9ND Reduces light 3 Stops, without changing colour. 12.3 0.90 0.310 0.322299 1.2ND Reduces light 4 Stops, without changing colour. 6.3 1.18 0.308 0.315Ultra Violet Absorption226 LEE UV Transmission of less than 50% at 410nms. 91.5 0.04 0.314 0.321213White FlameGreenCorrects White Flame Carbon arcs by absorbing ultra violet 80.0 0.10 0.317 0.359Minus Green - Used on lighting to eliminate unwanted green cast created by discharge light sources on film.247 LEE Minus Green Approximately equivalent to CC30 Magenta camera filter. 57.8 0.22 0.325 0.279248 Half Minus Green Approximately equivalent to CC15 Magenta camera filter. 72.0 0.14 0.317 0.297249279Quarter MinusGreenEighth MinusGreenApproximately equivalent to CC075 Magenta camera filter. 82.4 0.08 0.312 0.307Provides very slight correction. 86.5 0.06 0.312 0.311Plus Green - Used on Daylight and Tungsten light sources to provide green cast when used in conjunction with discharge lighting.244 LEE Plus Green Approximately equivalent to CC30 Green camera filter. 74.2 0.12 0.324 0.388245 Half Plus Green Approximately equivalent to CC15 Green camera filter. 81.7 0.08 0.319 0.355246Quarter PlusGreenApproximately equivalent to CC075 Green camera filter. 84.6 0.07 0.315 0.337278 Eighth Plus Green Provides very slight green cast. 87.7 0.06 0.313 0.327The above correction filters are to be used in conjunction with an appropriate LEE FL-B Fluorescent to Tungsten or LEE FL-D Fluorescent to Daylight camera filter.44

correctionProduct description MiredShiftTransmissionY%AbsorptionStopValueNotePolariser239 Polariser Made from 0.006” (150 micron) Triacetate. Reduces glareand reflection. Use with LEE Polarising Camera Filter.+19 50.0 0.3 138.0 0.42 1 1/33 >10singlesheetAxizuncrossed(doublesheet)Axizcrossed(doublesheet)Urban Effects600 Arctic White601 Silver602 Platinum603 Moonlight White741 Mustard YellowA bright, brilliant blue-grey light at 100%. It does not warm up asit dims and is not affected by amber drift. Useful as a backlight orfor special effects where a whiter light is called for.A silver-grey light at full power, dims through lavender-grey thenwarm brown-grey. Works well with 550 ALD Gold. Good for creatinga sense of intense darkness on stage whilst still being useful.At full power produces dazzling grey light with slight red bias, whendimmed warms up quickly to a useful brown. Good for effect lightingas well as a cold, white sidelight that has some warmth in it.A pleasant white light at full power, dims down to a warm colourand at low intensities has more yellow than red content. Good forsunlight effect as if through stormy clouds reflecting off of the ocean.Spooky when used in haze. Removes some red and blue. Worksbest with daylight bulbs. Sodium lamp effect.TransmissionY%Absorption Chromaticity Co-ordinatesxy9.5 1.02 0.230 0.2239.0 1.04 0.244 0.24815.3 0.82 0.261 0.26728.3 0.55 0.268 0.2713.3 1.48 0.506 0.491642Half MustardYellowHalf strength Sodium light effect, designed for use with daylightsources.13.7 0.86 0.500 0.496643Quarter MustardYellowQuarter strength Sodium light effect, designed for use withdaylight sources.31.3 0.50 0.483 0.493650 Industry Sodium Used on tungsten to blend with Sodium light. 34.1 0.47 0.397 0.424651 Hi Sodium Used on tungsten to create a High Pressure Sodium look. 48.8 0.31 0.444 0.396652 Urban SodiumUsed on tungsten to create the orange glow associated withSodium light.21.9 0.66 0.535 0.399653 Lo Sodium Used on tungsten to create a Low Pressure Sodium look. 2.4 1.62 0.540 0.44345

acrylic panelsThese panels are manufactured specifically for LEE and exhibit thesame degrees of colour accuracy and consistency as our range oflighting filters.Specifically for use over windows for correcting daylight, thesehardwearing panels can be cut to size and installed permanently,or used on location again and again.The panels are available in a range of Colour Temperature Orangesand Neutral Densities, including combinations that are unique toLEE Filters.The panels are available in two sizes:Size Thickness Weight Note2.44m x 1.22m (8’ x 4’) 3mm (1/8”) 9.6kg (21lbs) All panels availablein this size2.44m x 1.52m (8’ x 5’) 3mm (1/8”) 12kg (26.5lbs) Only A204, A209,A210 & A211available in this sizeDaylight to TungstenA204 Full CTO Converts Daylight to Tungsten Light. +175 57.2A205 Half CTO Converts Daylight to Tungsten Light. +90 72.6A207 Full CTO + .3ND Converts Daylight to Tungsten and reduces light 1 Stop. +175 30.2A208 Full CTO + .6ND Converts Daylight to Tungsten and reduces light 2 Stops. +175 13.8Neutral DensityA209 .3ND Reduces light 1 Stop, without changing colour. 0 48.0A210 .6ND Reduces light 2 Stops, without changing colour. 0 22.2A211 .9ND Reduces light 3 Stops, without changing colour. 0 13.1reflection mediaProduct description special noteReflector271 Mirror SilverProduces hard reflection.White backed.Available in 6.10m x 1.52m(20’x60”) rolls273Soft SilverReflectorProduces soft reflection. White backed.Available in 6.10m x 1.52m(20’x60”) rolls274 Mirror Gold Produces hard reflection. White backed. Mired Shift +45.Available in 6.10m x 1.52m(20’x60”) rolls272Soft GoldReflectorProduces soft reflection. White backed. Mired Shift +45.Available in 6.10m x 1.52m(20’x60”) rollsScrim270 LEE Scrim275 Black ScrimPerforated reflector producing a very soft reflection. Silver onone side and black on reverse.A flexible perforated material that is black on both sides. Can beused on windows to reduce light intensity, without causing anyunwanted reflections.Stop value 1 1 /2 when used as afilter, Transmission 36%.Stop value 1 1 /2 when used as afilter, Transmission 36%.46

Heat Shieldprotection mediaProduct Effect/ColourTransmissionAbsorption Chromaticity Co-ordinatesY%xy(Measured to source C, Correlated Colour Temperature of 6774K)269 LEE Heat ShieldA transparent flexible film used to extend the life of a filter. Theshield should be placed between the light source and the filterallowing distance between the shield and the filter. Air should beallowed to circulate freely around the LEE Heat Shield.91.0 0.04 0.311 0.317Foil280 Black FoilUsed to reduce unwanted light spill or to control unwanted lightreflection.Available in two roll sizes 7.62mx 0.61m (25’ x 24”) 15.24m x0.30m (50’ x 12”)47

diffusion mediaProduct descriptionTransmissionY%Non-Flame RetardantPolymer FilmStop valueSpecial Notes216 White Diffusion36 1 1 /2Rolls also availablein 1.52m (60”) width416Three QuarterWhite Diffusion50 1250Half WhiteDiffusion60 3 /4Rolls also availablein 1.52m (60”) width450Three EighthWhite DiffusionUsed for soft light effects. Manufactured on a toughPolyester base in a range of seven strengths.63 2 /3251Quarter WhiteDiffusion80 1 /3Rolls also availablein 1.52m (60”) width252Eighth WhiteDiffusion>85 < 1 /4452Sixteenth WhiteDiffusion>85 < 1 /4400 LEELuxA dense white diffuser used for soft light effects (125micron polyester base).36 1 1 /2Wide Rolls alsoavailable255 Hollywood Frost Light frost effect - softens edges. 83 < 1 /3228 Brushed Silk410 Opal Frost420 Light Opal FrostDirectional soft light effect used for scattering light inone direction only.Used for softening spotlight beam edges without alteringshape (23 micron polyester base).Similar characteristics to Opal Frost, but less diffuse (36micron polyester base).60 3 /471 1 /2>85 < 1 /4258257256Eighth HampshireFrostQuarterHampshire FrostHalf HampshireFrostExtra Light frost effect. >85 < 1 /4Extra Light frost effect. >85 < 1 /4Extra Light frost effect. >85 < 1 /4253 Hampshire Frost Light frost effect. >85 < 1 /4750 Durham FrostA frost that almost completely softens shutter edges andremoves hot spots.>85 < 1 /4720Durham DaylightFrostSmoothes PAR or flood washes of large areas. Useful forhouselights; good for entrances from natural light.32.3 1 2 /3 Full CT Blue717 Shanklin Frost 201 with frost to soften the beam of profile units. 37 1 1 /2 Full CT Blue718Half ShanklinFrost202 with frost to soften the beam of profile units. 56 3 /4 Half CT Blue705 Lily Frost791 Moroccan Frost749 Hampshire RoseSmoothes PAR or flood washes of large areas. Useful forhouselights; a good colour wash for evening events.Smoothes PAR or flood washes of large areas. Usefulfor houselights; good for interior colour washes.Combines flesh tone warmer 154 with some HampshireFrost.38 1 1 /3 Colour = 70457 3 /4 Colour = 79074 1 /2 Colour = 15448

Product descriptionKelvin MiredTransmission Absorption Chromaticity Co-ordinatesxShift Y%y(Measured to source C, Correlated Colour Temperature of 6774K)217 Blue Diffusion As White Diffusion but with the addition of Eighth CTB. 36 1 1 /21 /8 CT Blue224Daylight BlueFrostUsed for soft light effects with the addition of tungstencorrection 201.22 2 1 /4 Full CT Blue225Neutral DensityFrostUsed for soft light effects with the addition of 0.6 NeutralDensity.25 2 .6 Neutral DensityGrid Cloth430 Grid Cloth 18 2 1 /2432 Light Grid ClothA waterproof textile/fabric diffusion that is reinforced30 1 3 /4to allow it to be sewn or grommetted - ideal for434 Quarter Grid Clothattaching to large frames. Comes in three weights.60 3 /4Rolls only1.37m x 7.62m (54”x 25’)460 Quiet Grid Cloth 15 2 3 /4462464Quiet Light GridClothQuiet QuarterGrid ClothA textile/fabric diffusion that is reinforced to allow it tobe sewn or grommetted - ideal for attaching to largeframes, but that is quiet when used in windy conditionsoutdoors. Comes in three weights.22.5 2 1 /447.5 1Rolls only1.37m x 7.62m(54” x 25’)Tough Spun214 Full Tough Spun18 2 1 /2Softens light, reduces intensity.215 Half Tough Spun 36 1Manufactured from non-woven Polyester.1 /2229Quarter ToughSpun60 3 /4Rolls only7.62 x 1.22m(25’ x 48”)Flame RetardantPolymer Film129 Heavy Frost Strong diffuser, eliminates nearly all shadows. 25 2220 White Frost Used for soft light effects. 39 1 1 /3221 Blue Frost Used for soft light effects with the addition of 218. 42 1 1 /3 1/8 CT Blue254New HampshireFrostUsed to soften the edges of spotlight beams, and toreduce the blue fringe.>85 < 1 /4HT only( For sizes see p10-11)774 Soft Amber Key 1 Used for producing a warm key light colour. 71 1 /2775 Soft Amber Key 2 Used for producing a warm key light colour. 58 3 /449

diffusion mediaProduct descriptionTransmissionY%Stop valueSpecial NotesFlexi Frost439 Heavy Quiet Frost402 Soft Frost429 Quiet Frost404 Half Soft Frost414 HighlightA very strong diffuser but pliableto handle, that virtually eliminatesshadows at close distances.A strong diffuser that creates awide field of soft illumination butis very pliable to handle. Diffusioncharacteristics similar to 216, fallsbetween 216 and 129.A strong diffuser that creates a widefield of soft illumination but is thickerthan the 402 product. Diffusioncharacteristics similar to 416.A useful diffuser without too muchlight loss but very pliable to handle.Diffusion characteristics fall between251 and 252.A useful diffuser without too muchlight loss in a thick format. Diffusioncharacteristics similar to 252.Advantages ofthis materialare the largeroll width; lackof noise whenhandled orused in windyconditions;waterproof foruse outdoors,can be sewnor grommettedtogether for useon large frames;flame retardant.1.52m width,6.10m length,(60” x 20’)7.8 3 2 /312.0 318.4 2 1 /236.2 1 1 /239.6 1 1 /3Thickness270 microns(11 thou)Thickness100 microns(4 thou)Thickness325 microns(13 thou)Thickness100 microns(4 thou)Thickness300 microns(12 thou)Perforated Diffusion439P414PPerforated HeavyQuiet FrostPerforatedHighlightA combination of both direct andstrongly diffused light.A combination of both direct andsoft diffused light.1.52m width, 6.10mlength, (60” x 20’) Flameretardant.2 1 /31 1 /3Thickness270 microns(11 thou)Thickness300 microns(12 thou)Tough Spun261Tough Spun FR- Full25 2262Tough Spun FR- 3 /432 1 2 /3263Tough Spun FR- 1 /2Non yellowing flame retardant spun polyester materialin five densities to give better light control.41 1 1 /3Rolls only7.62 x 1.22m(25’ x 4’)264Tough Spun FR- 3 /850 1265Tough Spun FR- 1 /460 3 /450

332thearchitecturalSeries127Building on our experience in film and theatrical lighting,LEE Filters have introduced a range of lighting filter productsspecifically designed for use in the entertainment, leisure andarchitectural industries.74614851

architectural seriesfluorescentSleeves116Get creative with fluorescent lighting! With over 250 colours to choose from, LEEFilters Fluorescent Coloured Sleeves offer the designer more choice than ever forboth interior and exterior lighting projects.Visit www.leefilters.com to view all the latest colours or alternatively phone andrequest a swatch book containing the full colour range.T5 SleevesT8 SleevesT12 SleevesPre-assembled SleevesYou choose the colour and leave the rest to us. Your chosen colour is insertedinto a clear sleeve and delivered ready to install.The sleeves are made from a thermally stable, electrically insulating,polycarbonate. The ends of each sleeve are capped with an end cap; these endcaps fix the sleeve to the fluorescent tube making installation easy. The sleevesare available in standard lengths for T5, T8 and T12 diameter tubes.It is recommended that you contact us if intending to use sleeves on T5 tubes, asyour colour choice and tube wattage will determine if a sleeve is suitable.The sleeves are not recommended for use on high output T5 tubes, as theextreme heat at either end of the tube can cause the filter to discolour.Extend the life ofcoloured insertsby adding LEEUV into a T8 orT12 tube.Coloured Sleevesused withdiffusion create asmooth wallwash.Self-assemblyAlternatively LEE Filters can supply pre-cut “QuickRolls” of your chosen colour along with clearpolycarbonate sleeves enabling self assembly of theinserts and sleeves.The pre-cut “Quick Rolls” are 7.62m (25’) long andare available for T5, T8 and T12 diameter sleeves.Two-tone sleevesThere are a number of different ways you can usecoloured fluorescent sleeves creatively. An effect thatworks particularly well is a two-tone sleeve. This iswhere you have one colour at the front of the sleeveand a contrasting colour at the back. With over 250colours to choose from, the number of differentcolour combinations are endless!Two-tone SleevesNeutral Density filters used influorescent tubes will reducelight where intensity is an issue.10752159

R99theglass series*Dichroic Glass ColoursSpecifically designed to meet the demands of the lighting industry, LEE Filtersdichroic glass filters are produced by the vacuum deposition of layers of thin metalfilms onto a substrate of borofloat glass. The glass is available in a thickness of3.3mm and 1.7mm, and the production process creates spectacularly clear andpure colours. The glass filters will not fade and should withstand temperatures upto 371 o C.Professional ColoursChosen after extensive research among design professionals, the Glass Seriescolour palette provides a range of 39 consistent, repeatable colours. This includessubtle, less saturated tones suitable for architectural use. Building on our expertisein film and theatre lighting, LEE has closely matched the glass series on polyesterlighting filter material to provide a convenient swatch reference book. Availableon request, lighting professionals can use this book to test colour schemes ordemonstrate the effects of different filters.O14R31LEE Filters offer a complete range oflighting filter products specifically designedfor applications such as retail andentertainment, as well as both interior andexterior lighting projects.*Lighting design by lightform llc53

architectural seriestheglass seriesFramed GlassThese lightweight aluminium frames, available both plain and in colour, suit all thepopular lighting fixtures in the entertainment, architectural and theatrical industries. Aninnovative silicone gasket completely surrounds the glass, providing protection fromboth mechanical and thermal shock. A safety mesh can be added where required.Frames from 7.5cm (3”) to 60cm (23.5”) across can be designed in any shape.C47Framed Glass15.8cm (6.25”) Source Four19cm (7.5”) Source Four PAR25.4cm (10”) PAR 64LEE Filters Dichroic Glassis not tempered.V28V10Unframed GlassUnframed filters can be supplied for use in smaller light fittings with integral holders4.99cm (1.96”) MR16 and Par 16 (circular)5cm (2”) squareCustom sizes can be supplied - please askfor a quotationNo. NameR31 Amber Blush 1R50 Red 0R99 Flame 9O01 Sunset 1O08 Sunset 8O14 Peach 4O18 Peach 8O32 Apricot 2O42 Nectarine 2O43 Nectarine 3O59 Orange 9O80 Gold Amber 0O82 Gold Amber 2O89 Gold Amber 9Y02 Wheat 2No. NameG28 Lime 8G96 Jade 6C04 Blue Green 4C45 Turquoise 5C47 Turquoise 7B06 Lagoon 6B14 Steel 4B24 Crystal Blue 4B44 Royal Blue 4B53 Blue 3B64 Navy Blue 4B71 Cornflower 1B93 Congo 3V10 Indigo 0V28 Blueberry 8No. NameV43 Violet 3V67 Rose Purple 7V74 Plum 4V81 Lilac 1V98 Lavender 8M31 Fuchsia 1M56 Magenta 6M63 Carnation Pink 3M91 Salmon 1LD071 Tokyo BlueLD156 ChocolateLD278 Eighth Plus GreenLD279 Eighth Minus Green54

B06M91LED no filterSpecialised GlassFiltersLEE Specialised Filters include warming,cooling and UV Filters.Warming filters (CT Orange) will warm upa cool light source such as an LED light;they can also be used as a warm ambercolour or to reduce the colour temperatureof a light source.Cooling filters (CT Blue) will cool a lightsource. They can also be used as a coolblue colour or to convert tungsten light todaylight.No. NameLD201 Full CT BlueLD202 Half CT BlueLD203 Quarter CT BlueLD204 Full CT OrangeLD205 Half CT OrangeLD206 Quarter CT OrangeLD209 0.3 NDLD210 0.6 NDUV BlockerAbsorbs Ultra Violet lightHot MirrorReflects heat back intothe light sourceLED warming filterDichroic PolycarbonateFiltersColour correct your LED light sourceusing the new dichroic coatedpolycarbonate filter. With a thickness of0.76mm, the polycarbonate will easily fitwithin a small fixture accessory slot. Thisfilter has a dichroic coating on one sideproviding an optimal colour correctionsolution for permanent applications.Stocked in 49.9mm diameter (customsizes available upon request).5 stock Dichroic Series colours (customcolours available upon request).Polycarbonate substrate includes ahigh heat resistance hard coating onboth sides.Dichroic coating is a process ofvacuum deposition of thin metal filmsonto a polycarbonate substrate.Maximum operating temperatureis 100°C.Polycarbonate material is 0.76mm thick.No. NameO32 Apricot 2R31 Amber Blush 1O80 Gold Amber 0205 Half CT Orange206 Quarter CT OrangePolycarbonate 0.76mm thick vs. glass3.3mm thick55

architectural seriesfrosted dichroicglass coloursY02B71All the colours within the glass series are available as Frosted Dichroic Glassfilters, enabling the lighting designer to add colour and diffusion in the one filter.The diffusion within the filter softens the light beam giving a more even andgraduated lighting effect.Frosted Colour Dichroic Filters are colour-coated on one side by a vacuumdeposition of metal film, and diffused on the other side.The diffusion creates an even soft frost, removing the halo effect when the frostedside is placed on the fixture outwards, away from the lamp. The dichroic coatingshould withstand temperatures up to 371°C, allowing the colour to last for yearswithout fading.Frosted Dichroic Glass filters are available for MR16 and PAR 16 circular lightfittings as well as custom shapes and sizes.Unfrosted GlassB24Frosted GlassLEE Filters Dichroic glass is coated on one side.To determine which side is coated touch yourfinger to the flat surface of the filter. On thecoated side the reflection will meet your finger.On the uncoated side there will be a spacebetween your finger and the reflection.56

glass diffusionfiltersThe LEE range of Glass Diffusion Filters offer differentdensities of diffusion for a wide range of lightingeffects. They are available for MR16 and PAR fittingsas well as custom shapes and sizes.V74The diagram below shows the diffusion effect createdwhen using an 8°, 24° or 36° 50w MR16 bulb, at adistance of 92cm (3’).Linear DiffusionO80 Linear DiffusionCombined Linear Diffusion and warming filterPrismatic DiffusionSoftening DiffusionFrosted DiffusionG28All diffusion filters are available incustom shapes and sizes.M9157

architectural seriesMR16 / PAR 16accessoriesAttach filters directly to an MR16 or PAR 16 bulb using the LEE Filters accessoryholder. Available in either black or silver, the screw-on holder fits securely ontothe bulb and can hold up to two filters. This allows for a combination of colour,diffusion or louvre effects to be used on the one fitting.Clip-on Filter HolderLEE Clip-on accessories are a quick and easy way of adding a filter to or limitingthe glare from MR16 or PAR 16 bulbs.The Clip-on Filter Holder holds a single filter to a standard open bulb. The holderis available in either black or silver (packs of five).The Clip-on Baffle (also known as blade louvres) traps the peripheral lightsideways, limiting glare. The baffle also gives the fixture a more professional look.Available in black or silver (packs of five).Clip-on Barndoors trap the light sideways; this limits the glare from a bulb but alsoallows you to direct the illumination from the bulb to a specific area. The flaps areadjustable by rotation and by bending the hinges. The high quality material of the hingesallows you to adjust them a number of times. Available in black or silver (packs of five).Clip-on Baffle246794Clip-on Barndoorslouvres180Light SourceLouvreGlare Free ZoneGlare Free ZoneHoneycomb Louvres reduce the glare from a light fitting. Theyare available in either a 45° or 60° angle and come in silver andblack to match the LEE filter holders.45º45º Louvre45ºLouvres are also available in custom shapes and sizesenabling them to be used on a number of different light fittings.Light SourceLouvreGlare Free ZoneGlare Free Zone60º 60º Louvre60º58

GobosSteel Collection GobosProject images and patterns onto walls, floors andceilings with LEE Filters gobos. Great for creatingboth dramatic and subtle effects the LEE range ofsteel gobos has over 1,000 different designs foryou to choose from. Used by architects and lightingdesigners around the world in shopping malls, offices,restaurants, clubs, bars and hotel buildings, gobosallow you to add creativity to any internal or externallighting scheme.To view the full range of LEE gobo designs visitwww.leefilters.com/index.php/gobos/ or to downloadposters of the full range visitwww.leefilters.com/lighting/lighting-resources.htmlCustom GobosProject your own design, company logo, artwork orpicture with LEE Filters Custom Gobos.Steel GobosSteel gobos give high definition resultsfor simple images and breakups. Theyare perfect for projecting logos andartwork in architectural projects.Black & White / Greyscale GlassGobosThese glass gobos reproduce highresolution photo quality black andwhite images, with absolute accuracy.They are suitable for any long terminstallation.One or Two Layer Glass GobosThese glass gobos use one or twosolid colours that give a crisp cleanimage. The gobos are created usingthe highest quality etching available,to create brilliant colours for use in anypermanent installation.Full Colour Glass GobosMade from glass, these high quality fullcolour gobos are perfect for projectingany colour image or high resolutionphotograph used in a permanentinstallation.59

promotional itemsswatchesIn order to give our end-users the highest possible levels of information andsupport, LEE Filters makes available a package of technical information.We produce a range of swatch books, each individually developed to serve aspecific purpose.They are:The Designers’ Edition a swatch book containing the entirefilter range in chromatic groupings.The Numeric Edition a swatch book containing the entire filterrange in numerical order.The Cinematographers’ Edition a large format dualswatch book with grades of both colour correction and diffusion filters mostfrequently used in film.The Master Edition* a very large format swatch of lighting products.The Pocket Edition a handy sized listing of all lighting filterproducts, together with a comparator section which identifies LEE Filters’equivalents to other manufacturers’ products.The Glass Edition a large format swatch book containing polyesterlighting filter material that closely matches the colours from the glass series.The Fluorescent Edition contains a sample of all the coloursavailable as polyester inserts for the clear fluorescent sleeves.* These swatches are not available free of charge.60

promotional itemspostersTo help end-users achieve theoptimum benefits from LEE Filters,the company offers a series of A1 size posterscovering essential filtration topics, together withcomprehensive product listings.cuttersFreely available are filter cutters which enable rolls and sheets to be cut down tothe required size without fuss or the use of open blades.websiteInformation on all LEE Filters products can be found on our website:www.leefilters.com61

index62PageAcrylic Panels 46An Investment in the Future 4Architectural Series 51Blues 28Clip-on Accessories 58Colour Magic Packs 23Colour Range 26Colour Temperature Adjustment 42Coloured Frosts 37Contents 3Conversion Chart 41Conversion Filters 42Correction Filters 44Cosmetic Range 37Customer Service 9Cutters 61Daylight Conversion 42Dichroic Colour Correction Filters 55Dichroic Glass Filters 53Dichroic Polycarbonate Filters 55Discharge + Arch Conversion 43Diffusion Media 48Diffusion 48Filter Sizes 10,11Flexi-Frost 50Fluorescent Correction 44Fluorescent Sleeves 52Foil 47Frost 48, 49Frosted Dichroic Glass Filters 56Glass Diffusion Filters 57Glass Series 53Gobos 59Greens 30Grid Cloth 49Heat Shield 47Holders 58LED Filters 12LED Conversion Filters 15, 43Lighting Packs 22Louvres 58PageMagentas 35Minus Green 44MR16 Accessories 58Music Packs 23Neutral Density 44Numerical Listing 38Oranges 33Perforated Diffusion 50Pinks 35Plus Green 44Polariser 45Posters 61Protection Media 47Quality Control 8Quick Rolls 22Reds 34Reflection Media 46Reflector 46Roll sizes 10Scrim 46Sheet sizes 11Spectral Curves Booklet inside back coverSpecialised Glass Filters 55Straws 32, 33Swatches 60Technical Excellence 6Technical Filters 40The Designer Series 16The Science Behind the Art 24Tough Spun 49, 50Tungsten Light Conversion 42Ultra Violet Absorption 44Urban Effects 45Violets 27Website 61Yellows 32

122LEE FiltersCentral WayWalworth Business ParkAndoverHampshire, SP10 5ANUKT: + 44 (0) 1264 366245F: + 44 (0) 1264 355058e-mail: sales@leefilters.comwww.leefilters.com505 002 650 651 500 705 507184 165 328 207 088 441

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